THE opening ceremony of our new studios at Elstree went off successfully, although I am sure that many members of the staff will regret the lost opportunity to show our guests the new studios in full operation. The lost opportunity arose through the action of some members of the ACTT [Association of Cinematograph, Television and Allied Technicians – Ed], and it is my view that the staff of the Company deserve a factual account of the events which involved the stoppages on this important day in the Company’s history.

On February 21, the Company and the union reached agreement on a number of issues raised by the union. Minutes were agreed recording the settlement, and a document issued by the union to its members listed the matters which were agreed, describing the whole as “a satisfactory settlement on the outstanding issues”.

The Company implemented all the decisions.

Without notice to the Company, certain ACTT members left their jobs at the Elstree Studios on the afternoon of Thursday, April 6 to hold a meeting.

This meeting passed a resolution which expressed “bitter disappointment at the Company’s failure to honour the agreement reached following the recent negotiations” and empowered the committee “to take further action to bring about a settlement”.

The committee referred to in the resolution was the ATV-ACTT shop committee.

Two Upgradings

The “failure to honour the agreement” proved to be an additional demand that the Company should upgrade immediately two people not mentioned in the agreed minutes recording the settlement reached, or in the document issued by the union to its members.

A meeting between the Company and local union representatives on Thursday evening produced no results other than a clear statement from the Company that it would not in any circumstances negotiate under duress but would deal with issues at any time through the properly agreed procedure.

The Company contacted ACTT’s acting general secretary and arranged a meeting for 10.15 a.m. on Friday.

The ACTT representatives did not arrive until 10.45 a.m. as a result of traffic hold-ups.

While the meeting was proceeding certain ACTT members left their jobs at Elstree Studios to attend another meeting at 11 a.m.

In view of this the Company’s representatives declined to continue the formal meeting until the members of the union had returned to work.

At about 11.45 a.m. work began again, and because of the opening ceremony the Company suggested a resumption of the meeting in the early afternoon.

Official Reception

The union’s acting general secretary told the Company at 12.35 (at the official reception) that unless there was a “gesture” — the concession of one or both of its demands — then work would stop again at 12.45 p.m.. just as the official ceremony was due to start.

The Company could only repeat its insistance [sic] on the need for constitutional procedures in matters of dispute.

Promptly, at 12.45, some members of the ACTT stopped work and during the afternoon some more members at other places of work followed them out.

Members of other unions continued working normally, and apart from the loss of “Emergency — Ward 10”, ATV maintained its full service to the public.

Successful Opening

Early Friday evening, an informal meeting with union representatives was held at which members of the shop committee stated that they would NOT use constitutional procedures in this matter.

The Company’s representatives could only reply that they were willing to hold themselves in readiness for negotiations as soon as the strike was called off. The union’s acting general secretary did not attend this meeting.

Later the same evening members of management met to ensure that ATV’s service to the public would continue. The Company also issued an assurance of its support both now and in the future for those employees in ACTT grades who remained loyal to the Company.

Talks Resumed

By Saturday morning the Management had perfected its plans to continue transmitting its programmes without a break until the morning of Sunday, April 9th, when the strikers resumed work. In the meantime, the Company had publicly announced that “Sunday Night at the London Palladium”wouldgo out as advertised. No further meetings took place until 4.15 p.m. when, at the request of the union, the informal talks were resumed.

These continued until about 10.15 p.m. Afterwards the following joint press statement was issued:

“As a result of informal talks between ATV and ACTT the members now on strike within the Company will resume work tomorrow, when official talks will take place immediately.

“There will be an early meeting next week seeking to resolve outstanding problems. The union and the Company both dissociate themselves from statements which have implied a lack of good faith between us. Both parties look to a more constructive relationship in the future.”

Throughout this Saturday evening the Company was heartened to know that all the other programme contractors supported ATV and transmitted its programmes except ABC Television which decided to put out its own re-arranged programming.

Normal Lines

Since the end of the stoppage, negotiations with the ACTT have proceeded on normal lines. On the morning of Sunday April 9, an agreement was reached for an independent inquirer to determine the grades of the two people about which the Company had earlier been accused of failing to honour its agreement.

Other decisions included a no-victimisation clause to be applied on both sides, and an insistence on talks with the union designed to improve local negotiating procedure within the framework of the national agreement.

Subsequently ATV put forward the names of three leading trade union officials to act as inquirers. One of these was free to conduct the independent inquiry and this gentleman was accepted by ACTT. The inquiry resulted in a finding that neither upgrading demanded by the union should take place immediately but should be deferred in each case.

These are the facts and I want every member of the staff to be aware of them.

I also want to take the opportunity of thanking, on behalf of ATV, those loyal employees who did not break their agreements but helped the Company to maintain its television service to the public.

VAL PARNELL
Managing Director

The post The facts behind the Elstree studio strike appeared first on THIS IS ATV NETWORK from Transdiffusion.

AGAINST the name of Geoffrey Hodgson in the records of the Dorset Regiment it is stated that on a memorable occasion in 1944 he “worked steadily and imperturbably”, a phrase which applies well today to his administration of the Studio Centre at Elstree.

The phrase was part of the tribute paid in an official citation recording the award of the Military Cross to Captain Hodgson, Platoon Commander.

Geoffrey Hodgson’s battalion was being heavily shelled in a wood near the Siegfried Line. It was his job to get anti-tank guns into position.

The citation records that “Capt. Hodgson worked steadily and imperturbably, despite numerous air-bursts, for over four hours, without thought of taking cover. Had it not been for the magnificent work and splendid example of this officer, the battalion might well have had to withstand a counter-attack by enemy tanks without anti-tank guns”.

Geoffrey was wounded a week later and sent back to Brussels — the place where he first met the young Belgian lady who was to become his wife in 1948.

When the war ended Geoffrey, demobilised with the rank of Major, rejoined his old firm, Unilever, and went out to Sierra Leone to work for the United Africa Company.

His first married home was a wooden house on stilts in a remote jungle station called Segbwema. This name is now inscribed on a strip of mahogany which hangs in front of Mr and Mrs Hodgson’s home at St Albans.

The only European neighbours for the Hodgsons were five Methodist missionaries.

Chimpanzees played in the garden, leopards prowled close by. And the Hodgsons lived happily in their house on stilts, breeding ducks, entertaining many travellers who called on their way through the jungle, and operating a real trading outpost of the Empire.

Their first child, Priscilla, was born while they were there. Now there are Alan, 8, and four-year-old Martin.

The Hodgsons spent 12 years in West Africa. They returned to Britain in 1959 and Geoffrey joined ATV.

He worked first in Mr Max Gumpel’s department and held a watching brief on the development of the new Studio Centre of which he is now the administrator.

The post First home was on stilts appeared first on THIS IS ATV NETWORK from Transdiffusion.

A REPORT of high merit has been received by the Company on a 19-year-old member of the staff, John Steppings, who took a month’s course at the famous Outward Bound Mountain School at Ullswater earlier this year.

John works as a clerk in the Property Department of Supply Manager, Leslie Harrison, at Elstree. He has been with the Company for three years, starting in the Mailing Department and then working for Accounts.

The month’s course was during some of the worst weather this year and for anyone to pass it with merit demanded a high standard of fitness, tenacity and strength of character.

GROUP LEADER

John was made a group-leader during the course in which 80 chosen youngsters took part.

Something of what was ahead of him became apparent for John when he arrived and was issued with an ice-axe! It came in very useful during the month as he had to climb to the top of Helvelin [sic: Helvellyn – Ed], the second highest mountain in England, which at the time was covered in snow.

John’s only previous experience of rock-climbing was on such minor rocks as can be found at Tunbridge Wells.

FIRST WEEK

The first week at the school was spent learning to climb, how to tie the right knots, first aid and map-reading. On the second week the young men went out with instructors, each carrying their own 40 lb [18kg] packs.

Weariness and blistered feet vied with their sense of achievement at the end of the days. During the third week each youngster went out on his own for 24 hours, with the summit of Helvelin as the target.

The fourth week saw John in charge of a group with 70 miles and two ranges of mountains to cover in three days.

“There was no molly-coddling.” says John. “The days began at 6.30 with a cold shower or a jump into the lake. But it was a wonderful experience. Every young man should go on a course like this. It really is worthwhile.”

John, whose home is at Edmonton is no “toughie” to look at. He scales about 9st [57kg] and is 5ft 5ins. [1.56m] in height. “It was the big tough looking ones who seemed to fall out first.” he recalls.

WISELY

He wisely went into training before the course, doing a spot of weight lifting and “walking 15 miles or so to get my boots easy”.

John’s hobby has nothing to do with physical training. He is a motor-cycle fan. Not a “ton-up” boy but a member of a club at Wood Green. He has won rally cups and shields, and he also won a medal as a boy footballer.

The post It’s tough getting to the top – of a mountain appeared first on THIS IS ATV NETWORK from Transdiffusion.

Bernard Bibby is one of the men who, on that memorable night of September 22, 1955 when ATV first went on the air, [jointly with Associated-Rediffusion; they began their own transmissions on Saturday 24 – Ed] kept his fingers crossed and hoped that the “string and sealing wax” improvisations would survive.

He had joined the company from the BBC in June, as deputy to Terence McNamara [sic – name given as Macnamara in his staff profile in an earlier edition], and had to tackle the tremendous task of getting things to work at Wood Green. In 10 weeks he and his colleagues did what it would have taken about 18 months to do back at the BBC.

“Everyone worked like blazes to get Wood Green equipped properly for the opening night’s show ‘Channel Nine’” he says. “The equipment arrived in bits and pieces. Sometimes it wasn’t addressed to us at all but we grabbed it. I doubt if any of us got more than three hours sleep a night in the week before the start of programmes”.

Now, having left engineering to become Production Facilities Controller with the Elstree, Foley Street, Highbury and Wood Green studios to deal with Mr Bibby usually gets a normal night’s rest. But there are still plenty of tough problems to be solved every week. At 37, he is responsible for everything that goes into the studios apart from the electronics.

Bernard Bibby has always been interested in making things work. As a boy in North West Lancashire he dabbled in radio sets, motor bikes, cine-projectors and anything electrical or mechanical.

Some time later Bernard turned his talent to motor bikes and in 1948 he was roaring around the famous Isle of Man circuit touching 115 miles an hour on his Norton as a competitor in the Junior Tourist Trophy Race.

Nowadays he finds time for more relaxing hobbies in his lovely home high on the Hog’s Back in Surrey. It is a converted stable block and a good deal of the conversion he is doing himself including the digging of a wine cellar, which has a certain amount of fame in ATV, not to mention popularity, and a swimming pool in the garden.

In the cellar he keeps more than 1,000 bottles of wine and just now he’s very pleased with some ’57 and ’59 burgundies and clarets which he bottled himself. They’ll be fully matured in about 10 years time, but, as visitors to Little Down know, there are plenty of other wines there which taste very good at present.

Bottling wine, keeping bees and playing the harpsichord are amongst the ways in which Bernard Bibby relaxes away from television. His interest in wine came when, in his own words, he “got fed up with drinking the beer served up by the pubs soon after the war”. His interest in the harpsichord came through a fascination with 16th and 17th century music. He has two — both Kirckmans.

Mr Bibby has spent all his working life in radio or television. He joined the BBC in 1948 to work in the Recording Department. He was in London, Manchester, Bristol and Bangor at various periods and met his wife in the BBC’s Recording section. When television re-started after the war Mr Bibby went to Alexandra Palace on “racks”.

Then came the move to Lime Grove where Mr Bibby became a Technical Operations Manager. He occupied this post until joining ATV at Regent House when the early staff were being recruited.

The post Bernard Bibby, wine bottler appeared first on THIS IS ATV NETWORK from Transdiffusion.

TERENCE C. MACNAMARA, ATV’s Technical Controller, has worked in television and radio since the pioneer days.

He joined the BBC engineering department in 1923 and saw the building up of both the BBC sound and television services. Today he is in charge of ATV’s 179-strong engineering department.

At the age of 56, he has seen the growth of the industry since the earliest days. He proudly remembers showing Marconi around the BBC’s Savoy Hill studios in 1923 and Lord Rutherford around Alexandra Palace in 1936. He also worked with James Logie Baird [sic: John – Ed].

Baird, he remembers as “a lovable man of great vision — impractical, though, and with no idea of money.”

Mr Macnamara was responsible for the complete installation at Alexandra Palace after he moved to the television section of the BBC engineering design and installation department, of which he ultimately became head.

In 1951, he joined Norman Collins in High Definition Films Ltd., making electronic films with Pye Ltd. at Highbury. Mr Macnamara has chalked up some notable “firsts” during his career.

He was in charge of the first television outside broadcast ever carried out at the coronation of George VI, and also supervised the first TV outside broadcast of the Oxford and Cambridge boat race from a launch following the boats.

When ATV started there were only five months to get the service going.

“It was an enormous strain on the technical people. We worked all day and all night. The job was planned by about three people.

“Today we are using a similar team to plan the great new Elstree studio scheme”.

During the war Mr Macnamara worked for the BBC team used by the Air Ministry. Their job was radio counter-measures such as distorting German beacon signals to throw their aviators off course.

Mr Macnamara helped to deal with a German mystery voice that interrupted London programmes. The voice, which the technicians called “Funf” came from a transmitter on the continent. He and his colleagues had to devise a way of blotting out the German signals.

Looking to the future, Mr Macnamara says: “I’m a supporter of the introduction of the 625-line system. I’ve seen colour TV too, both in America and Russia, and we keep a close eye on developments in that direction.

“I believe young people with a bent for engineering should be encouraged to go in for the technical side. We started a trainee scheme straight away at ATV and nearly all the original trainees are now in posts of considerable responsibility.”

Mr Macnamara has been married for 33 years and lives with his wife, Kathleen in a “minute Regency terrace house in St John’s Wood.” But at weekends he goes to his country house in the village of Cadbury, Devonshire.

The post His first O.B. – a Coronation! appeared first on THIS IS ATV NETWORK from Transdiffusion.

