BROADCASTING licences are reviewed every six years by the Independent Television Authority. The major shake-up, which comes into effect today, 13 years after the start of ITV, is a severe warning to the various independent companies that there is no room for complacency.

The very fact that the oldest independent company of them all, Rediffusion, has not retained complete control of London’s weekday programmes is an indication that licences will not automatically be renewed.

Today, it has merged with ABC TV, and as from now your programmes from Monday to Thursday [sic] inclusive are coming to you by courtesy of Thames Television

At a Mansion House luncheon, the service was launched in the presence of figures prominent in London’s Government and business, in London’s music, art and sport, and in the nation’s Press and Parliament which reflect the life and power of the capital.

Speakers included the Lord Mayor, Lord Aylestone, chairman of the ITA, Sir Philip Waster [sic – Warter], chairman, and Howard Thomas, managing director of Thames Television.

Eamonn Andrews introduces recorded highlights of the luncheon at 11.30 tonight. Andrew Gardner describes the scene and talks to some of the distinguished guests present at the Mansion House.

At the weekend – Friday [sic] through to Sunday – programmes will be controlled by the London Television Consortium (London Weekend). This is the company that attracted Michael Peacock away from the BBC and has David Frost as one of its star men.

Then, as in the past programmes made by regional companies will be fed into the schedule for the London area.

Coronation Street, for instance, will continue from Granada, as will University Challenge, What the Papers Say and other well established programmes.

But there will be additional material from the north – from Yorkshire Television. For the territory up there has been divided down the Pennines: Granada hold the rights for the county of the red rose, Yorkshire Television – the company that attracted Alan Whicker away from the BBC – for the county of the white.

It was 18 months ago that Lord Hill, then chairman of the ITA, announced plans to change the face of ITV.

The richest and most sought after prize was London. The contract winners were announced first over a year ago.

Lord Hill said of the London weekday contract “With our principle of programme quality in mind, we felt that Independent Television would gain benefit if the abilities of ABC and Rediffusion were to combine in providing the weekday service. The combination of these two companies seemed to ihe Authority to offer the possibility of a company of real excellence.”

Unlike Thames Television, there will be no opening ceremony for London Weekend Television. And unlike other companies there will be no station symbol – just the name.

London Weekend Television is backed by an impressive line-up of television professionals: men such as Aldan Crawley, Michael Peacock and David Frost.

Of this company Lord Hill said: “Of the applicants for the weekend, the London Consortium impressed us most, particularly because of its creative talent.”

At a recent luncheon in London, managing director, Michael Peacock promised: “There will be a lot of charges in your weekend viewing. New shows, new faces and new times to remember”

Well, what is in store for the viewer?

Thames Television

DRAMA

Frontier: New adventure series set in the North West Frontier when the British Army kept the peace in the Asian equivalent of the Wild West.

90-Minute Dramas: Three plays adapted by William Marchant from short stories by Noel Coward. Already in production, Star Quality, starring Glynis Johns and Robert Hardy, to be followed by Bon Voyage and The Kindness of Mrs Radcliffe. A new adaptation of Mary Shelley’s famous Frankenstein by Robert Muller and an adaptation of Uncle Silas the ghost story by Sheridan Le Fanuare planned.

Premiere: Live, one hour television dramas will be presented through October with top directors, distinguished casts and writers.

The Sex Game: Romantic 60-minute plays. Trials and tribulations of lovers who ultimately merge to live happily ever after.

The Mind of Mr. J. G. Reeder. Adaptations of Edgar Wallace stones starring Hugh Burden and Willoughby Goddard.

CHILDREN

The Tyrant King: A London adventure for children. The first modern colour film TV serial made in Britain for children.

The Queen Street Gang: A new children’s adventure series in which a professor is captured by criminals and rescued by the Queen Street Boys, a highly organised gang, led by his own son.

Once Upon A Time: A series of 15-minute programmes in which celebrities will tell classic or original stories to a children’s audience.

The Sooty Show: Harry Corbett, Sooty, Sweep and the rest of the gang in a children’s entertainment series recorded at The May Fair Theatre.

Pinky & Perky: A series of 15-minute shows featuring the famous puppets Pinky and Perky and their colleagues.

COMEDY

Best of Enemies: Situation comedy written by Vince Powell and Harry Driver about two members of Parliament: a young Labour newcomer to the House of Commons and a wily old Tory. Tim Barrett and Robert Coote star.

Father, Dear Father: Patrick Cargill stars as the divorced father of two very highly nubile mini-skirted teenage daughters with Sally Bazely as his literary agent and good friend.

Comedy Tonight: A season of six new comedy plays written by top authors including Ronald Wolfe and Ronald Chesney, Vince Powell and Harry Driver and Dave Freeman.

