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1949 TELEVISION-FILM REQUIREMENTS 119
certain quarters, as heresy and high treason. Today, it is being me.
The advertiser is vitally interested in price. He generally knows )w much he can afford to spend to reach a thousand prospects, and he itches this cost per thousand with an eagle eye. In the author's )inion it will be found that it is going to be worth more to reach a lousand customers via television than it is to reach them by other
lia.
Someone is going to say "What is the right price?" And the only answer that can be given is an evasive one, "That depends!" It depends first of all on how much an advertiser can afford to spend to reach prospective customers. It depends on how widespread will be his use of the film. It depends on what television can do for his business. All of these variables must be taken into account by any good advertising man before he can say "This film is a good buy for Client A."
In the author's opinion the Lucky Strike series of films has all four requisites for good television film production — box office, continuity, technical television excellence, and a proper price.
The twenty-six stories which comprised this series were chosen from world-famous anthologies. They must be good box office, people must like them, because they have been selling well for years, read and reread by hundreds of thousands of people.
And here is continuity in the Bookshop Man, a warm and intimate person whom you grow to like after a while. Sure, he's a bit of a character but no doubt people like him just because he is a character. Technical excellence for television? The author thinks so, although in the early films of the series there were troubles with halation and edge flare and too much contrast and bad lighting. But those things are being corrected.
And the price? It is as right as any television price can be today. With the show running each week in 29 markets and with its rating in the thirties, the cost per thousand is satisfactory.