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invests money in a production and gets it back with profit (sometimes) by leasing the film to theatres throughout the country.
No single theatre could have afforded the $3,000,000 it took to produce Gone With the Wind, but the thousands of movie houses which have and will play the picture will earn, through weekly leases, the $3,000,000 and more for the producer. And the producer is entitled to any profit he makes, for he gambled the money to bring an excellent production to the screen to entertain millions. The same is true of the syndicate program producer and distributor.
Yes, the transcribed program, until something better and more practical comes along to take its place, is here to stay. Once recorded, there are no more production headaches. Nobody comes late to rehearsal or broadcast. Nobody gets sick.
In buying syndicated transcribed programs, certain factors must be taken into consid eration. It costs money to produce good radio programs, to obtain good talent to do the recording. And while there is not yet a national method or yardstick for establishing the prices of syndicated transcribed programs, a good producer and distributor will generally base his charges on one, two, or all of the following factors:
1. Population of the city in which the series is to be broadcast.
2. Power of the station.
3. A percentage of the station rates, so that if the
sponsor uses the most powerful and expensive radio station in a city, he may be expected to pay more for the program because of the generally greater coverage the show will receive. On the other hand, if the advertiser's budget is limited, and he must confine himself to stations of smaller power and lower rates, the price of the syndicated transcribed series is correspondingly lower. This is the most equitable method of establishing rates for programs.
Top price, of course, must be obtained from major markets such as New York, Chicago, Detroit, Los Angeles, Boston, Philadelphia, etc. Prices for cities up to about 25,000 population generally take a minimum price. It has all been worked out to give the sponsors good programs at cost within their budgets.
But no program, transcribed or 'live," should be allowed to take to the airwaves without intelligent promotion and publicity behind it to build audience, to create first the desire to listen, to help merchandise and sell the sponsors' products and services. Most syndicated programs, if produced by a well-established production firm in tl?e syndicated field, are accompanied by suggestions for merchandising, publicity, and promotion. While some programs may be built for, say, the bakery field, very often the same series of program may be used for department stores, dairies, candy companies, even furniture stores. The thing to do is to analyze the individual program and apply it with its various and diversified tie-ups. For example. Information, Please will undoubtedly work as well for Lucky Strikes as it did for