Sid James: A new series, as yet untitled, written by Vince Powell and Harry Driver, starring Sid James.

Horne-a-Plenty: Comedy-Revue starring Kenneth Horne assisted by Sheila Steafel and Kenneth’s friends, which might well bear an amazing resemblance to the radio series Round the Horne.

SPECIALS

Already announced are two one hour specials starring Tommy Cooper; The Max Bygraves Show; Liberace in London; An Evening with Jack Benny, in which comedian Jack Benny conducts and stars with the London Philharmonic Orchestra at the Royal Albert Hall; a comedy concert with Victor Borge; The Frankie Howerd Show and, of course, The Goons, a half-hour radio show for television starring Peter Sellers, Spike Milligan and Harry Secombe.

Hughie Green’s Opportunity Knocks! returns for a new season and The Eamonn Andrews Show takes a completely new look when it comes from the May Fair Theatre in the heart of the West End.

FEATURES

Today: A live, dally topical entertainment and information show about people and places in and around London with Eamonn Andrews.

Robert Kee Reports: A series of monthly 45-minute documentaries on important issues of the day.

Applause! Applause! A series of six documentary programmes on great stars of variety and the music hall including Grade Fields, Max Miller, George Robey, Sid Fields, George Formby and Lucan McShane.

Magpie: A weekly magazine programme for children, Forty minutes of information and entertainment plus the serial story of Captain Fantastic.

ADULT EDUCATION

Ballet For All: A series of six half-hour programmes to help bring appreciation of this unique art to a wider audience.

So You’re Going on Holiday: An in-depth appreciation of the countries of Europe – the historical and cultural background behind the holiday facade.

The Tools of Cookery: A new series in which top TV cook Philip Harben demonstrates the importance of using the right tools for the job in the kitchen, from knives and saucepans to ovens and mixers.

World of Crime: Eight new programmes which examine specific cases of the victims of crime in Britain and North America.

RELIGION

A new ten-minute series entitled Last Programme – this will be shown seven nights a week, London Weekend Television will show the series on Friday, Saturday and Sunday.

THE AVENGERS

A new series starring Patrick Macnee and introducing Linda Thomson [sic – Thorson] as John Steed’s new partner, Tara King.

Among the successful programmes which will carry on in the new schedules are This Week, Armchair Theatre, Hullaballoo, Callan, The Eamonn Andrews Show, Sexton Blake, Opportunity Knocks!, and Public Eye.

So far as London Weekend Television is concerned plays return to Sunday night; David Frost has three shows; and there is an abundance of comedy to suit all the family. Concerts by Leonard Bernstein, Yehudi Menuhin and Benny Goodman are planned. So are productions of the Beggar’s Opera and Benjamin Britten’s The Golden Vanity.

Saturday specials are planned to broaden the range of cultural programmes. And sports fans are catered for with Sports Arena on Fridays and World of Sport on Saturdays.

All we have to do is wait and see.

The post The new look appeared first on THIS IS THAMES from Transdiffusion.

The Television Industry is going through a revolution — a colour revolution. Just how the coming of colour will affect us no-one is quite sure. Some people, particularly in the field of Engineering Research, have been concerned with colour developments for a considerable time. But for many the difficulties — and the excitement — are about to begin. Bringing colour to the screens presents much more scope to departments other than the purely technical. We cannot hope to go into it all here. This feature looks at colour through the eyes of four people intimately concerned with the ultimate product of the company — the programmes as they appear on the screen: Technical Operations, Design, Production and Outside Broadcasts. While these may not be completely representational what they have to say is relevant to us all.

Bob Simmons
Senior Supervisor (Vision)

For Bob Simmons (below) and his team of Lighting Directors and Vision Engineers, colour technology brings the excitement and problems of using new and complex equipment and developing new techniques.

“The whole industry is going through a revolution and manufacturers are gradually catching up with our demands for new and better tools. In the field of lighting equipment there is still room for improvement. Smaller and lighter units, and consequently lighter suspension systems must come and our problem here is to order only the minimum number of units absolutely essential for the next stage of development, hoping a better unit will be available before the order comes through. In some cases we are ordering lamps still on the drawing boards.”

But Bob is optimistic about the future:

“There are no problems which cannot be solved and if present progress is anything to go by, solved quickly.

“For instance, in Studio One at Teddington which is now fully equipped for colour, we know we have got the best colour camera available – the EMI 2001. It has the two vital essentials: good engineering and good colour imagery. It is also very stable and has easy access for maintenance.

“We’ve got the right cameras, we’ve got the best available lighting: I know we’ve got the right people, and the right people have got and are gaining the right sort of experience. Already they are producing very exciting results.

