NT-5065

CU Large wall clock indicating time, 7:59.

Hands turning the dials on a control board

NBC WEEK graphics. Announcement for the NBC TV Station offerings for a new season Sept. 12 to 19. (1966)

Clips from television show, F Troop on ABC (circa mid 1960s)

Cu of a newspaper press rolling at full speed.

Terrence O'Flaherty of the San Francisco Chronicle in his office at his desk, taking a puff of his cigarette.

Shot from behind, Critic Percy Shain of the Boston Globe at his desk typing very quickly on manual typewriter.

CU hands typing very fast on manual typewriter circa 1960's.

Nighttime z'in on small one level home, Crickets chirping and shadow of tree branches in picture window.

Woman ironing clothes as her husband is sitting near her staring at unseen tv.

Unknown older man in a robe sitting in an easy chair sipping a glass of milk and eating a donut. Pan out from the man revealing a pretty lady seated next to him munching on the snacks piled up on the table between them.

Aerial view the New York World's Fair, 1939

Var clips are shown of the New York World's Fair exhibits and the many pavilions as Sarnoff speaks about the advent of television.

WS an American family in their wood paneled family room watching the TV series ,"Peyton Place" on their B&W television console. Z'in on the TV featuring the stars of the program's faces including Ed Nelson and a very young Mia Farrow

Tilt down on "Television Alley", Sixth Avenue, New York City 1966. Wide street with some traffic , peds and buildings.

Tilt up on two hi rise buildings housing ABC, CBS and NBC, New York City 1966.

30 Rockefeller Plaza building elaborate front entrance clock with the engraved, "Wisdom and Knowledge Shall be the Stability of They Times"

CU on television featuring the CBS Reports program

CU on TV programming listings (ie TV Guide)

In his office seated alone at round table and gathering papers, John Schneider, Group Vice President of Broadcasting at CBS talking with unseen interviewer about how he rgards TV and his role in it.

ABC President, Tom Moore, in his office, speaking with unseen interviewer about his obligation to minority programming needs.

Large ABC logo on exterior of building in New York, peds seem walking by and z'out to top of hi rise.

John Schneider talking with unseen interviewer about the "Golden Age" of television.

INTERVIEW - WORTHINGTON MINER.
Interviewer
How and why did Studio One
Worthington Miner
why did it end? Well, it's a very simple thing. Up until the time when I left and went over to NBC. The control of that program was entirely in the hands of the network. The moment the advertising agency got control of that program, it began immediately to go downhill and never stopped until it just disappeared. And a clear evidence of the fact that what they believed was going to increase the appeal and increase the rating of the show turned out to could be a cumulative disaster. And I think this happened to a good many shows for different circumstances, not perhaps the fact that a person left as I did. But the fact that the advertising agencies put the screws on and got their hands in the control. And at that point, programming began to decline in quality, in fact that I don't excite.

Large boxes moving along up a conveyor belt in a factory.

CU Terrence O'Flaherty, Critic San Francisco Chronicle speaking with unseen interviewer.

Slow pan down a list of Nielsen ratings for TV programs from the 1960's

CU dark hair'd '60's gal with a camera aimed at the camera, fades out.

Mike Dann, CBS Vice President Programs speaking with unseen interviewer about hopefully programming what's popular with most audiences, and will be a hit, but at the same time combining that idea with something hopefully of quality.

INTERVIEW - ED SCHERICK, FORMER DIRECTOR PROGRAMMING ABC.
Ed Scherick 19:20
we program seven nights a week from 730 till 11 o'clock. Our needs are again in my area specifically because I work in conjunction with news with public affairs. Our needs are to provide the most variegated entertainment schedule. Our talents and the creative talents of the people we work with, can allow will allow we have operated against a maximum in evaluating every program that maximum is does it contain a touch of singularity?
Interviewer 19:52
How many of his recommendations did he personally enjoy?

Ed Scherick 19:56
Well if they are done Well, I enjoy all of them. I may not select naturally all of them to view. But as far as liking shows that go on the air, I think you'd be, it would be suicide to put any show on the air you did not like

The title sequence of the 1960's TV show, I SPY, with Bill Cosby and Robert Culp

Pan in on newspaper articles - titles read "Crisis in Need of Commentary" ; "The Corn Must Be for Eggheads by John Horn"
Print is illegible.