“The profit figure of £14,101,000 is the second highest in the 25-year history of the company. Indeed, had it not been for a national industrial dispute which kept the whole of Independent Television off the air for eleven successive weeks, the profit would undoubtedly have exceeded the record of £16,308,000 which was achieved in 1978/79”

[£14,101,000 is £57.5m in today’s money allowing for inflation. £16,308,000 is £66.5m – Ed]

Television

ATV’s current contract for seven-day-a-week television runs until 31st December 1981. By the end of 1980 the Independent Broadcasting Authority will reach its decision on the award of new contracts which will run for eight years. For the period of these contracts the Midlands franchise area will be a dual region comprising the East and West Midlands and ATV has applied for the contract.

A new company, ATV Midlands Limited, has already been set up and a second studio complex is planned for the East Midlands.

T.V. programmes

Initially a proportion of ATV productions will continue to be made at Elstree. Thereafter, Elstree will become available for additional television productions and for special programmes for export.

A new company, Daybreak Television, in which ACC has a minority interest, has made an application for the proposed nationwide breakfast-time television franchise, and Elstree has been suggested as the ideal production centre.

Films

Our subsidiaries now embrace all three aspects of production, distribution and exhibition and the acquisition of Classic Cinemas place more than 140 screens at our disposal. The full-length ‘Muppet Movie’ has broken box office records and its much sought after successor is already in production. Altogether, the film division production schedule has never been stronger.

Theatres

The theatre division enjoyed a year of truly outstanding successes and its profit figure of £1.1 million [£4.5m] stands at an all-time record. The year saw packed houses for Yul Brynner in ‘The King and I’ at the Palladium and ‘Annie’ at the Victoria Palace. The theatrical costumiers, Bermans & Nathans, established new overseas records and their work is to be seen in London’s exciting new attraction – ‘The Palladium Cellars’.

Music

Our main music publishing subsidiary, ATV Music, rose to be the No. 2 company in UK music publishing, and profits and prospects are both excellent. Its subsidiary company, Bruton Music, is now firmly established as a prominent supplier for both television and films.

Records

In common with all other record companies, Pye Records had to face a world-wide recession within the industry. Special attention is now being paid to the important new development of video cassettes and video discs.

Property

The results of Bentray Investments – up from £3.5 million [£14.3m] to £4.2 million [£17.1m] – are impressive and the acquisition of Intereuropean Property Holdings has added a new portfolio, including the important Eros site at Piccadilly Circus.

Telephone answering

For the second year in succession the results of Ansafone have been outstandingly successful and in spite of competition at home and abroad the growth rate has been one of 40%.

Insurance

Two Bermudian companies were purchased by Marbarch Insurance Company and a new company, Bryanston Insurance, has been established. Subsidiaries have been set up in Australia, Hong Kong and Gibraltar, and trading has been profitable throughout.

Jetsave

The Group acquired an 85% stake in Jetsave, a company which is both a pioneer and a leader in the rapidly growing field of trans-Atlantic holiday travel.

The post ATV financial results: 1980 appeared first on THIS IS ATV NETWORK from Transdiffusion.

“Altogether a most excellent year….”

The Fifteenth Annual General Meeting of Associated Television Corporation Limited was held at ATV House, Great Cumberland Place, London, W.1. on 24th September, 1970, at 12 noon.

The following are extracts from the Statement by the Chairman, Lord Renwick of Coombe, KBE, for the year ended 29th March, 1970:-

Not only is the Group profit (after levy but before taxation) of £5,635,000 [£73.5m] the fourth highest in ATV’s history, but this outstanding result has been achieved despite the fact that the profit from your television subsidiary, ATV Network, has fallen away by no less than £2,152,000 [£28.1m].

In short, the Corporation’s long pursued policy of planned expansion in the entertainment industry is now reaping the reward of earlier long-term investment, and the warning in my last Annual Report of the impending unhealthy state of Independent Television has been sadly kustified.

I will deal later with the causes, mostly foreseeable but unfortunately beyond the Board’s control, of the current decline in the television Industry. For the moment I will confine myself to those aspects of the Group where there is every indication of continuing prosperity.

FILMS. First must come film production and distribution which contribute no less than 41% to the Group profit. The success in this sphere of your subsidiary companies, Independent Television Corporation of America and Incorporated Television Company Limited of England, represents an altogether remarkable personal achievement on the part of the Group’s Chief Executive and Managing Director, Sir Lew Grade. Until the mid-sixties, British-made television production was regarded as virtually unsaleable in the United States. The degree to which a transformation has occurred may be judged from an article in the April issue of America’s leading entertainment journal, “Variety.” I will quote the opening paragraph;

“Sir Lew Grade may do single-handedly to American television what it took four strapping Liverpool boys to do to American popular music. The British video impresario, who heads Associated Television there, is all by himself the first major foreign influence in the hitherto all-American tele industry.”

MUSIC. Equally gratifying have been the results of ATV’s expansion into music publishing. With the acquisition of Northern Songs, which owns the musical copyrights of Lennon and McCartney, your Corporation now possesses a commanding property. Profits of Northern Songs for the eleven months to the end of March, 1970, considerably exceed the profits for the preceding full year, and the volume of business is steadily increasing.

Taken in conjunction with Pye Records, which continues to hold an important and growing position in the international disc market, ATV’s operations in music and records are now firmly and broadly based. The profits from this division amount to 32% of the Group’s total.

THEATRES. ATV’s theatrical interests are of key importance within the Group, and the Stoll Theatres Corporation and its subsidiary, Moss Empires, under the chairmanship of Mr. Prince Littler, have once again enjoyed a good year. I am pleased, moreover, to be able to report that results for the current year are substantially better than for the year under review.

CRISIS IN THE TELEVISION INDUSTRY

In July, 1969, the rate of Turnover Levy was increased to a level calculated to extract a further £3 million from the industry. This, as I had already given warning would happen, immediately produced a crisis which changed the whole financial structure of Independent Television and endangered the very existence of some companies not protected by diversified operations.

In April, 1970, the Turnover Levy rate was amended to provide for a remission of £5 million. This purely stop-gap relief was, however, offset by the fact that over the year 1969/70 national television advertising revenue had itself declined by some £5 million. This decline is symptomatic of the state of the country’s economy. It is not possible to forecast the date by which the Government will feel able to take measures to raise, rather than to depress, the level of domestic spending upon which all domestic advertising depends. What is possible to forecast is the date by which the Independent Television industry will find itself unable to finance its increasingly costly operations. This date is 1971.

TURNOVER LEVY. Clearly, the Turnover Levy, which is imposed on revenue, and is required to be paid before meeting operational expenses and before paying Corporation Tax on profits (if there are any), should be abolished altogether leaving the Television Companies to make their contribution to the Exchequer entirely through Corporation Tax in the usual way. This would remove the invidiousness of a discriminatory levy imposed upon a single industry, and would place Independent Television upon an equal footing with all other commercial operations. On this basis – and on this basis alone – can the return both to shareholders in Independent Television Companies and to the Exchequer be made fair and equitable.

BROADCASTING HOURS. Because of the limitation on broadcasting hours, ATV Network alone is denied extra revenue of not less than £½ million [£6.5m] per annum. Any review of Independent Television must take into account the effect on the industry of the new major franchise — Yorkshire — granted by the Authority in 1968. While we welcome this recognition of Yorkshire’s independent status, it cannot be overlooked that the introduction of a fresh contributor to the Independent Television network has meant that other contributing companies have been left with considerable under-utilized studio facilities.

The redistribution of franchises in 1968 brought with it, moreover, heavy capital demands on some companies for the provision of new studios. ATV Network’s own development in Birmingham, for example, has called for some £6 million [£78.2m]; and this capital investment comes on top of some £1.5 million [£19.6m] previously required for the conversion of ATV’s Elstree studios to Colour on the 625-line standard.

Finally, rising costs — not least labour costs – within the industry continue to erode and, in many instances, entirely erase the narrow margin of profit which remains after the payment of the Levy.

AWAITING GOVERNMENT ACTION. The Independent Television Authority is no less concerned than the companies at the gravity of the situation which has arisen, and all the figures for the industry have been submitted for investigation by the Prices and Incomes Board. It is not too much to say that the whole future of Independent Television now depends action by the Prices and Incomes Board, the Chancellor of the Exchequer and the Minister of Posts and Telecommunications.

MANAGEMENT AND STAFF

On behalf of the Board, I pass on my thanks and appreciation to members of the Management and Staff at all levels.

The post ATV financial results: 1970 appeared first on THIS IS ATV NETWORK from Transdiffusion.

The 13th Annual General Meeting of Associated Television Corporation Limited was held at ATV House, Great Cumberland Place, London, W.1, on 26th September, 1968 at 12 noon.

The following are extracts from the Chairman’s Statement read at the meeting.

Since the year end we have been able to announce a further multi-million dollar U.S. deal for a new Millicent Martin television film series.

ATV Corporation is already one of the world’s greatest producers of filmed television series for international distribution. Current production costs run at some £7 million [£101.8m in today’s money allowing for inflation – Ed] a year and by 1970, when we will also be among the world’s greatest producers of feature films for international distribution, ATV’s annual expenditure will have been approximately doubled. Very large revenues indeed will by then be flowing in from overseas and these, of course, are in no way subject to the Turnover Levy which falls so heavily upon ATV Network.

A recent issue of The Financial Times quoted a table showing the major U.K. companies in order of merit judged by their net profit as a percentage of capital invested. We were delighted to see that ATV came fifteenth out of all British Industry. This is a very high tribute to your management team led by Mr Lew Grade our Chief Executive, Mr. Robin Gill our Managing Director and Mr. Jack Gill our Finance Director.

The financing of Paradise Centre and the Group’s general needs are being looked at with our advisers, so that we have the appropriate cash available for our planned expansion.

The following are extracts from the Directors Report for the year ended 31st March, 1968.

GROUP RESULTS

The profit for the Group, before Levy and taxation, is £12,369,000 [£179.8m], an increase of £530,000 [£7.7m] over the results of last year.

This improvement is more than offset, however, by the increased amount of Levy (£6,186,000 [£89.9m] this year as against £5,761,000 [£83.8m] last year) in respect of your Company’s ATV Network operation, and the increased amount of taxation (£2,770,000 [£40.3m] as against £2,348,000 [£34.1m] last year) for the Group as a whole. Levy and taxation together reduce the Group’s profit to £3,413,000 [£49.6m] which is £317,000 [£4.6m] less than last year.

In the light of these trading results, your Board nevertheless feels fully justified in recommending on increase in the rate of dividend for the year. The final dividend of 15.9625% will bring the total for the year to 28.4625% (as against 27.5% lost year). This represents the maximum increase permitted by the Treasury.

Shareholders’ funds are £23,812,000 [£346.2m], as against £22,708,000 [£330.1m] for 1967.

DIVERSIFICATION

The proportion of Group Profits attributable to Subsidiaries has, during the year, risen to 45% as against 42% in the previous year and 30% for the year 1965/66. Inspection of the Group’s Financial Statistics will, indeed, reveal that progress in the Group’s trading activities outside the TV operation has been both rapid and consistent, viz., the conversion of a net loss situation of £303,000 [£4.4m] in 1962 into a profit figure of £2,749,000 [£40m] in this year’s Accounts.

The value of Group Export sales for the year totalled £5,650,000 [£82.1m].

TELEVISION AND RELATED ACTIVITIES

New ITA Contract. ATV Network Limited was awarded the Independent Television Authority’s Contract for the Midlands Area for six years, commencing 30th July, 1968. This is the major Contract under the current allocation of the Independent Television Authority.

New Midlands Studios. By the end of 1969, the Television Studio portion of the new ‘Paradise Centre’ in Birmingham will be complete. These studios will be fully equipped for the start of Independent Television’s Colour transmissions at the end of 1969, and will be the most modem in the world. Every advantage will be token of the latest technological developments In the television field, and of our years of experience with colour programming at Elstree.

PROGRAMMES FOR ALL SEASONS

During the year your Company mode more than 1,000 contributions to the Network, and fully maintained its leading position among the Independent Television programme makers.

One programme, the Royal Variety Performance, established a new record. Designed as a charity show in aid of the Variety Artistes’ Benevolent Fund, and given in the presence of Her Majesty The Queen and His Royal Highness The Duke of Edinburgh, this production was seen in 11½ million homes, representing some 40 million viewers.

‘Spotlight,’ a production for CBS of America, and ‘Show Time,’ seen on the same trans-Atlantic network, were both among the Colour programmes produced in ATV studios. Indeed, in the whole matter of Colour, ATV has been to the forefront. Even while home-viewers could see ATV programmes only in black-and-white, the Documentary department has been producing in full Colour. One programme in particular, ‘The Last Shangri-La,’ has been internationally acclaimed for the beauty of its photography.

FILM PRODUCTION AND DISTRIBUTION

ITC—Incorporated Television Company. It is this company which is responsible for all ATV’s film productions, and for distribution of films and television programmes in the Eastern hemisphere.

The current production schedule is an unusually full one. No fewer than four series are currently being filmed. Sales, moreover, are fully abreast of production.

Independent Television Corporation. This company, which acts as distributor of ATV films and television programmes throughout the Western hemisphere, has enjoyed an outstanding 12 months’ trading. The current year promises to be equally rewarding. ATV Series ‘Man in a Suitcase,’ ‘The Saint,’ ‘The Prisoner,’ ‘Show Time,’ and ‘The Champions’ hove all been shown on the U.S. Networks.

Century 21 Productions. The puppet films made by Century 21 Productions are world-famous in television and cinema alike. A new TV series, ‘Joe 90,’ is now ready; ‘The Secret Service,’ a revolutionary piece of production in which a live actor doubles with his puppet counterpart, is already on the studio floor.

THEATRES

Stoll Theatres Corporation. This Group has enjoyed a record year. It is particularly pleasing to announce that your theatre, the London Coliseum, has now become the new Opera House for Sadler’s Wells.