“Because our team is relatively small and we have regular meetings to discuss all aspects of the operation, our rate of progress is very fast and our expertise is growing daily.”

As part of Studio One’s conversion a completely new area has been built at control room level – the Colour Set Up Area. Bob was photographed here and part of the new equipment can be seen. It looks very neat and deceptively simple in the photograph, but the job it performs is highly specialised. It is here that the electronic line-up and matching is done, and the one set-up area will eventually service all studios. It is centralised in order to keep to a minimum the lengths of cable handling timing pulses which demand a very high order of accuracy.

“Our past experiences have that shown the contribution which lighting can make to the finished product is even more significant than before and often overlaps the sphere of design,” says Bob. “This merging of areas of effectiveness leads to the necessity for close collaboration at all stages of preliminary planning and with this in mind the Lighting Directors have been rehoused in an area next to the Design Department.”

As a final sobering thought, though, he adds: “We must never lose sight of the fact that the large majority of our viewers for many years to come will see our product in black and white. Everything we do must be considered from that view-point.

There are no problems that cannot be solved – and if present progress is anything to go by – solved quickly

Many beautiful colour effects may have to be modified or jettisoned for the sake of the compatible signal.”

Pat Downing
Head of Design

According to Patrick Downing (below), the Design Department is well prepared to move into colour, for. obvious reasons: “Colour isn’t new to designers – initially they are all trained in colour. Although for the past few years Graphic Designers have got used to working with black, white and grey because it’s cheaper. Set designers haven’t because coloured paint costs the same as white paint.”

As far as he is concerned, colour is here already – “what we have been doing in the way of preparation for the past three months or so, is designing all our Armchair Theatres and one-hour dramas as if they were in colour.”

What he sees as the problem area is not the practical problem of colours coming out differently – “basically colours on the colour camera come out more or less as you would expect them to”, but – “aesthetically, it is going to be quite different.

“For instance in the ‘Armchair Theatre’ I am currently designing now with Voytek as Director (himself an ex-designer) and Louis Bottone as Lighting Director, we are working with a minute set – a hairdressing salon, itself quite a colourful set, but by the end of the play we make it less and less colourful, to make a dramatic point.”

A central problem of interpretation for Designers is that colour is emotional. There has been a lot of research on this point and the results can be seen every day in advertising and packaging. And there are social and cultural overtones. Patrick’s Departments are well aware of these.

“What you do at the moment if you are designing a flat for Vanessa Redgrave, say, who is playing a painter living in Central London, is to find objects and forms which simulate the contemporary London scene. With colour you will have much more freedom; the environment can be decorated to express all the emotions that she will want to express in that setting.”

Where once we might have tended to walk into the studio and done a lot of handwaving, we now have to be a lot more precise

This means that designers will have to start working much earlier than before, because they will have to consider the colour of the costumes and sets related to the emotions and actions of the play.

“Scenic Artists in particular will have a tougher job. Whereas before we might have given them a rough sketch or a photograph and said this goes outside this window on the ground plan, now we have to be more specific, and we now give them coloured drawings, not necessarily naturalistic, depending on the mood of the programme.

“The Design Buyer’s job has also become more involved. Now one must be precise and specific about the colours and the props we hire.”

Pat also sees closer ties with the technical side: “We have in fact become much more involved over the last few months. Where once we might have tended to walk into a studio and done a lot of handwaving, we have now to become a lot more precise.

“Again, whereas in the past one could always ‘wing it’ a bit in the studio – you can’t now have a standby painter slosh over a step or something like that because it’s a bit too dark. That will have to be decided beforehand.”

Reginald Collin
Producer/Director Drama

For Director/Producer Reginald Collin (below) the coming of colour means excitement. “It means that Producers and Directors are re-thinking their whole approach to television,” he says. “For us at Thames the light has changed from Red to Green, and what a beautiful colour that is.

“There will be problems; after all we will be new to the game. And there will be occasions when we will fall flat on our faces. But even that will be splendid, because I sincerely hope that we will not adopt an attitude of safety first.”

Reg echoes one of the points that Bob Simmons makes: “We have here at Thames, probably the best engineers in the business. They will deliver the goods. They will, I am sure, want us to experiment; they will want us to use their equipment to the fullest, and what is more important they are on our side. I know that we will try to produce superb programmes as much for their sake as ours. And we have the people who can do it.”

So much for the credit side, enthusiasm and talent; what are the problems?

“First of all there is the question of producing colour programmes that will, initially, be seen by the majority of viewers in black and white. What attitude do we take? In my view, we go bald-headed for Colour. Black and white is going to become extinct. The thinking must be colour, colour, colour.

“We cannot compromise. Then there are problems of matching film to studio and the speed with which colour film can be shot and processed and put into programmes. It would be foolish to dismiss these lightly, they are severe question marks: but they will be overcome. I know that the Film Department have been working on the subject for some little time, and their efforts will succeed.