Another newspaper article, "Text of Friendly's Letter of Resignation" Narrator (unseen) states the reason for Friendly's resignation was because John Schneider, CBS VP of Broadcasting, decided to run I Love Lucy rather than the hearings on Vietnam. Narrator states, Schneider made the statement that the housewives wouldn't be interested and the hearings would be better served by a 20 minute summary later that evenings.

CU B&W photo stills, Fred Friendly.

INTERVIEW WITH WALTER CRONKITE.
Walter Cronkite 22:48
I got quite upset over the criticism of it. I don't know what we can do more than what we're doing some of that that we're doing, we might do better. Yes. We have certainly exposed as deeply as we can the arguments for and against Vietnamese involvement with our documentaries in our daily programs, the statements from the secretary of state from the president from the Secretary of Defense, and from those who are opposed to the war effort. I don't see where this criticism comes from, or why I suspect that why we get this criticism of the Vietnam War. stems from the fact that we're all confused about this war. And we in television, cannot make up the answer to the Vietnam War, we can only reflect the confusion. And when we do, those critics who watch and criticize themselves are confused and blame us for not throwing the spotlight on the answers. When there aren't any answers.

WS Howard K. Smith, ABC News, giving speech from podium on a dais. Speaks about television's definition of "objectivity".

Back with Cronkite in his office, feels Howard Smith is "absolutely wrong". He states, the proof is in the documentaries they have done, they haven't pulled punches and haven't gone through the process of self-cancellation through objectivity.

Vice President NBC, Reuven Frank, one of the architects of TV news coverage is seen walking through the NBC offices (while smokig a cigarette).

Frank speaking as we see a man in NBC offices holding reams of paper, paper coming off a multitude of printers, people working at their desks.

Pan out from newspaper articles "How much do you really know about your health?"; "Find out whether you know your rights and obligations as a citizen. Fill out this test..."
Narrator taling about, "... the public affairs game show which threatens to test everything in sight including our patience"

Photo stills iconic news reporters, Elmer Davis and Ed Murrow

Hands typing on keyboard. CU on an automatic IBM machine resembling an electric typewriter but reports TV ratings.

Arthur C. Nielsen Company equipment at work sampling the viewing habits of families. Shots of data processing cards, tape coming out of equipment, cards coming out of shoots.

INTERVIEW WITH ARTHUR C. NIELSEN, JR., AND HERBERT ARKIN, CHAIRMAN DEPARTMENT OF STATISTICS CITY COLLEGE.

Arthur Nielsen 31:28
Well, we must remember that television is a commercial system as we know it in the United States. And when the network's use ratings, they are really, I think, doing quite a service to the public by finding out the types of programs which the public really enjoys what they like and what they don't like. As far as our company goes, we take no position on this matter. Our function is merely to count the the box office,

Interviewer 32:02
Professor Herbert Arkin, the City College of New York has published many studies on ratings.

Herbert Arkin 32:08
Systems, which make use of electronic devices attached to the TV sets. Assume that if a set is on, somebody is watching it. This is often far from the truth. And a recent study undertaken by the Oklahoma State University, which was later printed in the journal of advertising research, in which a camera was attached to television sets for a small sample of families. It was found that 19% of the time, there was no one watching the television set at all, for an additional 21% of the time. While there were people in the room. They were in attentive, we're not watching the set. That's a total of 40% of the time nobody was watching

Arthur Nielsen 32:50
my say our ratings are analogous to the ticket taker. at the box office, we tell how many people actually viewed a particular program. And the decision as to whether that will be left on or taken off is up to others.

Herbert Arkin 33:04
While are some comparison between counting the box office and publishing ratings, the analogy is not a very close one. In the box office, we get 100% account of those people who actually paid money to attend to performance. In the case of the ratings, which are published currently, through the use of electronic devices. All we know is the number of sets that were turned on among a sample of people. We have no idea whether or not they viewed the set view of the programs or had an interest in them whatsoever.

Bill Greeley of Variety seated at his desk speaking with unseen interviewer. He disagrees with the data collection and states that it's not an "honest box office" when the entire industry is focused on a sampling of 1,000 out of 55 million. Also he states it creates a hysteria and has nothing to do with the character of the show.

New York Times - two full page ads side by side - unclear, illegible. Clips from articles about television ratings.