RECORDS AND MUSIC

Pye Records. Pye Records had a conspicuously successful year with profits again reaching a new record level. In 48 weeks out of 52, it has appeared among the Top Twenty despite the increased efforts of American competitors.

Music Publishing. Our existing companies, Welbeck Music, New World Music and Jubilee Music, continue to produce excellent results, and active steps are being taken to enlarge the scope of our music publishing interests.

PROPERTY AND INVESTMENT

Properties. All the various property assets of the Group are being concentrated within our subsidiary company Bentray Investments Limited.

These properties make an exciting portfolio with every indication of steady income growth over the years. There ore also large-scale development possibilities in the long-term in connection with certain of them though, for the time being, there are Government restrictions on office development and building in city centres.

The first major development of Bentray will take place in Birmingham. This, the ‘Paradise Centre’ site adjacent to the Town Hall in the heart of the city, will ultimately comprise a 6-acre development which is unique in character, and the final cost could exceed £15 million [£218m].

Canada. Our investments in British Columbia Television and CJCH Halifax are held by our wholly owned subsidiary, Canastel Broodcasting Corporation.

British Columbia Television has commenced to pay dividends and the company has achieved excellent growth during the lost two or three years. In the cose of CJCH the progress is slower and the market a more difficult one. However, in our opinion the value of our investment is well protected.

OTHER ACTIVITIES

Ambassador Bowling. This company has continued to be profitable. Indeed, the general recession in the industry which has led to the closure of a number of competing bowling centres has proved a direct benefit to Ambassador Bowling.

Planned Music Group. Substantial progress was mode during the past year. It is calculated that approximately 3½ million people in the United Kingdom listen to Muzak every week, and this number is growing steadily. Worth-while contracts for the supply of equipment hove been obtained from Germany, Denmark, Switzerland, Norway and Israel.

Bermans. This company has hod the most successful year in its history. On the continent, Bermans is now recognised as the major film and theatrical costumiers of Europe.

MANAGEMENT AND STAFF

The Board wishes to express its most sincere thanks to those members of ATV’s staff at all levels who have so conscientiously served the Corporation during the past year.

The post ATV financial results: 1968 appeared first on THIS IS ATV NETWORK from Transdiffusion.

“POLICY OF PLANNED EXPANSION WILL BE VIGOROUSLY PURSUED”

Before I comment on the year’s results — which, for the fourth successive occasion, I must describe as truly excellent — let me refer to four important events in your Company’s history.

(i)        ATV Network Ltd., your wholly-owned subsidiary, has been awarded the seven-day-a-week Contract for the Midlands from 30th July, 1968, for a period of six years. This is the major Contract offered by the Independent Television Authority.

(ii)        Associated Television, the first television, film and programme producing Group to be recognized in this way, has been honoured by being chosen as a recipient of the Queen’s Award to Industry for Export achievement in 1967.

(iii)        The range of your Company’s operations is now so extensive that your Board has felt for some time that a new title would be more proper Accordingly, it is being proposed that Associated Television Ltd., the parent Company of the Group, should be renamed Associated Television Corporation Ltd.

(iv)        Mr. Lew Grade has been appointed a Deputy Chairman and Chief Executive of your Company, and Mr. Robin Gill has been appointed Managing Director.

GROUP RESULTS

The consolidated Profit and Loss Account shows a profit for the Group, before Levy and taxation, of £11,838,787 [£179.3m in today’s money, allowing for inflation – Ed], an increase of £779,476 [£11.8m] over the results of the previous year (£11,059,311 [£167.5m]).

The Levy on Television Advertising Revenue amounts to £5,761,068 [£87.2m] and is £328,702 [£5m] higher than last year. After deducting this levy, the profit before taxation amounts to £6,077,719 [£92m] (last year £5,626,945 [£85.2m]).

Taxation for the year is £2,348,188 [£35.6m] as against the previous year’s figure of £2,780,325 [£42.1m]. After adding back £528,697 [£8m] in respect of a provision for depreciation no longer required, the Group profit after deducting the Levy and taxation amounts to £4,258,228 [£64.5m] as compared with £2,846,620 [£43.1m] last year.

The Shareholders’ funds, at £22,708,000 [£344m], are more than £5,000,000 [£75.7m] greater than at the end of the previous year. The total increase since 1963 now amounts to £12,589,000 [£190.7m].

ATV GROWTH FACTOR. In an article, entitled “British Business Growth League,” published in the June, 1967, issue of “Management Today,” ATV was shown as the top company in the country for percentage increase in pre-tax profit for the period 1957-66.

In the same article, ATV was included in the list of Top Ten companies for percentage increase both in net capital employed and gross cash flow for the same period.

FUTURE PROSPECTS. I must refer to the disturbing economic conditions which prevail, but in your Company’s affairs, two major factors, both highly encouraging, now colour the whole situation.

In the first place, the matter of the ATV Network Licence is satisfactorily settled, and your subsidiary’s profitable working into the mid-1970s can realistically be predicted.

Secondly, in the year under review, the non-licence operations within your Group contributed some 42% to the Company’s overall profits; and the high level of these non-licence earnings should be at least maintained.

I am able, therefore, to inform shareholders that I find both sides of your Company’s activities in good order, and can assure them that our announced policy of Planned Expansion will be vigorously pursued.

ATV NETWORK

THE NEW MIDLAND CONTRACT. I have already referred to the new seven-day-a-week Contract for the Midlands (10.4 million population) which the Authority has awarded to your Company.

This is the Contract for which your Company applied. It enables us to enlarge our long-standing interest in the Midlands, and also to maintain the greatest possible output of programmes for the national network.

From the outset of Independent Television, ATV has urged undivided weekly working as preferable in every way to the weekday/week-end split; and your Company is delighted that it will now be able to provide the unified and unbroken seven-day-a-week service which the Midland viewer deserves.

Shareholders will appreciate that the previous short Licence period of three years, the extension of one year, and uncertainties as to the future shape of Independent Television, rendered long term planning impossible. For the first time, your Company con see a clear course ahead of it, and a new studio complex will be erected. Plans for this were commissioned over three years ago. The studios will be the most up-to-date in the country and will be built with all the requirements of Colour in mind.

Now that the Authority has clarified the whole position, and ATV Network con concentrate its interest on the Midlands viewer, the Board of ATV Network will be strengthened by the addition of leading Midlands figures, and resident Executive Directors from within the Company.

I am very happy indeed that it should be Mr. Bill Ward, for so long one of the key men in ATV who becomes an Executive Director of ATV Network. Mr. Leonard Mathews, who, as Midlands Controller, has played such an important role for the Company, has also been appointed to the Board.

THE MIDLANDS. Both local and nationally networked programmes hove shown a notable increase during the past year.

The daily serial, “Crossroads,” continues to enjoy top programme ratings, and the televising of the 500th episode in 1966 was celebrated by a dinner in Birmingham attended by viewers drawn from all parts of the United Kingdom.

ATV’s weekday network programme for children, “Tingha and Tucker Club” — the most popular in British television — has been joined by a Sunday network programme, “Tree House Family,” which is now seen in over 4 million homes.

The new regular weekly programme, “Midland Member,” enables a Member of Parliament from one of the 107 constituencies in the area to give a first-hand account of the work at Westminster; this is now recognised os providing one of the most important political contributions to Midlands life.

The magazine programme, “ATV Today,” continues to attract an audience of well over three million viewers; and, during the year ATV’s film unit covered more than 70,000 miles in collecting items for “Midland News.” No fewer than 66 Midland news stories provided by ATV appeared in the national news service of ITN.

In co-operation with the Midlands Police Forces, ATV has presented 52 episodes of the weekly “Police Five” programme. Over 250 crimes have been reported, and the police regard the information provided by television viewers as responsible, in at least ten per cent of the cases, for the successful outcome of police enquiries.

For the fifth successive year, ATV’s presentation of the Royal Show from the National Agricultural Centre, Kenilworth, received nation-wide coveroge.

VIEWING HOURS. ATV shareholders and the viewing public at large should be aware of the fact that your Company, in common with all other Independent Television companies, is denied the right to provide the full and comprehensive service which it is naturally anxious to present. Hours of transmission ore rigidly restricted by order of the Postmaster General, and protests from the Company have proved unavailing. The Authority has listened sympathetically, and is fully aware of the extra programmes which your Company is seeking to provide. Your Company has all the facilities for the immediate provision of the extra hours. Nevertheless, the ban remains, in spite of the fact that the BBC with its two services now provides some thirty more hours of broadcasting each week than is permitted to Independent Television.

COLOUR. In my last Report I stressed the fact that the ATV Network studios at Elstree would, by the autumn of 1966, be fully equipped for Colour operations in the various international line standards. This has been accomplished, and major drama productions electronically recorded in Colour now include three plays, namely “Ivanov” with Sir John Gielgud; “The Tormentors” starring James Mason and Stanley Baker; and “Present Laughter” with Peter O’Toole and Honor Blackman.

Light entertainment productions in Colour include the two-hour programme, “The Heart of Show Business,” in aid of the Aberfan victims; a series of 13 one-hour productions, “Piccadilly Palace,” with Morecambe and Wise, and Millicent Martin; and a series of 26 one-hour programmes, “Spotlight,” with British, American, and other international star artists.

All these productions are additional to the Colour programmes on film, to which I have referred earlier, and to mony documentary programmes made in Colour. Taken together, they constitute the largest library of TV Colour productions in Great Britain.

I am delighted that one of our news film teams, Mr. Gary Hughes and Mr. Noel Smart, should have won the Bronze Medal in the “hard news” section of the 1966 British Television News Film awards. This is the second year running in which ATV network has won on award.

ALPHA STUDIOS, ASTON. ATV Midland transmissions are co-ordinated through the Presentation Centre of Aston, either for networking or for routing to the Authority’s transmitters at Lichfield and Membury.

The Alpha Studios accommodate nearly one hundred hours of rehearsals, recordings and transmissions each week.

SALES. During a year in which there was a standstill in television advertising rates under the tight economic conditions of the “Squeeze,” the Sales Department of ATV Network nonetheless achieved an increase in net revenue of some 4½%. This growth was accomplished in a year when total national advertising appropriations fell for the first time since 1946.

ATV Network has developed the whole scope of television advertising. Holiday Tours, Fashion, and the Big Stores ore all now represented on the London screen; and, in the Midlands, the service has been extended to small businesses, retail shops and garages. Local advertisements now amount to some 1,500 a year. Moreover, industry throughout the Midlands responded warmly to the introduction by ATV Network of a Staff Recruitment Bureau, and viewers have been informed of over 500 vacancies, ranging from drivers and clerks to management accountants and project engineers.

ATV’s “Midlands Merchandiser,” a trade paper for grocers, now reaches more than 8,000 shops, and provides the only service in the industry which forms a direct link between television and the retailer.

“TV WORLD.” The programme journal for the Midlands is owned jointly by ATV Network and ABC Television, and is published by Odhams Press.

From the outset, this magazine set up new publishing records. The circulation has risen steadily from 640,000 when the magazine first appeared in September, 1964, to the figure of over 737,000 at which it stands today. A long and prosperous future had, therefore, confidently been foreseen. Under a new ruling by the Authority, however, separate programme publications will cease after July, 1968, and a national weekly, with regional editions, published on behalf of all companies will supersede them.

I must, on behalf of viewers in the Midlands, enter a plea that the distinctive character and individuality of “TV WORLD” should be preserved intact in the new publication.

EXPORTS

QUEEN’S AWARD FOR EXPORT ACHIEVEMENT. “Her Majesty The Queen has been graciously pleased to confer Her Award in 1967 upon Associated Television Ltd., London, W.1, for export achievement” — I quote the wording of the official citation which gave the world of British entertainment its first Queen’s Award to Industry.

The formal presentation of the Award was made by Major-General Sir George Burns, Lord Lieutenant of the County of Hertfordshire. The ceremony, which the Postmaster-General and members of the Independent Television Authority attended, took place on 4th July in your Company’s Elstree Studios.

I will not attempt to conceal my feelings of pride when I first read the Royal message. Nor will I conceal the fact that I regard it, in unique degree, as public recognition of the untiring work and devotion over the years of one man, your joint Deputy Chairman and Chief Executive, Mr. Lew Grade.

Shareholders should know that the establishment of a television export market for films has been a long, arduous and, at the outset, a heart-breakingly frustrating business. One by one, Mr. Grade has overcome the objections raised by foreign buyers when offered British products; and it is not too much to say that, through his efforts, your subsidiary, Incorporated Television Company, is now one of the most sought-after production sources in the world.

Knowing the strains that are involved in the many and complex transactions I am glad to think that, on his visits abroad, Mr. Grade should have your Managing Director, Mr. Robin Gill, there beside him. Together I believe, they represent the world’s strongest partnership in television film production and international distribution.

ATV EXPORTS TODAY. The turnover figure for your Company’s export of television programmes continues to rise steadily. U.S. dollar sales have passed the $10,000,000 [$91.1m] mark and sales in the European Hemisphere have correspondingly increased. There is every indication that this present trend will not only be maintained, but will be improved upon.

INDEPENDENT TELEVISION CORPORATION. This year your Company will have no fewer than five Colour television series on the American networks. This is the highest number in the history of the Company. In addition, a number of individual plays and documentaries have been sold to the American networks.

These results in the United States could not have been achieved without your Company’s American subsidiary, Independent Television Corporation.

INCORPORATED TELEVISION COMPANY. Nor could these export results have been obtained had it not been for the magnificent work of your production group, Incorporated Television Company. The schedule of work in hand has never been so extensive as at the present moment, and the following series, all in Colour, are currently reaching completion: “Man in a Suitcase”; “The Prisoner”; “The Saint”; “Spotlight”; “Piccadilly Palace”; “The Champions.”

The wealth of British talent among producers, directors, script writers and actors available to I T C has led to a deal with United Artists for three feature films starring Roger Moore. Further feature film productions are in negotiation. All of these are for distribution to cinemas throughout the world.