“Finally, the universal problem, TIME. More time at all stages will be needed for colour. It may only be a matter of minutes here and there, but it will add up. It may mean that we all have to work just that much harder, but I believe the spirit is there, at all levels, to do just that.”

Apart from the enthusiasm and the problems, what about the challenge? What sort of programmes are we going to make and what colours will we use?

“Imagination will have free rein. For example, are we going to make programmes that look like our holiday slides, slightly larger than life; or are we really going to use colour to create atmosphere.

Think of ‘Callan’, a sort of downbeat, grotty, gritty series and you think of dirty browns and greys, not much colour knocking about. Then think of ‘Frontier’ and immediately the rich sparkle of military uniforms and the bright landscapes of India spring to mind.

“And it’s not just to make things look different or pretty. Colour will add to the emotional enjoyment of programmes; we may even be able to make people laugh or cry at home in a way that is almost impossible in black and white. And again, we will be able, on rare and subtle occasions, to use colour for its own sake; and why not?”

Colour means excitement. The Industry is ready for this shot in the arm

We are lucky to be in at the beginning, Reg concludes. “In a few years colour will become commonplace, but for us we have the joy of trying to make it work. This is what I think is exciting and why I think colour is exciting. I think the industry is ready for, and needs, this shot in the arm.”

Fred Atkinson
Technical Manager, Mobile Division

At the present moment the mobile division at Hanworth has ‘Unit Four’ which is equipped with two Mark VII colour cameras and they are hoping in the near future to start some form of operational training programme using this Unit. They are also waiting to receive from Ampex a delivery of a 1200E colour capable video tape machine, which will bring to the Unit colour recording capability.

The scheduled date for the completion of the first major OB Unit in colour which will be equipped with four camera channels is 1 April. The conversion of this Unit is taking place at the present moment at Hanworth. It is envisaged that by November Thames will be the possessors of two four channel Units and a two channel Unit.

Getting this equipment ready does present problems of course, but for Fred Atkinson (above) the exciting prospects of colour outweigh the headaches: “For instance, viewers will no longer have the problem of distinguishing one soccer player from another in almost identical grey jerseys, now they will be seen in true colour.”

And: “Horse racing in colour means being able to identify your horse before they get far enough down the field for the commentators to start to speak about it.”

OBs are very different from studio productions and they present their special problems.

“The difficulties are based on the requirement for long term stability of equipment necessary to guarantee consistent colour pictures, this within the limitation imposed by the required mobility of Outside Broadcast equipment. Unlike the studios the camera channels cannot be left on for 24 hours of each day. The warm up time and setting up periods needed on OBs will invariably cause a prolongation of the involvement of each unit in any OB. If we are to meet the load currently undertaken by the Mobile Division when colour arrives, the vacant days at present found between OBs will probably disappear altogether.”

Lighting on location also differs from studio conditions. “When an interior programme is considered the light level will be higher than that currently used in black and white, and since at present we are taking very near to peak load from the various supply connections used, the survey planners are going to have to look deeper into this matter to find more power.

“Colour also requires special handling: The human eye reacts to a very small area of action in the scene in front, whereas the television camera takes in a large area – an area which could, in the case of soccer or horseracing, go from brilliant sunshine to shadow in a very short space of time. So what might tend to occur is that one scene appears half sunshine and half shadow. And the two halves will appear in slightly different colours. When this occurs a compromise must be reached to present a viewable picture. The eye is much more discerning and reacts automatically, the TV camera needs fast, accurate controlling.”

Fred also points out that colours will be affected on OBs if they are taking place during early morning or late afternoon, since the colour of the sunlight at these hours is much different from that between 11.00 and 16.00 on a summer’s day.

Let the colours do some of the work and decrease the number of cameras needed

Fred does not see these as anything but temporary limitations. “The future holds a lot of possibilities for outside broadcasts. The present idea of holding a camera still and letting the subject move can now be extended to read: ‘Let the colours do some of the work and decrease the number of cameras needed’.

“The increase in subject interest created by colour television can overcome the need to decorate the picture with a multiplicity of cuts and mixes in an attempt to hold the viewer. If this can be accepted, the size of outside broadcast units can be reduced and the number increased, so giving way to more mobility and flexibility.”

Photographs by Gerald Sunderland

The post Forecast for colour appeared first on THIS IS THAMES from Transdiffusion.

The post TVTimes covers appeared first on THIS IS THAMES from Transdiffusion.

TWW lost their contract to Harlech; Telefusion Yorkshire gained a foothold and half of Granada’s service area: ATV was to end their Midlands weekday/London weekend split and entrench themselves solely in the Midlands.

