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vision programing, and that he has no intentions of knocking the advertising concept per se.
It is generally agreed, as Whitney saw it. that programing has improved a good deal with the current season. "With the possibility of license renewals on the line it is understandable that Minow's 'wasteland' words were at least kept in mind when programing decisions were made/" Whitney noted. "This undoubtedlv had its influence on programing. \s for censorship, it seems that Minow did not truly want to be a dictator as was suspected, and that he would rather the broadcasting business cleaned its own house."
Many executives in the industry evidently felt on the edge of disaster following Minow's initial blast. Whitney declared. Minow added a great deal of uncertainty to a relatively uncertain industry, he said. "Some morale damage was done to our confidence in ourselves and the televiewers' confidence in us." the agency executive pointed out. "Rut perhaps the good that seems to be resulting will offset the harm. Whatever may come of 'the new look' and the FCC, we can be sure that a greater array of services will be rendered to the viewing public. \t times, the 'new' Federal Communications Commission will be difficult and exasperating for various interests in the broadcasting and advertising fields but we all should benefit in the long run by improving public and governmental ageiu \ opinions regarding programing and advertising itself."
Lennen & Newell's senior vicepresident in charge of the television department, Nick Keesely. said there has been no change in thinking or operations at the agencv because of the attitude of the FCC and its new chairman toward tv programing. In fact. Lennen & Newell's general approach to tv and the standards that "we have always set for ourselves have been as high or higher than enunciated from the commission." Keesely declared.
"On the whole we back away from violence, unpleasant themes, downbeat philosophv and the hackneyed." Keesely continued. "Or. to put it the other way, we believe in entertaini Please turn to page 42 I
NET SHOW COSTS
^ Rise in technical service expenses expected to go on, but with prudence above-line outlays can be held level
^ Unions, upgraped production values, increased use of film and hour shows contribute to rise in expenses
W
ith admen preparing to look into new shows for next season, it's time to check into what s been happening to production costs.
Below-the-line I technical services) costs continue in their upward spiral, with no end in sight. Talent and supervision (above-the-line) costs, on the other hand, for the most part maintain an even keel.
Among the main forces behind the
upward movement of below -the-linecosts:
• I pgraded production value In keep pace with heightened sophistication of the tv audience.
• Continuing union bargaining effectiveness.
• Increased use of film, where financial risks are considerablv greater than with live production, and need to deal with the long-established
HEIGHTENED production values for modern tv, and trend to hour shows contribute to n in costs. A case in point is Naked City (ABC) large portions of which are filmed on locati.
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