In addition to its production activities, Incorporated Television Company is responsible for Eastern Hemisphere television sales where the year produced record results. Your company’s programmes are now being shown in 62 countries on this side of the Atlantic alone.

THEATRES

STOLL THEATRES CORPORATION. I am happy to be able to report that this Group, under the chairmanship of Mr. Prince Littler, has enjoyed another successful year.

The current production, “Fiddler On The Roof” at Her Majesty’s Theatre has proved a triumph, and “There’s A Girl In My Soup” at the Globe Theatre has established itself as one of the outstanding attractions of the West End stage. Earlier in the year the centre of theatrical London was to be found at the Queen’s Theatre, which housed Noel Coward’s “Suite In Three Keys,” and the National Theatre Season.

The London Palladium pantomime, “Cinderella,” again broke all records, and “The Black & White Minstrel Show” at the Victoria Palace continues undiminished into its sixth year.

The satisfactory results of the Stoll Theatres Corporation have been achieved despite the dual burdens of Selective Employment Tax and rising costs. Elsewhere in the West End, however, and among the provincial theatres the effects of rising costs and S.E.T. have been most damaging.

PROPERTIES — CENTURY 21 — PYE RECORDS — MUSIC PUBLISHING – MUZAK — BOWLING

PROPERTIES. During the year we have brought our many property interests together within Bentray Investments. We now have a steady programme of improvement and expansion planned for the years ahead.

CENTURY 21. On both sides of the Atlantic it is acknowledged that the “Thunderbirds” series of Gerry and Sylvia Anderson established entirely new levels in film-making ingenuity. Equally remarkable technical advances have now been achieved with a new range of puppets which will be seen for the first time in “Captain Scarlet,” a series of 32 half-hour episodes currently in production in Colour.

CENTURY 21 MERCHANDISING LTD. — PUBLISHING LTD. — TOYS LTD. The business of these three companies is the exploitation of subsidiary rights in television and motion picture properties.

In conjunction with City Magazines Ltd., a subsidiary of the “News of the World,” four children’s weeklies are now being produced and “TV Century 21” and “Lady Penelope” in particular enjoy outstanding success.

PYE RECORDS. The year’s trading has been highly satisfactory. Among Pye Records successes are the First and Second Prize winners in the Eurovision Song Contest. Pye Records has, furthermore, established its Marble Arch Label in the forefront of the growing market for lower-priced LPs.

Overseas, the sale of Pye Records has increased by nearly 9%.

MUSIC PUBLISHING. Our joint companies with Chappells are progressing well.

MUZAK. Over 180 leading companies, practically all household names in British industry, now have the Muzak service of background music installed in one or more of their premises. The rate of recruitment to the Muzak service is greater than at any previous time in the company’s history, and shows recognition of the fact that Muzak provides the only programmed background music service with completely non-repetitive new programmes every day.

AMBASSADOR BOWLING. This company continues to operate profitably despite reduced attendance at bowling centres throughout the country.

TOP DIRECTION — YOUR BOARD – INDUSTRIAL RELATIONS — ATV STAFF

TOP DIRECTION. The rate at which your Company has developed and the steadily widening scope of what I have referred to in earlier Reports as our policy of “Planned Expansion,” has necessitated a new framework at the top.

The new post of Chief Executive has been created, ond this will naturally be filled by Mr. Lew Grade. Knowing, as I do, what every phase of your Company’s activities owes to the brilliant direction of Mr. Grade, let me add that it is only fitting that he should also be appointed a Deputy Chairman of your Company.

The name of Mr. Grade is synonymous with the emergence, over little more than a decode, of the name of ATV as a Company of world-wide standing; and I am delighted to have this opportunity of congratulating him.

I can, moreover, regard myself as fortunate in having on the Board a Deputy Managing Director in the person of Mr. Robin Gill, to whom the wider duties of Managing Director can so confidently be entrusted. I om happy to add my thanks to Mr. Gill for the great part which he is playing in your Company’s affairs. The partnership between Mr. Grade ond Mr. Gill to which I have referred earlier in connection with our Overseas Sales, is one which I am happy to say extends also to every aspect of your Company’s business.

During the post year. Mr. Grade become Chairman of Independent Television’s Network Planning Committee, and Mr. Robin Gill hos been asked to continue for a further period as Chairman of the Independent Television Companies Association.

My thanks, too, must go to the Company’s Finance Director, Mr. Jack Gill whose contribution to the running of the Company has proved of immense value.

Finally, I have to report that, owing to other business commitments, Mr. R. P. T. Gibson has tendered his resignation from your Board. Mr. Gibson has been a Director of your Company since 1957, ond I om only sorry that this long connection should now be broken.

BOARD OF ASSOCIATED TELEVISION. Let me say how deeply appreciative I am of all the help which I have received over the year from the various members of your most distinguished and experienced Board.

INDUSTRIAL RELATIONS. Despite the unprecedented problems set by the Government’s Prices and Incomes policy, the Group has been able to continue its progressive approach towards the Unions, and has maintained good relations with its staff and with the Unions with which it negotiates.

A completely new system to productivity payments on the part of ATV Network Ltd. was worked out with the Unions and has been approved by the Ministry of Labour. New inter-Union arrangements were negotiated for Century 21 Productions, and these will eliminate various awkward lines of demarcation.

MANAGEMENT AND STAFF. My co-Directors join me in expressing their warmest thanks to everyone at all levels: Managerial staff, sales staff, accountancy staff and secretarial staff play their part equally with the technicians, the skilled craftsmen and the artistic producers and directors within the Company, and without their loyal and untiring efforts these admirable results could never have been attained.

The post ATV financial results: 1967 appeared first on THIS IS ATV NETWORK from Transdiffusion.

“Results no less than excellent”

Profits, tax and levy

The Consolidated Profit and Loss Account shows a profit for the Group, before Levy and taxation of £11,059,311 [£171m in today’s money allowing for inflation – Ed]. This represents an increase of £1,699,370 [£26.3m] over the results of the previous year (£9,359,941 [£144.7m]).

Moreover, this year’s trading has had to bear the full brunt of 12 months’ Levy on Television Advertising Revenue. Thus, the sum of £5,432,366 [£84m] had to be set aside for this purpose, as against the sum of £3,837,593 [£59.3m] for the 8 months of the year to the 4th April, 1965 — the year in which the Levy was introduced.

Taxation for the year amounts to £2,780,325 [£43m] as against last year’s figure of £2,752,639 [£42.6m]. In total, therefore. Levy and taxation have consumed no less than £8,212,691 [£127m] (74%) of the Group profit.

It should furthermore be noted that this figure of Levy and taxation payable to the Exchequer is in addition to the sum of £985,253 [£15.2m] payable to the Independent Television Authority for the rental of the London and Midlands Transmitters.

Nevertheless, the Group profit after Levy and taxation amounts to the final figure of £2,846,620 [£44m] as compared with £2,769,709 [£42.8m] for the previous year.

EFFECT OF GOVERNMENT POLICY

In June your Directors announced the intention of recommending a final dividend of 10%, making a total of 26% for the year. The year’s accounts were accordingly drawn up on this basis.

In view, however, of the Government White Paper, “Prices and Incomes Standstill”, I have to tell you that your Directors now feel bound to recommend that the final dividend should be 6½% and not 10%, thus leaving the total dividend at 22½%, as for the previous year.

EXPANSION

The Chairman of a Company which is expanding so rapidly as Associated Television naturally finds himself at a disadvantage in preparing a Report which must suffer some delay before it can reach the hands of the shareholders.

Accordingly, even though these developments have occurred after the end of the financial year under review, I feel that I should report several new acquisitions to your Group’s interests.

First, there is our joint undertaking with Chappell’s in music publishing through our acquisition of a 50% interest in two companies New World Music Limited and Jubilee Music Inc. Secondly, there is the 50% interest in a new publishing company to be formed jointly with the International Publishing Corporation to operate in the general field of educational and industrial training publications and in connection with television programmes.

Thirdly, we have now acquired the remaining 50% of Pye Records making the company a 100% subsidiary of ours.

In addition we have acquired the remaining 49% minority interest in J. Rosenthal (Toys) and are arranging for the acquisition of a 7½ % interest in an insurance company already established by IPC, Reeds Paper Group and Eagle Star.

THEATRES

In my last Report, I referred to your Company’s “largest and most important single investment” in the shape of the acquisition of the whole of the share capital of the Stoll Theatres Corporation and of Moss Empires.

I am now happy to be able to speak of the eminently satisfactory – indeed substantially improved – results of the Theatre Croup, under the Chairmanship of Mr. Prince Littler.

A new record was established for the London Palladium; and, throughout the West End, our theatres played to well-filled houses. Conspicuous among other successes has been Noël Coward’s repertoire of three plays at the Queen’s Theatre which played to capacity business, and “Hello, Dolly!” at Drury Lane.

It is nevertheless sad that the theatre industry, so recently relieved of the burden of Entertainment Tax, should now be saddled with rising costs deriving from the Selective Employment Tax.

ATV NETWORK

In my last year’s Statement I referred to your Company’s policy of “planned expansion”. As this expansion of activities extended into fields other than television, it became increasingly apparent to your Board that a completely new Company framework was required. Accordingly, steps were taken to reconstruct the Group in such a way that the parent Company would become purely the holding Company of its various trading subsidiaries – including a new subsidiary company to be entrusted with the Television Service operated under licence from the Independent Television Authority.

In April, 1966, this major move was completed. A subsidiary company, ATV Network, was created. It was to this new company that, with the agreement of the Independent Television Authority. the Programme Contract with the Authority and the ancillary television activities were transferred.

TV WORLD

The Midlands programme journal for Independent Television is published by Odhams Press Limited on behalf of ATV Network and ABC Television Limited. The success of the magazine has been unprecedented, and sales have risen steadily to well beyond the 700,000 mark.

MERCHANDISING

In none of your Company’s subsidiaries has expansion been more rapid or more satisfactory.

The publishing venture, in association with the News of the World Organisation of the two magazines “TV Century 21” and “Lady Penelope”, has proved eminently successful, and their combined circulation is over the million mark.

The new subsidiary company, J. Rosenthal (Toys), which markets products associated with television programmes is now equipped to become the major distributor in this field, and shows substantial profits.

COLOUR

Colour on the 405-line standard could be made immediately available to the entire British receiving public in the existing VHF services. Those viewers content to watch only black-and-white pictures would remain entirely unaffected. If 405-line Colour Television were authorised in the New Year, ATV Network alone could immediately contribute not less than 20 hours of Colour programmes a week to the Independent Network.

In order that this country should not lag behind in the development of Colour Television, we therefore advocate the earliest possible introduction by the ITA of colour on the 405-line standard in the existing VHF service. By this Autumn, ATV Network’s Studios in London and Elstree will be equipped for Colour operations in the various international line-systems.

EXPORTS

For the first time in television history, British series have been purchased simultaneously by all three American TV Networks. Columbia Broadcasting System purchased 45 episodes of “Secret Agent” (known to British viewers as “Danger Man”), the National Broadcasting Company purchased “The Saint”, and “The London Palladium Show”, and the American Broadcasting Company purchased “The Baron”, “Court Martial” (jointly produced with MCA), and “McGill”, a new series for next season. The triple jackpot of selling to all three networks has at last fallen into British hands.

I am glad, moreover, to be able to say that, for the Eastern Hemisphere, the sales curve of ITC continues to point sharply upwards. Indeed, for the first six months of the current calendar year total sales approximate to the whole of the previous 12 months’ turnover. These sales have been made in more than 50 different countries.

FILM-MAKING

Another intensive programme of film production is currently in hand, including “The Saint” and “McGill” together with a new Patrick McGoohan series “The Prisoner”.

PYE RECORDS

This is the first Annual Report in which I am able to refer to Pye Records as a wholly-owned subsidiary, even though the results contained within the Consolidated Profit and Loss Account reflect only the dividends received under the 50% ownership which then existed.

During the past year, Pye Records has maintained a leading position within the industry. Although in the United States the sudden vogue for British Pop records has somewhat declined, sales have remained good and the overseas sales of Pye Records in other markets have shown a steady improvement.

THE MIDLANDS

At no time in your Company’s history, has the operation of the weekday licence played so conspicuous a part in Midland affairs and the scope of local programming has notably increased.

The first successful five-day-a-week serial, “Crossroads”, originates in Birmingham, and has proved to be nationally popular.

Another Midlands ATV Network programme – this time designed for the young – “Tingha and Tucker” has, as a result of its overwhelming local popularity, now won itself a place in the national Sunday network.

MUZAK

It is all the more agreeable, bearing in mind the originally slow acceptance of this commercial and industrial amenity, to be able at last to refer to its established success. Growth has been rapid, and the daily Muzak audience in the British Isles now numbers some 2,000,000 persons.

BOWLING

In the year under review, the ten bowling centres, comprising 273 bowling lanes, produced satisfactory results showing an improvement over the previous year.

The effects of the Selective Employment Tax cannot do other than affect future profitability.

MANAGEMENT AND STAFF

The debt which your Company owes to the efforts of its Managing Director, Mr. Lew Grade, can in no way be exaggerated. His energy, flair and foresight are apparent in every phase of the Company’s operations and, once again, I most gladly take this opportunity, on your behalf, of thanking him.

I am glad, too, to place on record how fortunate I feel that the Company was to secure the services of Mr. Robin Gill as Deputy Managing Director. The top management team of Mr. Lew Grade and Mr Robin Gill has proved an inestimable asset in the Company’s manifold and expanding affairs.

No less do I and my co-Directors wish to thank all members of Staff throughout the Group. The present healthy and vigorous condition of the Company could never have been achieved without their loyal and devoted work.

The post ATV financial results: 1966 appeared first on THIS IS ATV NETWORK from Transdiffusion.