Mike Dann from CBS talking about the function of TV ratings, comparing them to circulation reports for a newspaper or sales at bookstores.

New York City outside the ABC building, garbage truck parked, lots of traffic, peds.

INTERVIEW TOM MOORE.
Tom Moore 36:19
But I think the the fault comes in our averaging the ratings and saying that ABC is at this position this week. NBC is at this position this week. And CBS is at this position. Because I think such figures are meaningless. I know they're meaningless, but to the public, and to the people who invest in and back us in stock buying. They seem to be out of proportion. In interest, I think that we must find some way in AI industry to be more cautious in the use of ratings. And I believe that there's a consciousness of this spreading through the top of our industry. I hope that ratings in the future will be less of a factor.

Close up electric typewriter keyboard.

INTERVIEW ROD SERLING.
Rod Serling 37:34
Number one, the money belt. And number two, the more amorphous area of creatively satisfying. Certainly, it has been a windfall and a godsend to the so called, quote, young writer, unquote, to begin with, most of us would never have had a platform nor percent of them at all, we would have probably worked for ad agencies, or had done Civic Theater plays in small towns are coached football teams. Through the good offices of television, we not only made a living, but we became known and we became relatively wealthy. So it's difficult to predict early bite the hand that feeds without being cognizant, or at least paying some kind of lip service indeed, the fact that television isn't very good to us, but in terms of what it does emotionally into the gut of the man who wants to create this isn't the platform anymore. To the man with a serious idea commentated on the problems of our times, the legitimate conflicts between human beings. I don't think really the television is the proper place for him to take his idea.

Pan up on a stack of books or scripts in same binders

Montage of Rod Serling's various framed awards

Int. Paramount Sound Stage #2 a behind the scenes "take" for a TV pilot, The Hero, a David Susskind Talent Associates Production. Television cameras moving around the room shooting a scene with the actors.

Dick Pinkham, Senior Vice President Media and Programming from Ted Bates Advertising Agency speaking with unseen interviewer

Back with Rod Serling speaking with unseen interviewer.
INTERVIEW
Rod Serling 41:29
I doubt if television really will ever change. I think, basically, we're fighting a losing battle. Those of us who keep claiming this, and it's an art form. Indeed, it can be an art form, indeed an art occasions it is an art form. But I suppose principally, basically, fundamentally, it's a commercial medium, designed as a display case, to push products. And so long as it fits into that mold and performs that function, the key approach it's going to be taken and the most basic approach is get as many people to watch as you can, and program down to that level, that arithmetical level. And as long as you program down to that level, you're not going to get properly balanced programs, you're gonna get only those shows which appeal to the greatest number. And as in the history of art, since for 2000 years, beyond Sophocles, beyond all of them, you're going to get mass entertainment, which but which by its nature, can be titillating and funny and cute, and Frawley and light, which will which will not survive? It's one half hour on the year. And nobody's going to be talking about that 100 years from now,

E. William Henry, Chairman FCC in his office speaking with unseen interviewer. Zoom in on his face.

John White, President - National Education Television (NET) looking out window of his office in New York City.

INTERVIEW WITH JOHN WHITE, NET
John White 44:27
Fact is that the producers for Net are under specific instructions to do just the opposite. They're told to dig deep into suggest solutions. I mean, our programs in foreign affairs, our programs and education, our programs and in on values and packaging, and auto safety. Each and every one of these has suggested solutions that we believe that the American people ought to seek this is in fact one of the things that we do that's different from commercial television, because they don't do this and we do do it.

INTERVIEWS WITH TERRENCE O'FLANHERTY AND JOHN WHITE
Terrence O'Flaherty 45:07
Now, National Educational Television. They're going to they're going to have to, to do something better than classroom television at night. I don't care how sophisticated one viewer might be. He doesn't want to watch a lecture.

John White 45:24
Well on the question of production values. I quite agree. I think, frankly, that we've made giant strides in improving our production techniques. But I'd also be the very first to maintain that we we've only just started we've got to go much further. If he if he is specific, in the suggestion about lectures, he's watching the different network, because the fact is that we got away from professors in front of gray draperies a long time ago. If on the other hand, he means that we are suggesting alternatives, and we are in a sense preaching at people. We will never escape this because as I indicated earlier, I think this is one of our responsibilities

Larry Laurent talking with unseen interviewer. In answer to the question from interviewer, does he feel we must be forever hung up in commercial TV? He responds, " hell no, the battle is only beginning". He states we will see some changes coming in the next ten years with more stations, diverse stations, specialized stations and this will force the business as it exists to change.

