Television digest with electronics reports (Jan-Dec 1959)

10 SEPTEMBER 21, 1959 TAPE & FILM ALTAR BOUND: “Film is still attracting the bulk of the commercial business,” we are told by Nathan Zucker, pres, of Dynamic Films and of the Film Producers Assn. “We’re not trying to keep networks out of the tape-commercial field — but we’ll fight an attempt to use tape as a ‘loss leader’ for other TV business.” Faced with this stepped-up, relatively new rivalry from networks in the commercial field, FPA plans an extensive fall program to promote itself, and to help members make the transition from film-only to combined film-&-tape operations. Zucker was discussing fall plans of the 12-yr.-old, 54-member FPA as they relate to tape/film developments. He pegs the annual volume in commercials of the FPA’s 33 film-producer members at approximately $35 million “or about 80% of eastern U.S. commercial production.” The 21 associate members, primarily film industry suppliers, handle “nearly all” the lab, optical work, etc., in N.Y. “Film-commercial volume is still growing, but tape is beginning to take a noticeable share of an expanding market,” Zucker said. (For other news of tape commercial growth, see story & chart pp. xx and xx. FPA will expand its membership in a new drive, we were told. Primary targets will be the independent TV-film producers, who lack a N.Y. organization, and commercial animation houses, who are eligible for FPA membership but are lightly represented. Independent theatrical-film producers will also be approached. FPA also plans to assemble a “fact book” directory for annual publication which will give agencymen a rundown on eastern film producers, laboratories, facilities, fire codes, police regulations, basic union scales, other useful data. Advertisers & agencies will also be pinpointed in FPA’s fall promotional plans. A series of seminars for agencymen & members of the Assn, of Natl. Advertisers are planned, says Zucker, as well as a Speaker’s Bureau to furnish film men for public appearances, an Information Bureau to answer trade questions & advise members, and the production of “a film about the flexibility of film.” “We’re getting wonderful cooperation from lATSE officials,” Zucker told us, referring to the film-&-stage union primarily threatened by the NABET-IBEW entry into the commercial field via network-produced tape commercials. “We have a common interest. They want to have film technicians trained in the use of tape equipment. We want to help our producers to get into tape. So we are evolving joint long-range training programs, and we are happy that union leadership has recognized our problem.” U.S.-Soviet TV-film swap has been arranged by Natl. Telefilm Associates and Sovexport films, official Russian distribution organization. The first-of-its-kind deal, which also covers exchange of theatrical movies, was arranged by NTA pres. Oliver A. Unger and NTA Intnatl. v.p. Vernon Burns in Moscow with Alex N. Davydow, pres, of Sovexport Films, and A. G. Makarova, acting head of the Sovexport American & English depts. A Sovexport letter of intent covering the exchange calls for terms to be “individually negotiated” on each property. No official announcement of what TV product would be exchanged initially was made by NTA, but it is understood that 6 American films are being negotiated for (including “High Noon,” “Cyrano de Bergerac” and “Gulliver’s Travels”) as well as Russian features & cartoons. All dubbing for both Russian & American products will be handled in the Soviet Union Unger said — “the art of dubbing is extremely perfected there.” UA Anti-Trust Suit: After nearly 2 years of spadework, the Justice Dept, last week filed a civil anti-trust action in N.Y. Federal Court against United Artists — a suit similar to the still-pending action brought against Columbia Pictures’ offshoot. Screen Gems. The charge: UA has created a “lessening of competition” by cornering TV-distribution rights to the feature backlogs of Warner Bros., RKO Pictures, and UA itself. No trial date has been set. Queried for comment. United Artists Associated (UA subsidiary that handles TV feature distribution) in N.Y. told us they weren’t worried by the Justice Dept, action, and that they intended to pursue all existing sales plans, which include promotion & sales of a new juvenile-slanted comedy package & preparation of a new feature-film package for fall release. Currently, UAA is distributing some 1,500 sound-onfilm features from the combined libraries, WB “Merrie Melody” and “Popeye cartoons,” comedy shorts and other TV film-fare. The WB backlog, one of TV’s biggest (800 sound features, 200 silents, cartoons, shorts, etc.) came under UA jurisdiction last fall when UA won out over National Telefilm Associates in a hotly contested race for control of Eliot Hyman’s Associated Artists Productions, then distributing the pre-1948 WB films. Nearly all of UA’s own product handled by UAA (“African Queen,” “Moulin Rouge,” etc.) was made by independent producers after 1948. The RKO backlog, no stranger to TV, was acquired by UAA in April 1959 from C&C Films Inc. for subsequent runs. The earlier Justice Dept, action against Screen Gems — filed in April 1958 after SG acquired distribution rights to the Universal-International backlog in addition to that of its Columbia Pictures parent — is expected to come to trial this fall. Syndicators & NAB’s Code: After over 2 months on the job as asst. dir. of code affairs for NAB, Frank Morris has only praise for the telefilm producers of Hollywood whose film & scripts he’s been watching. Morris, who was placed in charge of NAB’s first telefilm-code coast office July 6 (Vol. 15:28), told us he hasn’t found a single violation. The ex-CBS censor, who emphasized that adherence to the code is strictly voluntary, has confined himself to syndicated films, inasmuch as the network continuity acceptance depts., of course, keep a close eye on the film they telecast. Consequently, Morris has been viewing rough cuts & scripts of films produced by ITC, Gross-Krasne, Revue, Desliu, Ziv and Screen Gems. Said he: “It meant letting one more man in to see their films & read their scripts. They could do without that, but they’ve all shown good faith,” he tells us. Morris has suggested prop changes in instances when sales of the film might have been hindered by product conflict (such as showing a certain make of car in a series that might be salable to a sponsor selling a different car). This is in no way a NAB code violation, but a service the producers have found useful. Studios also check with Morris on interpretations of various provisions of the code, and says he, “We have had some lively discussions, but the producers do understand our position — and do cooperate.” NTA Pictures Inc. will turn over its theatrical distribution activities “probably to a newly formed independent company” on Oct. 1, NTA pres. Oliver Unger said last week. Reason: National Theatres & TV Inc., parent company of NTA Pictures, would contravene the consent decree of the movie industry if it remained in theatrical distribution. NTA will still control the TV distribution rights to pictures acquired for both theatrical & TV issue.