POLICY OF “REAL COMPETITION” ADVOCATED THROUGH ADDITIONAL COMMERCIAL T.V. CHANNEL

LOWER PROFIT FROM REDUCED REVENUE, GREATLY INCREASED COSTS AND DEVELOPMENT EXPENDITURE ON NEW SUBSIDIARIES

SIR ROBERT RENWICK CRITICIZES ATTACK ON ADVERTISING

The Seventh Annual General Meeting of Associated Television Limited will be held on September 26 at ATV House, Great Cumberland Place, London, W.

The following is the statement by Sir Robert Renwick, Bt, K.B.E., the chairman, circulated with the report and accounts for the year ended April 30, 1962:—

You will see from the consolidated profit and loss account that the profit of the Group before taxation is £5,038,204 [£89.4m in today’s money allowing for inflation – Ed] as compared with £6,411,899 [£113.8m] for the previous year. This profit is after charging all expenses including depreciation. The provision for depreciation of £439,986 [£7.8m] shows an increase of £157,463 [£2.8m] as compared with the previous year, due to the fact that this is the first year in which is charged a full year’s depreciation on new equipment at our Elstree Studios.

After making allowance for taxation of £2,658,935 [£47.2m] and the interests of outside shareholders, there is left a profit of £2,387,884 [£42.4m] attributable to ATV.

The amount retained in subsidiary companies is £113,708 [£2m] and the balance brought forward from last year is £1,859,608 [£33m], making £4,133,784 [£73.3m] available for appropriation.

An interim dividend of 20 per cent has already been paid and your directors now recommend that a final dividend of 40 per cent be paid again this year. If this recommendation is approved, there will be left a balance of £2,424,909 [£43m] to be carried forward in the accounts of the parent company.

Consolidated Balance-Sheet

Turning to the consolidated balance-sheet it will be noted that under the heading of fixed assets there have been increases both in land and buildings and in plant, equipment and motor vehicles. These are attributable to our new studios at Elstree which are now completed and fully equipped. Whereas the total of trade investments has not altered materially, it will be noted that quoted shares have increased and debentures and loan stock have decreased. This is mainly due to the conversion into shares of the £500,000 [£8.9m] convertible loan stock in British Relay Wireless and Television Limited.

We already have in our balance-sheet an investment reserve of £500,000. Taking our trade investments and investments in subsidiary companies together, your directors are satisfied that the present investment reserve is adequate.

The reduction in Group profit for the year is due to three main causes — greatly increased cost of operations, reduction in advertisement revenue and losses made by subsidiaries in early stages of development

We believe that in time our subsidiaries will make a very useful contribution to the income of your Company. We have never stated, as I have seen reported, that our Company could maintain its present dividend from sources other than the profit which we make as television programme contractors. Our profit at present comes mainly from our operations as contractors for Saturday and Sunday in London and for the five weekdays in Birmingham and the Midlands. These two broken periods are, economically far from ideal.

We advocate a policy of real competition in Commercial television through an additional commercial channel. If we were to have a seven-day operation, not only would there then be real competition, but we would be able to use to the fullest degree, both at home and through our export subsidiaries, the new studios which we have constructed at Elstree, which are the equal of any in the world.

Efforts to Improve Television

Our purpose is to provide good television, and by ploughing back profits into the studios at Elstree we have supplied concrete evidence that we are making in the field of television production the sort of contribution which the Government must have believed in when we were appointed. Nevertheless, it must be appreciated that though we have been able to improve programme standards by bringing into operation the new studios at Elstree with their complex and up-to-date equipment, this has not been achieved without at the same time increasing production costs. Similarly the awards which have been made as a settlement of the Equity strike are also contributing to increased day-to-day costs of putting programmes on the air.

Last year my predecessor in his statement said: “We confirmed to the Pilkington Committee that we accepted the recommendations of the Television Advisory Committee for the adoption of 625 lines as the British standard. In order to give effect to this we offered, on the days we were not broadcasting in London, to put out a new programme on 625 lines in the UHF band which would carry in addition one hour a day of 625 line colour broadcasting — all at our own expense. Surely this would be a great contribution, and something that would give encouragement to the scientists, the technicians, the script writers, the producers and all the many people who will benefit from an expansion of television broadcasting.”

There has been a great deal written about the profits which contractors have made. It is surprising to me that, when a contractor offers to divert a large slice of its profit and to plough it back into advancing the art of television broadcasting, as we proposed, this should not have been mentioned in the Pilkington Report. It seems to me that to use profits to expand the art of broadcasting and to make new programmes available is a better alternative than to force companies, by penal taxation, to pass money to the Exchequer to spend on providing the public, not necessarily with what the public enjoys, but with with what the Pilkington Committee thinks it ought to have.

I am not one to believe that we are called on to make any defence because of the profits we have made in recent years but I think it is a good thing to repeat what the Hankey Committee on television stated in 1945:—

“It is quite clear that, until the television service is well developed, commercial interests would not be willing to incur large expenditure for this purpose, owing, for example, to the limited audience served. In the early stages, therefore, we could not expect sponsored programmes to provide a substantial contribution towards the cost of the television service. In these circumstances and without prejudicing the matter for the future, we feel it would be premature to come to a conclusion on this question.”

I can say that, for several years before and after the war, the people concerned in promoting commercial television lost a considerable amount of money in financing the pioneering work and when eventually the Government agreed to set up a commercial television service it was far from easy to find sufficient sources of capital. This only confirmed the conclusions of the Hankey Committee.

No sooner had the independent television operation started than the rate at which money was being lost became so alarming that it was extremely hard to get any new money. In our own company almost the entire original capital was lost in the first year, so that, far from having “a licence to print money”, we found that we had a licence to lose money in millions. Yet a substantial number of the people who were original shareholders put their hands back into their pockets and produced further capital. Even so, it proved necessary to go outside the group for still further backing. It is easy to be wise after the event, but when one considers the risk involved in putting up money for what, on the best authority, was a very long-odds chance, I cannot agree that the criticisms of large profits are warranted.

It should not be forgotten, that, if risk capital had not been put up six years ago, we would not have had commercial television. We would still have the low standard of television broadcasting which existed at that time. Occasions are bound to arise when it may be necessary to depend on voluntary risk capital if the many projects and services of the future are to be developed. If the Government undermines the confidence of the investor it will make it impossible to get the financial support which will be required if we are to bring many new inventions to the light of day.

The most important objective in the day-to-day existence of your Company is the creation and production of programmes. In London we have Saturday and Sunday. These are the two days when the great mass of our people have time off from work and look forward to relaxation and pleasure. The daily drudgery of any worker can be lightened considerably if great care is given to filling periods of relaxation during the weekend by presenting the right sort of entertainment for ordinary people. We have tried to achieve this by giving pleasure while at the same time maintaining balance in our programmes.

The Pilkington Report

I do not intend in this statement to deal with the Pilkington Report in any detail. I feel that the ordinary people will decide the answer and not the extraordinary people. I would only point out the many references, often of an offensive character, about advertising which have been made in discussions about the report. Advertising is an honourable profession. Its standards in this country are recognized as high throughout the world. The Government is constantly calling for more and more exports. Now there is no weapon in this job of selling so important and vital to its success as advertising. Is it a crime to advertise? — it cannot be right to do it in one place and wrong to do it somewhere else. It is certainly wrong to attack advertising in the way it has been attacked and then to say “but it will be all right as long as the advertising is sold and handled by a state enterprise”.

Many shareholders have written to me about the effect of the Pilkington Report and I can only say to every one of them “You have made an investment in an undertaking which was permitted and promoted by the Government, and you have all the rights and all the freedom to take any legitimate steps you wish to protect your investment”. In the same way, I say to any and all of our viewers — “We are an adult people and each one of us individually has been entrusted with taking political and national decisions of enormous importance, but the Pilkington Committee has made it quite clear that there is one issue we are apparently not mentally capable of deciding, and that is the sort of programmes the majority of people want to see on their television screens”.

Successes Abroad

One of our more important subsidiaries, Incorporated Television Company Limited, continues to be the biggest producer and exporter of British television programmes. Following the network success in the United States and Canada of the “Danger Man” series, a further series “Sir Francis Drake” is being transmitted this summer on the NBC network. During the year, the “Supercar” series, using new techniques with animated puppets, was completed and has been equally successful both here and on the American continent.

Four film series, “Man of the World”, “The Saint”, “Fireball XL5” and “Broadway Goes Latin”, were about to go into production when the strike commenced and as a result of this over six months were lost. However, production is now in progress and we can only hope that there will be no interruption during the coming year; but of course the interruption in our production will affect our sales throughout the world during the present year.

Incorporated Television Company distributes the Group’s products in the eastern hemisphere and supplies these programmes to our American subsidiary, the Independent Television Corporation, for distribution in the western hemisphere. To date over 10,000 hours of programmes have been sold to 32 countries in the eastern hemisphere, covering Australasia. Scandinavia, Western Europe Eastern Europe. Middle East, Far East, India and Africa.

Very few British series have achieved a network showing in the United States of America and our American management have to be congratulated on their achievement.

Australia

Last year we referred to our investment in Australia where we have holdings in seven commercial radio stations including stations in Sydney, Melbourne, Adelaide and Canberra, and we are partners in the Australia-wide McQuarrie Radio Network. In commercial television we have interests in eight stations, including Sydney, Adelaide and Brisbane, which are firmly established and are now showing satisfactory returns. Of the remaining five stations, one is in Canberra and four are in important country centres but these stations only commenced transmission in 1962. In addition, we operate a radio programme production company which has a large market for its programmes overseas as well as in Australia.

Last year Australia suffered a severe income recession. I am glad to say we now see definite signs of recovery and look forward to much improved results in the future.

Canada

We continue to sell a substantial amount of material in Canada through the Independent Television Corporation. In addition, we have a capital investment in two Canadian television stations, one in Halifax and one in Vancouver. We were reconciled to the fact that it would take some time before these companies had expanded to the stage of income being able to carry the expenditure. One of the companies has already got into a profit position and the other is now likely to achieve profits ai an earlier date than we originally expected.

Planned Music Limited

Our subsidiary, Planned Music Limited, which promotes the distribution of suitable background music programmes in public buildings, offices, factories, &c., is gradually approaching a period of consolidation. In the last few years the expenses incurred in preparing the groundwork in this particular business were heavier than we had anticipated. During the build-up period the time taken to get G.P.O. lines laid down and contracts completed is a much longer operation than one would expect, and the shortage of certain Post Office lines has, to some degree, continued. A policy of developing in the known profitable areas, with good administration, will, I believe, bring us to a profit-making stage within the next two or three years.

Pye Records Limited, in which we have a substantial interest, progresses according to plan and, although large sums of money are required to establish a records business. We have been making profits for the last three years.

British Relay Wireless and Television Limited

Shareholders will know that for a considerable time we have had a substantial holding in British Relay Wireless & Television Limited. This is one of the leading line networks for bringing programmes into people’s homes and has been in existence for many years. In fact, the original company, Link Sound & Vision Services Ltd., was the first company in this country to operate successfully a system of transmitting television programmes by wire, and consequently doing away with the difficulties of interference and weak signal strength.

Because of the lack of public demand for new television sets, caused by the state of uncertainty while everyone waited for the Pilkington Report, the company has undoubtedly suffered during the last two years. It has nonetheless continued to build and extend its networks, confident that the added complexities of ultra high frequency broadcasting and colour would lead to a greatly increased demand for wire reception. British Relay’s networks are worth many millions of pounds and we know that, if the maximum effect is given to the White Paper recommendations on the number of channels, well over 80 per cent of the company’s existing cables will be able to take all these new programmes, including colour, with practically no capital cost. The future of British Relay is extremely bright and we will do everything possible to help it to become a great success.

In addition, in the field of pay vision, British Relay Wireless & Television Ltd. has a system which in my opinion is technically equal to any other, and certainly from the economic point of view has a great many advantages. 1 believe that pay vision is one of the certainties of things to come and in due course will be available to viewers in this country.

Tribute to Staff

I would like to bring a personal note into my concluding remarks. The strike put a great strain on your company. A large number of our employees had to spend some months in comparative idleness; this not only cost a great deal of money but was a soul-destroying period for everyone concerned. Yet, in spite of the frustration caused by enforced inactivity among staff who love their work, our people supported us wonderfully in that difficult time and were a great encouragement to my fellow directors who are responsible for the day-to-day management of the business.

With the strike at last settled, but almost before we could get back into our production stride, the Pilkington Report was published and more unsettlement was created.

Broadcasting depends on creative people — script writers, producers, directors, actors and technicians — and all of these were thrown into a well of doubt and despondency. It is quite clear to your board that, if we have to go through a long period of uncertainty about the future, this will do irreparable harm to British broadcasting.

We can only say to our staff that we appreciate their great loyalty and we shall do everything in our power to restore a sense of sanity and stability into the commercial side of British broadcasting which is recognized as being unequalled throughout the world.

The post ATV financial results: 1962 appeared first on THIS IS ATV NETWORK from Transdiffusion.

MR. PRINCE LITTLER REVIEWS YEAR OF ACHIEVEMENT AND EXPANSION

The Sixth Annual General Meeting of Associated Television Limited will be held on September 28 at ATV House, Great Cumberland Place, London, W.

The following is the statement by Mr. Prince Littler, C.B.E., the chairman, which has been circulated with the report and accounts:—

As shareholders will doubtless have seen, a notice appeared in the national Press on July 21 which read as follows:—

“Associated Television Results

The Directors of Associated Television, for the year ending April 30, 1961, announce a profit of £6,411,899 [£118.4m in today’s money, allowing for inflation – Ed], against a profit for the previous year of £5,388,330 [£99.5m].

The Directors propose recommending the payment of a final dividend of 40 per cent against the payment for the previous year of 30 per cent”

I think that you will agree that this brief but highly satisfactory notice covers the first essential that our shareholders will want to know about their investment in this company, which holds the I.T.A. licence to operate commercial television in London at the weekends and in the Midlands during the weekdays.

There are, however, various sides to the company’s interests and at the end of this address I propose to deal in detail with the more important subsidiary activities of your company.