The most significant of the changes was that there would be no weekend contracts in either the North or Midlands, and ABC – undoubtedly the most distinctive of all ITV incumbents – had put their bid in for the weekends at London, a move they had been well-prepared for over a long period of time, and the award of which appeared to be merely a formality.

However, two events changed the course of ABC’s fate.

The David Frost-Aidan Crawley London Television Consortium (later London Weekend) was bright, intelligent, cultured, and promised much for the future, and under the ITA’s ethos that the system had to be open to newcomers, the LTC were awarded the weekend contract for the capital that had been ABC’s by right.

Secondly, Rediffusion had, for a long time, appeared to be creating a number of problems between themselves and the ITA, culminating in an interview that was disastrous for them.

The Authority then decided to suggest that a joint company to provide London with a weekday service could be devised from the resources of Rediffusion and ABC.

This was Thames Television.

New ITV contractors needed to sign up the best talent they can find, as well as devising ratings-winning programmes, so as to establish a reputation for quality.

Thames had an advantage over all the new companies, as well as many of the older ones, in that they could develop new programme strands as well as incorporate elements from the outputs of both ABC (showbusiness, drama) and Rediffusion (current affairs, children’s and schools programmes).

They also had a number of artists on contract, ensuring that they had access to creative talent, and technical expertise and experience.

Added to this, they had Teddington Studios, a riverside location that they would use to the full in years to come.

The share split in Thames – ABC 51%, Rediffusion 49% – inevitably effected a number of decisions made in the company to the point at which Thames was, effectively, ABC in disguise.

From the first day, Thames was attempting to establish a loyal audience by scheduling a brand-new magazine programme “Magpie”, guaranteeing that viewers would tune in by incorporating episodes of the “Captain Fantastic” serial into it – itself previously a feature of Rediffusion’s “Do Not Adjust Your Set”, soon to be revived by Thames.

Eamonn Andrews would now be the anchor of “Today”, from Monday-Thursday. “This Week” would continue. There were a few sitcoms, like “Never Mind the Quality, Feel The Width” that had begun in the ABC era, and “The Avengers”, “Callan” and “Public Eye” would be mainstays of Thames drama.

However, there was one disadvantage for the new company. The previous London weekday contract was for Monday-Friday, morning to closedown.

Now LWT had extra hours from Friday, 7pm to close, which meant that Thames had, at best, four evenings a week in which to build an audience and to gain vital advertising revenue.

This led to some oddities in scheduling: “Opportunity Knocks”, an ABC Saturday night talent show, was to be slotted into a 6.45 slot on Monday evenings.

Eamonn Andrews’ chat show, on which he had previously interviewed “Sunday Night People”, was scheduled for Thursday evenings.

“Just Jimmy” with the Clitheroe Kid himself had been moved from Saturday teatime, where it had been a family show, to Friday teatime, as a children’s show.

Over time, Thames planning staff worked out the best network slots for many of their programmes and out of the three mentioned, only “Opportunity Knocks” survived in its original Thames timeslot.

8pm Wednesday became the slot for variety specials and one-offs, drama was featured at 9pm, and 7pm became a time for sitcoms.

“Armchair Theatre” was moved into various places throughout the week, but never quite fitted, and never really regained its hard-won reputation: there were, however, attempts to update it, notably “Armchair Cinema”.

In June 1974, “Regan” was shown in this strand, to unanimous praise, and this film led to commissions for “The Sweeney”. “Armchair Cinema” later became “Armchair Thriller”, and was allowed to disappear from the screen forever.

One thing that should never be overlooked is that Thames, with roots in ABC and connections to EMI could make use of those relationships to the full. Thames were able to reap rewards from cinema films of “Callan”, “Sweeney!” and “Sweeney 2” and, most lucratively, “The Best of Benny Hill” – made for very little, using video-to-film transfer of the best of the early Thames series.

The best years of Thames were probably from its inception to 1979, when there was still a great deal of the ABC staffing on board and when production values were maintained at a high level.

They had signed most of the major talent, such as Morecambe and Wise, Tommy Cooper, Mike Yarwood and Kenny Everett, and had won a number of international awards.

The company was also about to make significant inroads into the US, thanks to Don Tuffnell’s sales of “The Benny Hill Show” and an entire week of programmes shown in the USA in September 1976. It might also be true to say that Thames lost their way in trying to establish themselves as world players.

What a pity that at yet another ITV franchise round, the company lost its contract to Carlton.

The legacy of Thames lives on now in both the name of an independent production company and an archive of programmes that has continued to be shown, frequently, on satellite and terrestrial television.

These programmes show, to both those who saw them first time around and to younger viewers just discovering them, that Thames had plenty of grace and style – qualities that both ABC and Rediffusion had in endless supply.