Tilt up zoom high rise in Chicago. Construction workers on roof of building.

Woman typing on manual typewriter

Tilt down, male news editors at their desks side by side, papers strewn about, typewriter, collaborating.

Critic, John Crosby, walking toward camera on a London street. Camera following Crosby crossing street from behind

Pat Weaver, former President NBC and head of a pay TV Network, in his office and speaking on the phone. Narrator states Weaver feels there is a broadcast lobby which restricts the viewer's free choice.

Ext pan up a broadcast antennae

The US Capital building on a foggy day

INTERVIEW: FCC CHAIRMAN, E. WILLIAM HENRY AND BILL GREELY OF VARIETY
E. William Henry 50:48
Ideally, we should make better use of the system. The non commercial side should have more money, it should be more exciting, it should be more interesting. It should, in my judgment at some times, appeal to more people in it and make an attempt to appeal to more people. It's the reverse of the commercial side. On the commercial side, ideally, while it should continue to be an advertising medium and sell soap and automobiles and toothpaste, the the the managers of the television commercial television system should try to make it more of a communications system than an advertising system. At some times during the day they should communicate, not advertise. It's these pressures of the marketplace that that make the medium what it is. And it takes a courageous man with the pressures of the Wall Street, the Board of Directors, the need to make profit in this regard those pressures at various times. That's what needs to be done.
Interviewer 51:59
Bill Greely of variety thinks what needs to be done is for sponsors to buy commercials like magazine ads, his solution is
Bill Greely 52:06
To get them the hell out of programming. They shouldn't make any decisions whatsoever pertaining to programming. Even if they had the hippest showman on Earth. If they had PT Barnum and I don't know who else rolled up into one, they are men with a special interest in which overrides anything they do, they shouldn't be taken out of the medium. They shouldn't be allowed the by their minute, they should. I think they should pay twice for what they're getting. The the FCC should rule that they they should never look at a rating book, they should look at the cash register. If the minutes sold goods for them, they decide then they can buy more of them if it didn't take them out. And these minutes shouldn't be rotated so they don't even know on a particular night, which show it'll be in

Clips from Bob Hope's show, "The Chrysler Theater"(footage faded Photo stills of var TV actors.

INTERVIEW JOHN SCHNEIDER, CBS
John Schneider 54:25
I'm hard pressed to say that there's something wrong with the status quo. Will it change? Yes, television will change enormously in the next 7-10 years. The changes that will be taking place will grow out of technology. The small miniature color camera will cause programming to look different because we'll be able to go different places with it. Will the stories be any better and drama? I don't know how the stories are going to be any better because I don't think the writers are going to be worse or better they we're going to get the best writer We can to do their very best work and the best actors and actresses and comedians, dancers, designers, they're gonna do the best they know how. But I don't know what form I don't know if I don't know what form that can change and news and informational programming will change. Early bird will bring us in touch with the word early bird in its sisters of the future. Certainly in 10 years, we will have an instant communications capability worldwide. But as to what we are going to say to the world when we have their attention, I'm not certain yet. That's the thing that worries me. If we are thinking about it, we have respect for it. I don't have any solution toward quite yet. least nothing I'd articulate at this time. It's rather frightening though to think frightening probably is too strong a word but I think respect maybe we'll be able maybe to talk to everybody in the world. Now all we got to do is decide what we're gonna say.

Shot from behind, a man (smoking a cigarette) and woman are seen watching a small TV in their living room

Back with FCC Chairman, E. William Henry speaking with unseen interviewer. He states, "it takes a courageous man with the pressures of Wall Street and Board of Directors, the need to make profits. To disregard those pressures at various times, that's what needs to be done."

Paper rolling quickly through printing press.

Unclear scenes from a broadcast on a small tv screen., looks like maybe a clip from Batman or Superman.

Quick clips of 1960's TV Execs: Tom Moore, ABC; Mort Werner, NBC; Mike Dann, CBS; and Jack White, NET.

Pan lights in a TV studio.

Show end. Credits over technical equipment in TV studio and rows of small tv monitors.

End Reel: What's Happening to Television?