I think this is a suitable year in which to use our annual report to review what has happened in this company since its foundation, and also to bring our shareholders, as it were, into our board room atmosphere so that they will understand the thinking which has been behind the policies adopted by your directors and appreciate the very able way your executives have put these policies into operation.

In a review of this nature I think there is no better way to start than with an examination of the people who are responsible for running the business.

The Board of Directors supporting me so ably at this moment have all been with the company during its formative years and they are drawn from the learned professions, trade, show business, the Press, state broadcasting, the City, and the great engineering industries. This cross-section of British life at our monthly Board Meetings, on a great number of committees, and at many informal gatherings, literally “lives” television broadcasting and feels the great responsibility we bear in building this organization. In our work we have all been inspired by the adventurous spirit of pioneering in this, the most powerful form of mass communication.

Our Board has become a team where each member, retaining his individuality, has made his own contribution to the eventual unity of both opinion and decision which has marked the history of this company. This team spirit has permeated right down through the organization, and our executives who sit on the Board and those executives who do not, all have a feeling of enormous strength because of the single-minded support and understanding which they get around the board room table.

Many people in many places have argued at great length about who were and who were not responsible for starting commercial television. The point at issue surely is not who started it, but who were the people who have made it the enormous success that it is. I remember many of the arguments which were used on the floor of the House of Commons to show why commercial television would be a bad thing. Above all the arguments one stood out — the oft-quoted Gresham’s law that evil drives out good. A picture was painted showing commercial television as an evil thing likely to force the B.B.C. to lower its standards in order to compete. Looking back now, it is universally acknowledged that, from the moment commercial television started, the B.B.C. programmes became more diversified and the general standard improved, so that not only did the “evil” not drive out the “good”, but the good became better. We in this company recognize that there is a place for both the B.B.C. and companies like our own, and I trust that the feeling of toleration, and often of mutual admiration, will long continue.

When this company started, very few people had any clear idea of how the operation would expand or what the difficulties would be. I have told you at our previous annual meetings that the most prominent feature in those first three years was the rate at which it was possible to lose money. We also learned something else — how difficult it was to get financial support to replace the money we had lost, and therefore, at this stage, it is some gratification to all of us that the shareholders who had the courage to invest in difficult times, and who have gone on investing in this company, sometimes at what might appear to be very high prices, still placed their confidence in our ability to make commercial television broadcasting a success.

Our company has always believed in competition and the decision of the I.T.A. to limit our London broadcasting to weekends is far from our idea of true competition, but, at the time that broadcasting licences were given, we had no alternative but to accept. We believe we should have a competitive seven-day-a-week operation in London where there would be true competition between two commercial stations.

The Pilkington Committee

This brings me to the subject of the Pilkington Committee. This committee was set up by the Government to review the whole broadcasting position and to lay down recommendations for the future.

When the announcement of the formation of the Pilkington Committee was made, we immediately set up a study group to give expression to our own point of view and to give any help we could to the Committee, particularly with regard to the changes which had taken place from the technical and political points of view. Our study group reported that there would not be enough space in the existing television broadcasting bands to enable two competing commercial broadcasting stations to operate in all areas. This fact emerged without any regard to the claims the B.B.C., might make.

We therefore were at a loss to reconcile our belief in the necessity for the competition of a seven-day operation with the incontestable conclusion that there was not sufficient space in Bands I and III.

Your Board, ably supported by our technicians, has always held the point of view that broadcasting companies, commercial or otherwise, must give a lead in all matters of technical television progress. When we first obtained our concession we recognized that it was under technical standards which might have been satisfactory when Britain established the first television service in the world in 1936 but which today had become obsolete, and gradually we, together with others, would have to encourage scientific progress and the adoption of higher broadcasting standards. Our endeavours to deal with the dilemma of creating competition in the London area became the starting point of the proposals which we made to the Pilkington Committee on May 2.

The policy we put forward meant making considerable sacrifices and I am convinced that whether our proposals are actually adopted or not, something on their lines will figure in the recommendations of the Pilkington Committee:—

1. because our proposals are scientifically progressive;
2. our proposals demonstrate a progressive attitude on the part of a commercial television contractor offering to undertake a substantial material, technical and cultural responsibility at his own expense;
3. we offer a method of creating a spirit of competition between contractors;
4. we propose the adoption of new technical standards in line with the development in countries associated with the Eurovision system;
5. we would explore the use of equipment in a new part of the ether in order to make way for colour television and other services.

We confirmed to the Pilkington Committee that we accepted the recommendations of the Television Advisory Committee for the adoption of 625 lines as the British standard. In order to give effect to this we offered, on the days we were not broadcasting in London, to put out a new programme on 625 lines in the UHF band which would carry in addition one hour a day of 625 line colour broadcasting — all at our own expense. Surely this would be a great contribution, and something that would give encouragement to the scientists, the technicians, the script writers, the producers and all the many people who will benefit from an expansion of television broadcasting.

Six Years of Independent Television

When a completely new industry comes into being virtually overnight with the suddenness of commercial television, one of the great problems is that of staff.

Some people came over to us from the B.B.C. — by now some have gone back, this is a healthy interchange — and some, on the technical side, came from the electronics industry. Writers came to us from the newspaper and magazine worlds, and directors and producers joined us from the stage and the films. Thus we gathered together a body of experts in related activities, but, by and large, everybody had to make a fresh start and find the answers to a new set of problems in a new medium.

I remember an executive describing his excitement at joining commercial television and finding a desk with a sheet of blank paper on it — that was all — the rest was up to him.

It should be put on record that the efforts of the staff of our company have made the success of the business possible. Their intelligence, enthusiasm and long hours of gruelling work, often after the ordinary day’s work was done, were factors which not only gave great support to the Board but became the basis of our continuing progress.

I now come to the most important interest both to your Board of Directors and to the company as a whole.

When a television broadcasting station is started, everything centres around your audience. More than ever this was vitally important in the case of the establishment of the British commercial system.

A great battle had raged in the House of Commons about how commercial television would handle a potential audience. Everyone knew that Britain had established one of the finest broadcasting machines in the world — the B.B.C. — with enormous wealth, subsidized by licences, not answerable to the House of Commons, and with all the privileges which accrue to a state service. It was for the audience that had hitherto been served by the B.B.C. that commercial television had to compete, and this was the challenge which we took up. And now after six years of television broadcasting I say with confidence that we have discharged our responsibilities and we have given a service which can stand the most detailed examination.

And what else have we as a broadcasting company done? We have endeavoured, and to a great degree succeeded, in giving our public good entertainment. We all know that there is a small sector of intelligent people who think our programmes are bad because they give the public what they want to see and not what the intelligentsia think they ought to see. Television broadcasting is meant to be entertainment, and while we recognize that the standard of taste ot a great number of the viewers in this country could be higher, we feel it is essential not to get too far ahead of our public, but rather to lift, gradually, the quality of our programmes on a progressive basis.

Television in the Midlands

It is right to refer with emphasis to the importance of that half of our business which stands independently on its own feet as the Midland Television Broadcasting Station for five days a week.

Your Board from the outset has always considered the Midlands a self-contained organization and not an offshoot of a big operation based in London and has therefore appointed a Midlands Controller responsible for its operation.

The Midlands is a country all on its own, and with the new power from the Lichfield transmitter, 2,366,000 homes are covered nightly. Great towns like Leicester, Gloucester, Hereford, Shrewsbury, Stoke, Birmingham, Coventry, Walsall, Wolverhampton, Burton, Nottingham, Northampton, Worcester, West Bromwich, Dudley and many others are spread around in this independent-minded area.

In the South, viewers think of ATV as one of the two London Companies. In the Midlands, they regard ATV as one of the two Midland Companies. ATV is responsible for all the weekday programmes and to 5.4 million viewers in the Midlands, ATV is much more than a symbol on the television screen — it is an important and accepted feature of the Midland scene.

The Midlands programmes include many not seen on the London screen. Lunch Box, Britain’s first regular midday television programme, has now had an unbroken run of well over 1,000 performances. Each weekday in Midlands News (the first regional news programme on British television), the ATV News Unit brings to viewers an up-to-date account of local news and events in the Midlands, while the weekly events are reflected in Midland Montage. The documentary series Look Around features topics of interest ranging from the Severn Story to an investigation of witchcraft in the Cotswolds. The weekly programme Midland Farming not only informs farmers of the newest trends and techniques but instils in the town dweller a new respect for the countryman. New records in late-night viewing have been established by the weekly Midland Profile in which Midlanders tell their life stories. Other regular programmes include the highly popular Hook, Line and Sinker for anglers, features of interest to gardeners and special outside broadcasts of many kinds. A notable series of afternoon programmes has been presented from the famous Cordon Bleu Cookery School.

Last year ATV set up a special department for the development of its television service for Midlands schools, under the guidance of a distinguished education advisory committee. The first two series, French from France and Ici La France were produced by ATV entirely in France. They were first shown in the Midlands from January this year. From September these two series will be seen throughout the country, together with a new ATV series in mathematics. A further ATV schools series on chemistry will also be presented in the Midlands from the same date. These are just a few of the ways in which ATV is serving the Midlands of England.

The profits from this area have been most satisfactory. The standard of programmes has been high. The public has been enthusiastic about the entertainment; and our engineers have seen, by the establishment of a two-way television micro-wave link operating all through the day and night, that we have the closest communication between our two stations.

Profit and Loss Account

Now I will refer back to my opening remarks in this review and tell you about the profits for the year. You will see from the Consolidated Profit and Loss Account that the profit of the Group before taxation is £6,411,899 [£118.4m] as compared with £5,388,330 [£99.5m] for the previous year, an increase in excess of £1m [£18.5m]. This profit is after charging all expenses including depreciation. The provision for depreciation of £282,523 [£5.2m] shows an increase of £27,481 [£507,000] as compared with the previous year. It should be noted that directors’ fees and directors’ other emoluments are lower than in the previous year. Income from Trade Investments which forms part of your company’s profits, is £32,933 [£608,000] higher than last year.

From the profit mentioned above taxation absorbs £3,239,810 [£59.8m] and the profit attributable to outside shareholders in subsidiary companies is £25,037 [£462,000], leaving £3,147,052 [£58m] profit attributable to ATV.

After deducting the amounts retained in subsidiary companies of £84,348 [£1.6m] and adding the previous year’s unappropriated profit of £505,779 [£9.3m] there is £3,568,483 [£65.9m] available for appropriation.

From this figure has to be deducted the interim dividend of 20 per cent paid on January 24, 1961, leaving £2,998,858 [£55.4m] for disposal. In view of the results achieved during this period your directors recommend a final dividend of 40 per cent making 60 per cent for the year as compared with 50 per cent for the previous year. This increased dividend, if approved, will absorb £1,139,250 [£21m], leaving £1,859,608 [£34.3m] to be carried forward in the accounts of the parent company.

Consolidated Balance Sheet

Turning to the Consolidated Balance Sheet it should be noted that the accounts of our American subsidiary, Independent Television Corporation, have been included for the first time. This is reflected in the increase in goodwill, film rights, debtors, creditors and advances from bankers. The considerable increase in fixed assets is mainly due to the building of our new television centre at Elstree.

I feel that the item Trade Investments requires some explanation. Trade Investments have increased on account of additional investments in British Relay Wireless & Television Ltd. (mentioned elsewhere in the report) and in Canadian television and because of a revaluation of certain of our Australian assets. However, these increases have to a certain extent been offset by the removal of the investment in Independent Television Corporation, which has now become a subsidiary company.

The reduction in bank balances, deposits and cash in hand has been caused mainly by the construction of the Elstree Studios and by additional investment.

Bricks and Mortar

“Bricks and mortar” is the descriptive phrase the bankers use when they talk about the buildings on the asset side of a balance sheet. In a broadcasting service bricks and mortar come into your calculations at practically every turn.

In broadcasting you need big buildings and small buildings, buildings in this location and that location, and they are all part and parcel of your work.

If you try to centralize, too much time is wasted by important people travelling. Again, actors may be wanted for rehearsal at a moment’s notice and it is quite impossible to take them far from the location where they are appearing. Therefore, many buildings are necessary in many different places. Some, for instance, are wanted for quick rehearsals, some for storage for special materials, some for administrative offices near the seat of a particular operation. All of these buildings together with our centrepiece for production — Elstree — make up the pattern of our efficient ATV organization.

The Head Office building at ATV House, Great Cumberland Place, of 120,000sq. ft. houses the main administration, our sales organization, and also our subsidiary ITC. In the basement are recording studios for our associated company Pye Records, and a West End TV studio for special presentations and interviews with V.I.P.s.

When Elstree is fully completed the Wood Green Theatre, an ex live-variety theatre of 20,000 sq. ft. will still remain operational. There, shows like Startime and Saturday Spectacular, requiring audience participation are being produced.

Foley Street, in the West End of London of some 11,000 sq. ft. is the home of master control and is the switching centre.

With the growing importance of the Midlands we have outgrown our premises at Herbert House, Birmingham, and have taken a lease of the entire ground floor at Rutland House, a handsome new building in Edmund Street, Birmingham. Also in Birmingham we own and jointly operate with ABC the Aston Studios of some 22,500 sq. ft, where such popular shows as Lunch Box and all other local programmes are produced.

In Manchester we maintain an outpost so that our sales force can keep in contact there with agents and advertisers.

Finally, we have small but most important premises located at Hillcrest, Highgate, overlooking London, and a similar place in Birmingham where the signals are picked up and relayed to our master control centres.

Elstree Studios and our Technical Story

Many of the great television programmes of the future, not only on British screens but on screens all over the world, will show what will become a famous caption, “An Elstree Programme”.

We always planned, from the beginning of our contract with the Independent Television Authority, to have an imaginative yet highly functional group of buildings which would give the greatest possible scope to free enterprise television to create programmes of the highest quality.