Not at all a bad thing.

The post Take me to the river appeared first on THIS IS THAMES from Transdiffusion.

Brian Tesler, Thames Television’s Director of Programmes, began his television career as a trainee BBC producer immediately after leaving Oxford. He remained with the BBC for four years and then joined ITV in London, continuing to produce a wide variety of programmes and series until he became Director of Programmes for ABC Television in 1965. He joined the Board of Thames Television on the company’s foundation in 1968.

Recently a leading television critic wrote an article which set out, more fully than before, one of the many current proposals for the re-organisation of British broadcasting. (So many, now, that the question of why such drastic change should be necessary is hardly ever asked.) This particular proposal suggested amalgamating ITV and BBC into a vast State-run broadcasting monopoly with four channels, separate from each other but centrally controlled. I happen to believe that this idea is neither practical nor in the public interest. But what amazed and, frankly, angered me and many of my colleagues was the author’s offhand assumption that ITV’s role in such a partnership was simply ‘to be entertaining and popular’ and to be ‘freed from the obligation to produce programmes against their commercial instincts’.

I can speak only as the Programme Director of one ITV company, Thames Television, which produces about a quarter of ITV’s programmes. But we do not see Thames as a provider of circuses to accompany the BBC’s bread.

In recent weeks our Programme Controllers have been writing about their work in a series of advertisements, of which this is the last. Anyone who has read their varied contributions must surely have recognised three things. First, that here is a group of professional programme makers who are deeply concerned about the service they give to the public. Secondly that, far from being obliged by ‘commercial instincts’ to produce programmes they would not otherwise make, they plan their output on merit alone. And, thirdly, that the range of that output is so wide as to deny in itself that to be ‘entertaining and popular’ is the dominant aim of an ITV company.

Six programme controllers wrote about their work for Thames and of those only Philip Jones – whose Light Entertainment Department is undoubtedly the most successful in Britain – can be said to have dealt largely with popular entertainment. Lloyd Shirley told how his Drama Department has among its forthcoming productions a £1 million series of television films, a cycle of Restoration drama, a life of Napoleon and a de Quincey serialisation. Jeremy Isaacs’ Features Department, producers of This Week, Today, Good Afternoon and Something To Say, are now making ITV’s biggest-ever documentary series, on The Second World War. The Children’s Department under Lewis Rudd, who already produce the leading children’s magazine programme Magpie, are developing a new education and entertainment programme for under-fives.

Guthrie Moir’s team, apart from making award-winning schools programmes, are working on a 13-part series on National Trust houses to follow their British Museum programmes. And Grahame Turner’s Outside Broadcast Department, who could so easily remain recorders of sport, are planning how to bring more of London’s arts and events to Londoners, now that afternoon broadcasting is with us.

Those are only a few of the programmes they mentioned. But implicit in everything they wrote, and indeed in the existence within Thames of six such varied departments of equal importance, is one simple fact: that ITV in general and Thames in particular are achieving the difficult reconciliation between single-channel commercial operation and public service broadcasting.

No-one should doubt that it is difficult. Our challenge is to obtain, with no licence fee or government support, sufficient financial stability to invest in studios and equipment, capitalise new productions, and give security of employment – all without compromising programme quality. We have to do it with only one channel, so we can never give our viewers a simultaneous choice between the product of one programme department and another. We have to share our transmission hours with the other ITV companies, so that less than half the hours are filled by our own productions. And in any case, we have only 4½ days a week in which to broadcast. So the programmes are there, but not always the airtime to transmit them.

My job as Director of Programmes, therefore, is to carry out in those limited hours the policy laid down with my colleagues on the Board: to produce and schedule programmes which range across information, education and entertainment as widely as possible. Our programme controllers have already written about these programmes and their variety. But a range of excellent programmes is not sufficient cause for satisfaction if it is weighted too heavily, as our critic would have it, towards popular entertainment. So I think it worth mentioning that even excluding schools programmes and children’s educational series, four out of every ten Thames productions are in the areas of information, education and current affairs. I might mention too that Thames was the only station to mark this month’s UN Conference on the Human Environment with a special week of programmes on pollution and conservation. They included our own productions and other films from around the world, and they were neither ‘popular’ nor ‘entertaining’. But we felt it important to show them.

By ‘we’ I mean the people behind Thames programmes: people who make This Week and Magpie and The Benny Hill Show and today and The Rivals of Sherlock Holmes and Callan and Sooty and Writer’s Workshop and Father, Dear Father and Treasures of the British Museum and Six Days of Justice and hundreds more programmes of distinctive quality and variety. It is those people who would all be consigned, in that nightmare of a State-controlled television service, to be producers of an endless and mindless flow of mass merry-making. But happily it is only a nightmare. Instead they will go on producing and directing programmes for Thames in an atmosphere where their varied talents and ideas can flourish. Not with enough transmission time, although a second channel would help give them that. Not with enough money, for no producer (and I include myself) was ever satisfied with his budget.

