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118 GUDEBROD AugUSt
The second qualification is continuity. Box-office appeal gets the audience, continuity holds it! Advertisers have long since learned that the audience likes to have something familiar in their entertainment week after week. To the author's knowledge a successful radio or television program has never existed without continuity of one kind or another. Sometimes it is no more than a make-believe theater such as the Kraft Television Theater, The Philco Playhouse, or the Ford Theater. Still another type of continuity is achieved by the use of a single recurring character such as the Bookshop Man in the current Lucky Strike series. And sometimes there is a continuity of story and cast as in the live Goldbergs or the filmed Adventures of Eddie Drake. In any case, there is a need for something or someone which the audience can remember from week to week.
Now for the third point — technical excellence. Here again, it is thought that there is a difference in technical excellence for normal theatrical use and technical excellence for television use. One is not of lower quality than the other, they are merely different. Since 1939 N. W. Ayer has been using films in television — with varying degrees of success. At first the Company was forced by economies to cut up old prints and splice odds and ends together to tell a commercial story. This brought a number of horrible experiences, and many a conference was held with television engineers trying to find out what was wrong. The lesson was learned the hard way, simply because in those days there were somewhat less than five thousand sets in the whole United States, and no advertiser could afford to spend more than print costs to try this medium. The approach being made here today to the problems of lighting, sound recording, and printing for television films is one of the best things that can possibly be done for television. Without this sort of approach, films never will become as important a factor in television as they should. To be technically excellent a television film must be made for television in the first place. That means that the writer, director, cameraman, cutter, and laboratory technician must work to new standards, television standards.
Finally, there is the question of price. Two years ago with a brashness born of enthusiasm for the film medium in television, the author suggested in a forum meeting that films for television could be produced at a considerably lower price than most people thought possible. The basic idea was to recognize the limitations of television, the slower pace, the difference in lighting and finally to preplan films on a sort of assembly line. At that time, the suggestion was regarded, in