Now, here at Elstree, on 31 acres, one can see this conception taking shape and, down to the last detail, the organization has been undertaken by our own executives. A team of experts has worked and striven for the last 18 months to take Elstree through its first stages, and engineers and production people have all contributed to achieve an outstanding result. Only people with great faith in the future of commercial television would have undertaken this vast operation. Now we are ready to give the best programmes to an expanding British television service; to give scope for their abilities to script-writers; to give producers and directors the last word in service, and to actors the best possible facilities.

Some of the techniques already developed by our engineers are being used by broadcasters as the basis for their operations in North America and the Commonwealth as well as in this country, and our new studios incorporate many new and valuable devices. In deciding the types of equipment to be used there were two major considerations — the need to allow for a probable change in line standard and the speed of technical advance. The electronics industry is developing new devices and components at such a rate that considerable imagination is needed to design equipment that will not be out-dated before it is built.

The new A.T.V. studios of 9,500 and 6,000 sq. ft. will accommodate not only the 625-line system but also the 525-line system of the United States and Canada. This is in keeping with our policy of creating a programme production centre, where the aim is to produce complete programmes which go out on wire, microwave links, video-tape or any other recording medium which may become available.

As far as equipment is concerned, ATV, here working closely with the Pye Group, has not only incorporated equipment which is unique and in advance of that used in any other studio but has adopted modular or “building brick” construction so that when improved components become available the “ building bricks ” can be replaced by pulling out a unit and plugging in a new and better one. Great emphasis has been placed on the use of transistors wherever possible and alt synchronizing signal generation, picture selection and switching is done by transistors. Transistors are commonly used in everyday devices such as portable radios, but their application to television transmission equipment and to apparatus that can accommodate 405, 525 and 625-line signals is quite new.

There are many significant new components being developed which permit the improvement and widen the scope of technical equipment. ATV’s development department, which is responsible for the design and construction of a large quantity of the new gear now installed has many developments to be introduced when the studio project has passed phase two at the end of this year. For example, the miniature transistorized microphone, used to very great effect on outside broadcasts such as the perenially popular Sunday Night at the London Palladium, is to be redesigned to give even better performance and a completely transistorized microwave equipment of small size and light weight is well advanced.

Developments are in hand on new methods of filming our programmes. While the bulk of recording being done in this country and in America is on video-tape, ATV engineers believe that the future for the interchange of programmes is in the use of a compatible medium such as 16mm film. The limitations on this system are being probed and new and radical techniques are being sought to improve the technical quality of recording.

The second pair of studios is well ahead and will go into operation this autumn. These two studios were planned to be identical with the first two, but within the the short space of time between the installations it has been possible to introduce even newer devices. These will make the studios even more efficient than the first Vauxhall site the company should have been forced to expand elsewhere.

In early 1962, the central technical area will be complete. It will contain all the switching and distribution equipment necessary to coordinate the activities of the first four studios — telecine, video-tape and film recording—and adequate space is being reserved for new developments.

It should be realized what an enormous apparatus, apart from the equipment and the manpower to operate it, is required to produce regularly the programmes which feed the 17in. and 21 in. TV screens of our viewers. At Elstree alone, some 350,000 sq. ft of built-up area are needed by ATV for this purpose.

In the television industry at least ten times the space is required for auxiliary and ancillary purposes as for the actual studio floor space. In consequence, each studio has technical and general control areas of between 12,000 and 15,000 sq. ft., and a technical facilities building exists of some 20,000 sq. ft. Also, we have a production facilities building of some 76,000 sq. ft. housing the carpenters’ shops which make our scenery, the painters who paint the backcloths and flats, and in the props department enormous quantities of used props that are stored for future use. At this moment a producers’ building is going up covering an area of some 82,000 sq. ft., which will house the producers, directors, production assistants, libraries, and provide 10 rehearsal rooms with a floor space of 17,000 sq. ft. So far we have been using 17 different rehearsal rooms spread all over London with a total floor area of some 20,000 sq. ft.

Wardrobe, make-up and dressing rooms take up another 20,000 sq. ft., and ATV is particularly proud of the dressing rooms provided for artists appearing at Elstree — there is even a separate “dressing room” for the performing animals which are often used.

In the transport building of some 41,000 sq. ft. are garaging facilities for ATV’s fleet of transport and outside broadcast vans, also modern workshops as well, where ATV manufactures a great deal of the equipment used in its studios. Finally, so that nobody has to go hungry, there is a canteen geared to serve food to 700 people at one sitting.

The fulfilment of the Elstree project has relieved one of the most pressing needs which had been facing the company. For its future needs the company had already obtained an option on a site at Vauxhall on the South Bank. Owing, however, to planning delays inherent in so centrally situated a site, the company was compelled to make immediate arrangements for the development of its own Elstree studio site. It is a significant indication of the growth of this industry that, while retaining the Vauxhall site the company should have been forced to expand elsewhere.

An Eye to the Future

Three factors condition our attitude towards trainees in the production and technical fields. The need to keep pace with a medium which is hungry for new blood, new ideas, new techniques. The need to train enough talent to provide a “bank” upon which we can draw for replacement. The need to look to the future and provide for the time when the creation of a new network or networks will inevitably result in a serious drain upon the existing talent and experience.

The pattern of training in both the production and technical fields is the same. Once the trainee has been chosen by the selection board, he is immediately put under the wing of a senior member, or members, of the department concerned. The method and length of his training varies from department to department; but, assuming that the right man is chosen, his initial training is designed to expose him as fully as possible to all facets of the business of mounting a television programme. Because this must be the end product it emphasizes an interesting feature in the selection of trainees. It would be safe to assume that the production department would be most concerned with the creative talent of a trainee, and the technical departments with his technical know-how. This is broadly true, of course, but television has had to breed a new body — the engineer with a creative and artistic flair and the creative artist with technical knowhow, and the ability to be aware of and use the facilities available to maximum effect

All training processes vary with the individual and, inevitably, the selection of trainees is much like taking a chance in a lottery. We cut down the odds as much as possible by ensuring that the selection boards comprise the most experienced men in the company. The training, however, can never be the same for each trainee. Some are slow starters and, in the early stages, do not fulfil the promise shown; some leap ahead and, much like the hare in the fable, outstrip their contemporaries. Some never make it at all. But all need patience, perseverance and understanding and in this business more than most others, temperament must be considered and foresight exercized if the full potential of a trainee is to be realized.

Initiative and ideas are the life-blood of television. To get the best out of those who work for us, a great deal of freedom of expression must be granted. Freedom here does not mean licence. It does mean discipline; a need for the individual to learn the rules, the grammar of his job, and to use all his creative and technical ability to express himself within those rules. Every facility open to his seniors is open to the trainee. The only limit to his acquisition of the necessary knowledge is the limit of his own ability to absorb and learn. We are proud of our trainees, and the system we use to train them. Our percentage of success is high, and there is ample evidence that this company, which started in 1955 with the cream of talent and experience available, is passing that know-how down to those who join us along the way.

Incorporated Television

Your wholly-owned subsidiary, ITC—Incorporated Television Company Ltd., is the biggest exporter of British television programmes. ITC is responsible for the production of films which are distributed in the Eastern Hemisphere, including the Iron Curtain countries, and supplies these films to our American subsidiary in the Western Hemisphere. ITC is already a familiar name on the network screens of the United States and Canada, not least through the conspicuous success of the series Danger Man starring Patrick McGoohan. ITC has produced over 1,600 half-hour programmes which have been sold throughout the world. Notable successes have included Robin Hood, Sir Lancelot, Buccaneers and The Invisible Man. It is not too much to say that ITC has contributed in large part to the country’s export drive and the earning of vital foreign currencies. ITC is currently engaged in the production of the series Sir Francis Drake, already sold to CBC in Canada and to the Australian Broadcasting Commission. This is being produced in association with ABC television. Also ITC is producing in conjunction with the Rank Organisation a new one-hour film series, Ghost Squad, already in release and the series has already been sold in the Canadian and Australian markets.

Australia

Every year we have further confirmation of how right was our judgment when we bought our interest in Australia a few years ago.

We have always realized the potential market of the television industry in Australia, and we had this in mind right from the first. Not only are we identified with one of the great radio networks in the Commonwealth, but we are partners in its expansion and in the extension of its reputation in Eastern and Southern Australia.

In addition to that, in so far as the Australian law permits us, we have entered the commercial television field in a substantial way through our organizations there.

Today, we have an investment in the following television broadcasting stations in Australia: Amalgamated Television, Sydney; Southern Television, Adelaide; Queensland Television, Brisbane; Canberra Television; Wollongong Television; Richmond-Tweed Television; Ballarat Television; and Country Television Services. We have no doubt that during the years to come, the same substantial development which our radio stations have achieved in the last 25 years lies in front of our television broadcasting operation.

In addition to ail this, Australia continues to expand as a market for our programmes from this country, and gradually the care and thought we have taken in sending to Australia the right programmes, is being reflected in the size of business we are doing.

Our North American Venture

One of the first plans our management had when we started to create programmes for our British audiences was to provide entertainment of a standard which would have a ready market overseas and particularly in the North American continent.

Here, we were conscious of the fact that the history of selling British entertainment in America has been fraught with difficulties, and in the case of the film industry – many failures. But we felt that to produce programmes of the quality that would sell to an American audience was a further spur to the competitive spirit which we believe is the basis of good broadcasting. We very quickly learnt that just to send somebody to the United States to sell programmes, without having an efficient and well-directed organization was merely a waste of time. For this reason, therefore, we decided some years ago to buy a half interest in a substantial American corporation — Independent Television Corporation.

In the light of experience we decided that if the operation of the American company was to be truly effective in your company’s interests nothing less than complete control would suffice. For that reason, as we reported last year, we bought the other half of the Independent Television Corporation. Having acquired control, we took steps to strengthen the management and reduce the overheads. We are now able to report that these steps have been successful and the operational period to April 30, 1961, has been a profitable one. We would congratulate our American management on their success.

The success of our American company depends on the quality and the amount of the films which the Incorporated Television company is able to make available. In the past, this vital supply was Insufficient, The measures which are being taken and which I have described to you should assure the supply for the future.

This will include Whiplash, Sir Francis Drake, Ghost Squad and Supercar with three more film series being prepared for production before the end of 1961.

Also on the American continent, we have continued to develop our interests in Canada by investing iq radio and television. Our Canadian subsidiary is Canastel Broadcasting Corporation Ltd. and this company now has interests in CJCH, the Halifax, Nova Scotia, commercial radio and television station, and in Vantel Broadcasting Company Ltd., the Vancouver commercial television station. Your board has other plans for developing the company’s interests both in the networking of programmes and in local stations.

The Link with Moscow

This year your company was responsible for providing “live” programme exchanges with the Soviet Union, and was the first to send back coverage of events in Moscow produced jointly between ATV’s production personnel and Soviet Union crews and technicians. The opening of the British Trade Fair in Moscow, at which Mr. Krushchev and many members of the Soviet Praesidium were present, was transmitted live from Moscow; the video-tape recording of the first programme from the Bolshoi Theatre to be seen outside Russia, and an outside broadcast video-tape recorded documentary on the Moscow scene have already been seen by our viewers.

Talks have taken place in Moscow with the USSR television organization and many more programme exchanges are planned for the future.

Gorki Street, USSR, a series of six programmes showing life in the Soviet Union, a programme series similar to the successful Main Street, USA, is in the planning stage, and in this series we will go to all parts of Russia, into the agricultural lands, into the industrial areas, as well as seeing life in the smaller towns.

An exchange of language programmes is being discussed similar to those already being produced in France for schools, and a joint production with Soviet television on the peaceful use of the atom involving both British and Soviet scientists is also in the early stages of planning.

Future plans covering programme exchanges with the Soviet Union include song and dance festivals and broadcasts from the Bolshoi and other famous Russian theatres.

British Relay Wireless & Television

Three years ago we took up half a million pounds worth of convertible loan stock in this company and, as this stock is on the point of being converted into ordinary shares, it is right that reference should now be made to this investment. Since we took up the loan stock, we have taken advantage of our rights to take up shares as if we had been ordinary shareholders in the company. The situation is that, when our stock is converted, we will hold 2,216,025 ordinary shares in the company.

This investment is very closely allied to our interests as television contractors to the Independent Television Authority. BRW & T is a company which was originally started as a radio relay organization and, some 10 years ago, it was amalgamated with the first television relay company in the country, the Link Sound and Vision company, who had an operation working in Gloucester. Gradually the field of operations of the company has expanded and, today, serves 17 metropolitan boroughs in London, has networks covering extensive areas of the West Midlands and Yorkshire and has recently extended its activities into Scotland.

Among the towns served are Ipswich, Peterborough and Corby; Smethwick and Oldbury and adjacent places; Leeds, Sheffield, Bradford, Halifax, Huddersfield and intervening and neighbouring townships.

In Scotland networks have already been established in the principal border towns and in Dundee, while concessions have recently been secured for the operation of relay services in Ayr, Kilmarnock, Cumnock and Irvine in the west.

We recognize that, in a relay business, a substantial amount of capital has to be spent in putting down miles and miles of cable to cover the areas where valuable concessions have been secured. These cables, the terminal units and the station equipment which are concerned with the installation, have to be depreciated; and it is only when the bulk of the depreciation has been written off that the profitability of the undertaking becomes apparent. We believe this is the case with BRW & T. In addition, we are confident that the system, on which both sound and vision services are provided, is the best system that has yet been put into use.

With the possibility of a Pay-as-You-View television service becoming available in Great Britain, we are convinced that it is networks like BRW & T which stand in a most prominent position to derive the greatest advantage from such a service.

In addition, as we have said earlier in our Report, British television has technically to advance, and the networks controlled by BRW & T, with the minimum amount of alteration, can take the 625-line system which is generally anticipated and provide subscribers with the benefits of colour television as well.

Planned Music Ltd.

It is now over three years since we started this important subsidiary operation with the purpose of exploiting in the British Isles and certain other countries in the world the American form of background music called Muzak.

The essential difference between the use of normally recorded music and Muzak is that music as usually performed relies for part of its effect upon great changes of amplitude, or loudness, but in the case of Muzak, the character of the original work is preserved by suitable transcription in a form which is performed without great changes of amplitude, and this results in the music being conveyed to the listener without him suffering or being inconvenienced by very loud or very soft passages.

