Business Screen Magazine (1963-1964)

A PICTURE FOR (OMI'WIIS DOING GOVERNMENT WORK Voii A IT I he ScHurilN Target! rijuil!. Mn> Vi-i|iiii< lliiril-llilliii;^ Miiiliii Miirii-lla Picliirc l'ii..lii..-.l l»> Horkcll for Is. I»> I'liiiil Senirily (UTicers Miuliii M.uictla Com SrONNKK p.\iiy. liii 1 : t'iiifit-l You.'. 17 niin.. color. proiUiccd by F. K. Rockett Proituctioiij. ■>^ "You can help this man biii\ America. How? Drop your guard, just once. He'll do the rest!"" "The mail"" is Nikita Khruschev. seen in lluvf hlii\\i\-iip lu'ws photos. TIh' challenging voice is that of Ronald Reagan, st.mding in front of the pictures. "Who. me'.'"" The answering, siuprised voice comes from a mild machine tool oper.itor. shown in .1 swift cut. "> es. you. rhat little metal part \ou"ie working on — the Russians want to know all about it. It does not mean anything by itsell".' Don't worry — they'll fit all the pieces together."" Tho>'rt' KxfH'rtx in This Line The point is clear: No matter how small or insignificant the job may seem, if it has any element of useful information, the Soviet cspion.ige network w ill seek to find out all about it. Carelessness, complacency, .\mericans who want to gain '"status"" from the importance of what they"re doing, or who just love to talk, and may do so in the presence of a more than casuallyinterested listener — a David Givcnglass. for instance, who had v^nly to keep his ears open at Los .•Vlamos to shorten frighteningly the lead-time our country had on atomic secrets — these are very real harards to the Five World, to the n.ition. to the individual himself. "Un their deeds ye shall know them . . ." Historic documentary footage of Soviet executions, purges, planned starvation, conquests in Poland and elsewhere makes the hazard plain. The narrator notes that it's all been out in the open for 45 years, the plan for destruction of capitalism, free enterprise, of the United States as the last hold-out — contemptuousl\ in the open, with the Soviets understanding that American citizens would think it "incredible" .ind would refuse to belie\e it, as lhe\'\e been doing. It's Vital to Stay on (iuard Self-discipline, in and out of the plant, regardless of position. is vital, it is pointed out. "The endproduct of security is lead-time, and it's not worth taking even a million-to-one chance of revealing anything to the enemy whose "nets' operate in e\ ery corner of the globe and in almost every walk of life. Methods, situations, and the people may change, but the objectives don't — and their target is you!" The sponsor's concern for security created this film with its tremendous impact. It was intended only for use within the company, but word of it spread as a tremendous tiHil for the security officer in any plant. Other defense contractors saw it and wanted to buy prints; high-level military personnel saw it. and were enthusiastic. (C O N T t N tJ E D O N P .\ G E 5 51 Pictured on "Target You" set are (I to r): Stanton Webb, producer; sponsor representative Ned Stephenson (Martin Marietta. Denver); star and narrator Ronald ReJigan: John J. Hennessey, F. K. Rockett Productions; and Joseph Denowe, director. Pictures in background are kei-ed to film's opening sequence. Castle in tne Loire valley is mirrored in placid pond Ahich surrounds it. Enticing Touri.st.s to Bv-Wavs of France Beauty of Frenoh Countryside Captured in New Pielure Lensetl by Coleman from \ iewpoint of .\nierican Tourist Sponsor: French Government Tourist Office. TlTt-E: Frame. Wiih a French Accent. 21' 2 min. color, produced by Coleman Productions. Inc. r France had a problem. Tourists'? They had millions. Millions of tourists thronging the cafes and bistros of Paris, millions of tourists to fill the plush hotels of the Riviera, millions of tourists to bask in the warm sun of the French Mediterranean beaches. But the rest of France, the France away from the glittering society of Paris and the Riviera — the France with the vast vineyards, ancient castles, and traditional work of the French p>eople which has been carried on over the centuries — was. by and large, ignored by visitors from abroad. They .411 Want to Se« Paris The French Government Tourist Bureau in Paris had long employed French production companies to film travelogs about France, the travelogs which were drawing the tourists to Paris or the Riviera with such frustrating regularity. So the Bureau decided to try a different approach: how about employing an .American company to make a tourist film for .Americans'? The French-made films showed France from a Frfnch point of view, but how about an AtncricMi tourist point of view'? Rene Barde and Nfyron Oer.ien; of the New York Office . f :h;r French Gv>vemnient Touri-; ^ eau sot in touch with a \ .;:,.. ... paNiucer of tra\«I films. Harry C'oleman PiwJucrions. Inc. Cc^ man had hjid much v^uabfe ex perience in making films abroad and should be able to combine the professional approach of the seasoned film-maker with a relative naivete concerning the French interior. Coleman. suf>ervising the job personalh . decided to keep the film as simple and as close to the land and its people as possible. Focus on Castles. \'illages To preserve the quality of wonderment at the beauty of the French countryside, with castles, villages, formal and informal gardens, all of which were virtuallv unknown to the standard tourist trade, the Coleman crew worked with only the barest shooting script. The resulting film is a combination of polished travelog — v»itli smooth continuity and adept editing, — and home-made tourist movie, with all the sights and sounds that a tourist, new to the country, would find memorable. Rather than concentrate on the usual sights of the Eiffel Tower and the Notre I>3me Cathedral, tht Bekiw: fishins ixats at Marseille SVS'VEJS SrSEt\ MASi.riN: