Television digest with electronic reports (Jan-Dec 1955)

3 chase or fixed rental fees. They're usually served by local distributor or dealer who handles everything, gives motel 10-05% of gross. Newer motels, however, are getting away from coin sets — becoming more and more like hotels. Master antenna for motels is often simple installation handled by local men, whereas hotel systems frequently pose major construction and engineering problems. !{c |:ja Most common hotel set is 21-in. , motels leeining toward 17-in. Consolettes are preferred, with consoles going into fancier suites. Color is still no factor, though new antenna systems are designed to handle it. Some outfits offer TV-only, others TV-radio-wired music set or even a TVdresser-desk such as Wells TV Inc, is promoting. Other modifications may include tamper-proof back and limited volume control — and sets are usually sturdier, featuring cabinets that resist burns and stains. Servicing is extremely important, of course, to keep the guests happy. Most hotel contracts call for full-time serviceman for spot repairs and regular checks. In Washington's Statler, for example, serviceman handles 850-set installation from 9-5, house electrician taking over after-hours, doing no repairs but substituting one of 20 spare sets for any that go on the blink. TEATURITIS' GRIPS THE TV NETWORKS: The networks are out after top feature films for showing during prime evening hours — even if they have to make them themselves. It was General Teleradio's "Million-Dollar Movie" series which convinced the networks that "movies are your best entertainment" — even in Class A time — if they're top-notch feature films. So successful were the "Million-Dollar" features that Teleradio first tried to buy out RKO'S' feature backlog, ended up by buying the entire motion picture company (see p. 7 and Vol. 11:30-31). NBC-TV was actually the first network to announce feature film spectaculars when it broke stories on its coming TV premieres of British-made Richard III and The Constant Husband before their American theatrical showings (Vol. 11:23,26). It also plans spectacular featuring star-studded British oldie. The Magic Box — which, incidentally, traces the history of the motion picture industry. Then came ABC-TV's entry into the spectacular field — to begin next fall — via Sun. 7:30-9 p.m. series of new-to-TV J. Arthur Rank feature films (Vol. 11:31). But now something new has been added — the do-it-yourself feature film. The networks' reasoning apparently runs this way: If we can't get first-run features, why not make our own, show them on TV first, and later try to recoup some of our investment by peddling them to theatres? No doubt they bea,r in mind the success of Walt Disney's Davy Crockett in theatres after 3 rtms on ABC-TV's Disneyland. CBS seems to have led the way in the make-your-own-movies field. By putting a 90-min. spectacular on film, there's still something left to show again on TV — or in theatres. So the network has already announced 2 Bing Crosby features and 6 Orson Welles productions, all 90 min. for first showings as TV spectaculars — with theatre plans understood to be in the works if it looks profitable. Biggest deal of all is now in negotiating stage between CBS chairman Wm. S. Paley and independent film producer Louis deRochemont for 3 full-length features to cost $500,000-$!, 000, 000 each on TV-f irst-theatres-next basis. Another network venture into theatrical film production was revealed in this week's disclosure of long-term contract between CBS & United Productions of America for series of half-hour cartoon shows (26 next year) which eventually could wind up in theatres as short subjects. In addition, CBS will finance one UPA-produced fullhour cartoon for theatres. Whether the network will hold "second-rtm" TV rights to thiS' feature wasn't disclosed. NBC will make feature films too, if negotiations with Hal Roach Jr. and team of Laurel & Hardy bear fruit. Reportedly the plan is to turn out three 90-minute color* films, NBC underwriting most of cost, for showing first as TV spectaculars, later in theatres abroad — and domestically too, no doubt, if there's demand. All of which suggests this interesting question: With networks apparently aiming to go heavily into feature film production, when will the movie exhibitors start crying for networks to release their backlogs to the theatres?