But with enough scope and resources and backing to make, in the words of one of our Controllers earlier in this series, ‘the programmes we want to make and which we think viewers will want to watch’. We hope and expect to be judged by those programmes, now and in the future.

The post People behind programmes: Brian Tesler appeared first on THIS IS THAMES from Transdiffusion.

Lloyd Shirley, Controller of Drama
Armchair Cinema, Armchair Theatre, Callan, Confessions of an English Opium Eater, Man at the Top, The Mind of Mr J. G. Reeder, Napoleon, Public Eye, The Rivals of Sherlock Holmes, Six Days of Justice, Special Branch, Van der Valk, The Way of the World.

Lloyd Shirley, Thames Television’s Controller of Drama programmes, began his broadcasting career with TV in his home province of Ontario and came into British television in 1956. In ITV’s early years his productions ranged across the whole output from arts programmes and documentaries to World of Sport, but he later began to specialise in drama with such successes as Armchair Theatre, Public Eye, Frontier, Callan and lately The Rivals of Sherlock Holmes.

The title Controller of Drama is, to say the least, an odd one. You cannot legislate drama into existence any more than you can dictate any creative process successfully from the outside. All you can do – at least, all I feel I can do in my department -is bring together a group of professionals who write and produce and direct drama, and give them the facilities to do it in a certain way. A way that will both satisfy them as programme makers and also please our audience as consistently as possible. For me that is as far as you can go towards ‘controlling’ drama. But what you can do from outside is to finance it, and how you do that is important to results.

The Board of Thames Television has just allocated my department’s programme expenditure for the next two years: £5½ million. That is a great deal of money but no blank cheque, because programme production is very expensive. Yet there are two vital things about the allocation. First it gives us the chance to plan well ahead, which helps us to vary our output properly. Secondly, it comes without strings. It is financial backing for the programmes we would like to make and which we hope viewers will enjoy.

Our most striking new venture is, I suppose, Armchair Cinema. We shall go on making Armchair Theatre (including a new Terence Rattigan play, incidentally) but Armchair Cinema will be a £1 million series of films made especially for British television. There will be new thrillers – indeed the whole concept began when our films rumour and suspect were so successful – and there will also be comedy and romance and domestic drama. There has been no other project like it in Britain, and if it sounds hackneyed to describe it as a challenge I can only say that is exactly how we see it.

Another departure for us is a cycle of Restoration comedy, a series of linked adaptations which Peter Hammond will produce. We are calling it The Way of the World, borrowing Congreve’s title because it exemplifies the way we intend to present the plays: not as a quaint period revival but as a living revelation of wit, manner and morals which is relevant to the present. George Markstein’s adaptation of De Quincey’s Confessions of an English Opium Eater will again be a portrayal of an earlier period, but all too clearly relating to our own society. And for a present-day message actually written in this century, we are negotiating with Alexander Solzhenitsyn’s representatives to serialise one of his works. I hope to announce the details soon. None of these will be in the studio for several months, though they are all in active preparation. One which will appear rather sooner is the new eight-part series on Napoleon which Philip Mackie has conceived and is writing.

In naming those particular series I do not mean to imply that we have lost interest in popular contemporary story-telling. The role of television as a presenter of popular fiction seems to me an important one. But we are more interested in a series that reveals some human truths than we are, say, in just a good detective story. Frank Marker in Public Eye is a detective, but the series concentrates on him and his cases as human problems, Callan is a sensitive character with believable emotions. In another genre, Joe Lampton of Man at the Top is a complicated and interesting human being. In all of those it was the characters that attracted us first, the stories second. The same is true of Nicholas Freeling’s Dutch detective Van der Valk, which is a series going into production shortly.

If there is any theme in our work, I hope it is this sense of humanity and of relevance to ordinary life. We do not, in the main, create escapist fantasy. That is not to say that Callan and Public Eye are heavy with social undertone. But neither are they a couple of handsome heroes who solve every problem with a bullet, Six Days of Justice illustrates the point very well. Courtroom drama is hardly new. But we took an ordinary magistrates’ court and tried to present, exactly as they would happen, the cases which represent day-to-day British justice. Cases about ordinary people that take place by the hundred for every one dramatic trial at the Old Bailey.

