The radio annual (1957)

Feature Film Releases Cause New Attitudes in TV Programming THAT sage philosopher, Goodman Ace, once made a pungent observation to the effect that "Time wounds all heels." I have often thought that this is much more than a typically Ace-high play on words; it's an acutely discerning comment on the inevitability of right landing right side up. o<i:>o AH this comes to mind looking back at the past year during which feature films hit television with so much force, so much force, in fact, that there were more dire prognosticators around than unanswered questions in the "$64,000 Question" vault. These prognosticators predicted, variously, the end of syndicated TV film, a stampede of advertisers cancelling all other media so they could cUmb on the feature film band wagon, the end or at least a sharp curtailment in live programming by the networks, and an unending parade of film buyers to the cashiers' windows of feature film distributors, with said film buyers plunking down large stacks of boodle and pleading to be sold more and more features. Of course, none of these things has happened. This supply of pre1948 feature films has been introduced in an orderly manner. But, just in the event any one needs to be reminded, the networks have continued programming live as before, and indeed, are making plans for even more lavish, highbudgeted shows. New syndicated film properties are being produced as they have been for ten years or so with millions budgeted for the purpose. Advertisers — local, regional and national — have continued investing not only in every kind of medium, but in the wide diversity of buys available in TV — programs, spots, participations, time signals, weather reports, station breaks, and of course, the new supply of feature films. Please note, the line reads new supply of feature films — not new feature films, which they most assuredly are not. (XZ>0 For in all the excitement attendant upon the deluge of features finally being made available to TV, it seems to me that several important points have been overlooked. Perhaps the most important is that these feature films would, of necessity, be programmed in time previously allotted for the old, old feature films. In most instances, this has been true and will continue to be true. Another is that no one program type in TV can meet the needs of all clients — any one-dish diet becomes boring. But just as some advertisers By MICHAEL M. SILLERMAN Executive Vice President Television Programs of America, Inc. use black and white magazine space, others use color spreads; others use one page units and others short one column inserts, so do the needs of TV advertisers vary in every instance. Some need their own exclusive program, affording maximum sponsor identification, merchandising and promotion. Others need alternations, supplementary spot campaigns or participations in feature films. Television is an amalgam of various kinds of programs and powerful sales devices — thus its marked success. Feature films are part of that amalgam, but so is every other program type. 0<Z>0 But, while feature films didn't up-end TV as so many forecast, they did contribute in other ways. They injected an additional source of program supply, and hastened the departure of some outmoded properties. They centered attention anew on film programming and they gave television, as a medium, something new to talk about. All this is salutary in a business which requires new blood and new ideas constantly, and where program longevity most often is a fraction of what it was in radio. Furthermore, feature films helped in sharpening the competitive phases of programming (although it doesn't seem that it could get more competitive) thus accounting for budget increases for new shows, both by the networks and the film producers. Both the public and advertisers are benefiting. Another consequence of the opening of the feature film vaults was to refine the quality of feature film TV shows. Both film buyers and the audience became more selective. In the case of TPA, this helped, dramatically and new interest centered on our own feature films, the Edward Small package. Presumably, it's the fact that quality begets quality. Undoubtedly, new program forms will be introduced to TV within the near future, just as has happened since the start of broadcasting. These new program forms, and all those we know now, will last and be successful just so long as they observe the age-old entertainment maxim — "The show's the thing." Or, as Goodman Ace might say, "Time cancels all flop shows." Ill