We had a great deal of praise from the critics for it, but many of them said in effect that it was too authentic to be entertaining. That, as one of them put it, it would never reach the Top Twenty. In fact, each programme has been watched by around thirteen million people and it was in the Top Twenty every time. Now that is very gratifying, because with only one channel it is part of our responsibility to make our work appeal to a large proportion of our audience. We want, if you like, to fill our theatre and not have half the seats empty. But much more rewarding than that is the knowledge, from letters and calls and comments, that people were excited by the very lack of traditional dramatic ingredients in Six Days of Justice. Because the professionals who work for my department learned long ago that dramatic power doesn’t lie in the barrel of a gun. And we never tire of proving that the audience knows it too.

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It’s 10 months since Thames Television came to London.

What difference has it made?

To the London ITV audience?

It’s grown. Grown, for Thames’ evening programmes, by an average of 200,000 homes. That’s more than 14% up on last year.

The facts: Thames transmits to the London ITV area from Monday to 7.00 pm on Friday. In Spring last year before Thames began, audiences between 6.30 and 10.30 on those days averaged 1,309,280 homes*. This year, Thames has boosted the average to 1,497,600 homes.

Outside those peak viewing hours, the average audience for the same period in 1968 was 818,300 homes. This year the average Thames audience was 873,600 homes: and increase of over 6%.

So after less than a year, and despite a difficult start, Thames is consistently attracting more viewers than the Spring 1968 average:

*Comparisons over eight weeks ending 3 May 1968/2 May 1969

To London ITV programmes?

They’ve changed. To help win these bigger audiences, Thames has introduced new programmes to London in all three major fields: drama, light entertainment and features.

The Life and Times of Lord Mountbatten has been the most successful documentary series ever to appear on the screen. Three new light entertainment programmes – Max, Two in Clover and Father, Dear Father – have regularly appeared in the London Top Ten list of most popular shows. (Max, starring Max Bygraves, topped the list three times.) Of the dramatic series, Callan has been exceptionally successful; Frontier was described by a leading critic as “the most promising of all efforts by the new ITV companies”; and The Mind of Mr J.G. Reeder has already become one of London’s favourite programmes. Among the new plays produced by Thames to date have been the Premiere series of live “first nights” and the widely-praised productions of Noël Coward’s “Star Quality” and Sheridan Le Fanu’s “Uncle Silas”.

Report, the new one-hour current affairs series, has already had three programmes chosen for the National Film Archive. And Today, first ever local programme for the London ITV area, is watched in more than a million homes five nights a week.

To children?

They’re beginning to like us. Last year they mostly watched the BBC, but not any more. For example Magpie, Thames’ magazine programme for London children, quickly became so popular that it went national, twice weekly. After only ten months on the air it’s watched by more families than the BBC’s excellent Blue Peter.

Mothers like us too (ask them) because we make a really wide range of children’s entertainment, from Sooty and Once Upon a Time to Do Not Adjust Your Set and The Tingaree Affair. That’s why all Thames’ programmes for children are more popular than last year’s counterparts.

To viewers all over Britain?

There’s a new name for good television. Since Thames began, its productions have won more places in the National Top Twenty than any other company. These nationally popular Thames programmes have included This Week, Opportunity Knocks, Callan, Max, Life With Cooper, The Avengers, Mike and Bernie’s Show, Two in Clover, Armchair Theatre and many others. More than a quarter of Thames’ places in the list have been filled by entirely new programmes.

To the BBC?

It comes second. From Monday to 7.00 on Friday, London viewers can choose between Thames, BBC1 and BBC2. The programmes they like best come from Thames. Each week we make a private check on the ten most popular programmes in London during our transmission time. The latest figures, for eight weeks ended 2 May, show that Thames had 78% of London’s ten weekday favourites against the BBC’s 22%.

We don’t usually publish our weekday top ten. But that’s how it looks.

To advertisers?

They’re getting more for their money. In terms of cost per thousand homes viewing, the latest available figures for eight weeks ending 2 May show that Thames’ peaktime rate gave an average cost of 19/1d [rounds to just under 95½p in decimal, £15.75 in 2018 allowing for inflation] per thousand homes – compared to 21/10d [rounds to about £1.09, £18 in 2018 allowing for inflation] in peaktime for the same period last year. The difference: 12½% cheaper on Thames.

(Because Thames’ peaktime rate covers an hour more than last year’s, the chart shows how the Thames cost compares with 1968’s 7.00 to 10.00 and 6.30 to 10.30. Thames is cheaper either way.)

To London’s skyline?

It’s altering. Thames’ new headquarter and colour studios are nearing completion close to the Post Office tower at Euston, ready for the start of colour broadcasting in November. From this new central complex, and from the riverside studios at Teddington, Thames will continue to produce outstanding programmes for London, for Britain and for the world.

That’s the promise we made ten months ago, and it’s one thing we haven’t changed.

THAMES

Television House, Kingsway, London WC2.

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