At first there was resistance to this new amenity in business and commercial life. With so many opportunities nowadays of demonstrating Muzak in operation this resistance is vanishing. There has remained, however, the difficulty of the shortage of certain Post Office lines. In consequence, rather than stand still, Muzak has gone into some territories before the development of the service has made them, in an economic sense, fully ripe.

In America, the market for background music is enormous. Muzak is a multimillion dollar business, and has more than 60 per cent of the market. Background music has become part of life practically everywhere — in offices, factories, banks, shops, restaurants, airport lounges, trains, hospitals, and many other places. Characteristically, this development has not been so early or so rapid in this country. We now estimate, however, that over one million people are regular listeners to a Muzak service in England which shows a good rate of growth in a steadily expanding market.

The aim of Muzak is to make life more pleasant; the influence of music is subtle, it relaxes tensions, helps people to be cheerful, imparts a rhythm and a swing to a task and an interest to an enforced wait.

Over the years, a library of many thousands of recordings for Muzak has been built up. This is a priceless asset as it enables us to give a very much wider choice and scope for endless variation to users of the service. This library is constantly growing as new music becomes available.

During this year, the extension of the services of the Muzak organization on a regional basis has continued and national coverage has now been attained in England. Regional offices exist in London, Reading, Bristol, Birmingham, Manchester and Newcastle. Local and intensified development of the service continues in the main provincial centres. In addition, Travel Muzak is a new service now being supplied to airline operators and shipping companies.

A new company. Planned Equipment Ltd., has also been set up to handle public address and sound engineering services, including Audiomatic equipment. This is a machine which provides information in a number of different languages for foreign visitors to exhibitions. Our machines were a success at the British Trade Fair in Moscow and shareholders will be able to try one for themselves at this year’s Motor Show, where several wiil be installed.

Golden Guinea — and other Discs

In 1960-61 Pye Records Ltd., of which we own 50 per cent, had a year of continued expansion.

The record industry throughout the world has been passing through a period of change and experimentation. On the technical side we have seen the change from the old 78 r.p.m. shellac record to the modern long-player and more recently the development of the stereophonic record. Exciting as these changes have been, they have led to even more exciting developments in marketing techniques.

It was with the introduction of microgroove records 12 years ago that the “repertoire explosion” began. Suddenly, performances could be recorded and heard as never before. The parallel development of gramophone equipment which could do justice to these new recording techniques helped to accelerate the growth of public interest and new recordings were made and issued in ever increasing numbers. For a time the size of the market increased faster than the rate of increase in available recordings, but over the last few years it has become apparent that the industry is overproducing new products, resulting in a smaller sale of each production and a downwards squeeze on profits.

This has led the major companies, principally in the United States, to seek new and better ways of marketing their labels. We have seen there the development of low-priced mass-market labels as a means of producing business which places little reliance on the star quality of individual artists. We have seen in America, too, the sale of records through drug stores, supermarkets, and other outlets, and the development of record clubs run on similar lines to the book clubs.

This is not to say that our record business discounts in any way the value of and need for the established distribution pattern in this country. This is, after all, the backbone of the business; but if the industry is not to stagnate in the next few years new techniques must come, to be used intelligently and in such a way that all levels, i.e., manufacturer, distributor, and retailer, benefit from the overall increase in activity.

Last year was the first full year of direct to dealer trading, now developed so far that every important record retailer in the country is regularly visited, helped, and advised by our records van-man. The light blue vans with the Golden Guinea lettering are a familiar sight in every city and major town of the country.

Golden Guinea family-priced long playing records too are nationally known as the only range of records that give entertainment to all the family. One outstanding issue during the year on this label was the special presentation set of Handel’s Messiah on three records issued for Christmas.

In pops too our artists topped the popularity polls. Sales of their records continued to climb and this label now boasts one of the strongest line-ups of British recording artists in the country.

In Conclusion

In the foregoing I have sought to set out in more detail than in previous years the manifold nature of your company’s activities. In doing so I have paid tribute to the services rendered by the Directors and by our immensely able and devoted staff. I look forward to another year of progress in programme achievement, technical achievement and export achievement.

The post ATV financial results: 1961 appeared first on THIS IS ATV NETWORK from Transdiffusion.

A Memorable Year Yielding Eminently Satisfactory Financial Results

SUCCESS OF BOARD’S DIVERSIFICATION POLICY

The Industry’s Growth Continues

MR. PRINCE LITTLER’S REVIEW OF ACTIVITIES

The Fifth Annual General Meeting of Associated Television Limited will be held at A.T.V. House, Great Cumberland Place. London, W.1, on 28th September 1960.

The following is the statement by the chairman, Mr. Prince Littler, C.B.E.. which has been circulated with the report and accounts:-

The year under review has proved to be a memorable one and has yielded eminently satisfactory financial results.

The proposed dividend means that the Company will have maintained its dividend at the equivalent of 100%, bearing in mind that the capital of the Company was doubled during the course of the past financial year.

Board’s Policy

The principal business of your Company is that of a Programme Contractor licensed by the Independent Television Authority to trade in London and the Midlands, and it is primarily upon this trading that these excellent results have been achieved. It has, however, from the inception of the Company, been the policy of the Board to make investments in allied fields both at home and abroad and, in consequence of this policy, the resources of your Company are now more strongly diversified than any time since it commenced trading.

Developments overseas have proved particularly gratifying in Australia and in Canada. It should, moreover, be noted that in the USA, your Company has recently acquired full control of the Independent Television Corporation of America.

The diversified interests at home are highly encouraging and include the operation of the Muzak franchise, a 50% interest in Pye Records and a substantial and most profitable investment in British Relay Wireless. All these developments will be reported in detail later in this statement.

Success of Consolidation Policy

Your Company has been actively trading for some years. The period of licence from the Independent Television Authority extends until July 1964 and your Board has, with conspicuous success, sought to consolidate the Company’s position as the only major seven-day-a-week Company operating under licence from the Authority.

At the outset of operations your Managing Director, Mr. Val Parnell, and his Deputy Managing Director, Mr. Lew Grade, resisted the pressures put upon them to equip large studios and to build large offices. The volume of programming both for ATV’s own domestic purposes and for the Independent Network as a whole has, however, necessitated a plan of expansion, carefully phased over the past and current years. Your Company has therefore purchased the important riverside site at Vauxhall. Moreover, the Company has proceeded to enlarge its Elstree Studios in order to meet the steadily increasing commitments of live, tape and film production for home and overseas television as a whole.

New Headquarters

During the past year the headquarters of Associated Television Limited have been moved from Television House, Kingsway, to an island site office block in Great Cumberland Place, W.1. The effect of this move has been beneficial to the Staff, and has resulted in a marked increase in inter-departmental efficiency.

The financial results reflect the confidence expressed by your Board in December 1959 when an interim dividend of 8s. per share, less income tax, was declared on the Ordinary Shares of £1 each, and 2s, per share, less income tax, on the ‘A’ Ordinary Stock Units of 5s. each.

Bonus Issue Approved

At an Extraordinary General Meeting held on the 21st January 1960 the shareholders passed a resolution, submitted by your Directors, for the capitalisation of £2,325,000 [£44.3m in today’s money allowing for inflation – Ed] of reserves by the issue of 9,300,000 ‘A’ Ordinary Shares of 5s, each, credited as fully paid, to the holders of the then existing issued share capital in the proportion of four new shares for each existing Ordinary Share of £1 each and one new share for every existing ‘A’ Ordinary Stock Unit of 5s, each. The new shares, on issue, were converted into ‘A’ Ordinary Stock Units of 5s, each.

Profits & Dividends

The Group profit before taxation for the year ended 30th April 1960 amounted to £5,388,330 [£102.6m] as compared with £5,316,493 [£101.3m] in the previous year. Taxation takes £2,711,820 [£51.65m] as against £2,715,076 [£51.72m]. The Group net profit is £2,676,510 [£51m] of which £1,031 [£19,600] is attributable to outside shareholders of subsidiaries leaving a profit attributable to the Parent Company of £2,675,479 [£50.96m] as against £2,601,048 [£49.54m] last year. The subsidiary companies retain £76,852 [£1.5m] leaving £2,598,627 [£49.5m] to be dealt with in the accounts of the Parent Company. To this amount must be added £1,711,215 [£32.6m], the balance brought forward from the previous year, and £445,000 [£8.5m] transferred from General Reserve – making a total of £4,754,842 [£90.6m] before appropriations. Your Directors propose recommend a final dividend of 6/- per share on the Ordinary Shares of £1 each and 1/6 per share on the ‘A’ Ordinary Stock Units of 5/- each. The interim dividend already paid and the proposed final dividend absorb £1,424,063 [£27m]. After deducting this amount, together with the sum of £2,325,000 [£44.3m] involved in the capitalisation effected in January and a transfer of £500,000 [£9.5m] to Investment Reserve, there is a balance of £505,779 [£9.6m] to be carried forward in the accounts of the Parent Company.

The accounts include provision for the distribution of £264,171 [£5m] for the Staff Profit-Sharing Scheme.

Home Investments

In the field of your Company’s home investments, it should be recorded that during the year British Relay Wireless and Television Limited made a bonus issue of one 5/- Ordinary Share for two 5/- Ordinary Shares. From this issue you Company obtained 134,000 new 5/- Ordinary Shares by way of capitalisation and the Conversion Right attached to your Company’s holding of £500,000 [£9.5m] 7% Convertible Unsecured Loan Stock 1967-1968 was increased from 184 to 201 shares for each £100 of stock. In March 1960 British Relay Wireless and Television Limited made a rights issue of two new 5/- Ordinary Shares for five 5/- Ordinary Shares and your Company subscribed for 562,800 new Ordinary Shares of 5 at 19/- each, which was its entitlement in respect of its shareholding and under the terms of the Loan Stock Trust Deed. The Stock is convertible on the 30th September 1961. The shares to which your Company would become entitled on conversion would, if there is no change in the present market price, have a value of approximately £1,100,000 [£21m]. British Relay Wireless and Television Limited has recently made a major extension in the Glasgow area and your Board remains confident that this investment will continue to grow.

New Franchise Acquisition

The subsidiary company which handles the sale of Muzak is developing most satisfactorily and a wide range of customers, including Banks, Hospitals, Hotels and Factories as well as Supermarkets, Restaurants and Shops, are installing this service. In the course of the current year operations have been extended to Birmingham and will shortly be followed by similar expansion in Manchester. In this connection shareholders will be interested to learn that we have acquired the Muzak franchise for Australia and New Zealand and it is felt that there is great opportunity for development of a background music service in this area.

Pye Records, in which your Company has a 50% interest, has been largely reorganised and the new plan of direct distribution to retailers has proved an outstanding success. This, together with the excellent reception given to the ‘Golden Guinea’ records, has had a marked effect upon the gramophone industry as a whole.

Your Group’s British production subsidiary ITC-Incorporated Television Company Limited continues to make good progress, During the past year the number of commercial television stations throughout the world has more than doubled and we are now actively selling programmes in a continually expanding market. The series ‘Danger Man,’ which is still under production Elstree, has been sold over the full Canadian network at a price higher than that previously paid for any similar series. Further series and pilot films are in the planning stage and will shortly commence production.

Overseas Investments

As regards investments overseas in the USA, Independent Television Corporation Inc., which, as at 30th April 1960, we held a 50% participation, has continued to handle the distribution of your Company’s film productions and has achieved a turnover of close to $10,000,000 [$103m]. During most of the period under review conditions have been particularly difficult, largely because of the increasing tendency by the three major television networks to assume an attitude of inflexibility towards programmes proposed by the independent producing companies. Recently, however, there have been signs of a slight improvement in business generally and your Board remains of the opinion that it is vital for the Group to have a direct outlet to the American market.

Since the end of the financial period under review we have purchased the balance of the share capital of Independent Television Corporation Inc. at a price which your Board regards as satisfactory. Having acquired control of the company we have taken steps to strengthen the management and to reduce the overheads of the operation and are confident that in time, and with adequate product available for distribution, this company should prove profitable to the Group. Nevertheless, in view of present uncertainties, you will see that your Board, as a measure of prudence, has set aside in the accounts before you a sum of £500,000 [£9.5m] to Investment Reserve.

In Canada your Company has purchased 25% (the maximum permitted under Canadian law for non-Canadian investors) of CJCH – the Halifax, Nova Scotia, radio station which has been awarded the licence for independent commercial television in that area.

The diversified interests of your wholly owned Australian subsidiary continue to prosper. Commercial radio in general is maintaining its level of profit and commercial television is expanding rapidly. The Sydney Commercial Television Station showing increasing profits and the Queensland and Adelaide Stations are rapidly advancing to profit-making stage. Altogether the Group’s television investments in Australia, which have a book value of nearly £250,000 [£4.8m], have grown in value to a sum greatly in excess of the amount invested. Since the end of the financial period under review ATV (Australia) Pty. Limited has sold the Artransa studios and the film production side of the business to Station ATN, the Sydney Commercial Television Company, in which we hold 9.7% of the share capital. We have retained the profitable radio transcription side of the business.

Level of Acceptability

All these investments business at home and it should ancillary to the Company’s main be recognised that the success of forward in the accounts of the any independent television company must depend upon the degree of popular acceptance of its those programmes by those members of the British public whom it serves. Here, it is noteworthy to add that during the calendar year January to December 1959 the level of acceptability in London (where the weekday programmes are provided by another company) has been 69% against the BBC’s 31%, whereas in the Midlands (where Associated Television Limited has the five-day operation) during the same period the level of acceptability has been 74%, against the BBC’s 26%.

Documentary and Religious Programmes

Despite the fact that such popular productions as Mr. Val Parnell’s ‘Sunday Night at the London Palladium’ have continued to occupy a high place in the ‘Top Ten,’ your Company has been responsible also for such serious documentary programmes as ‘We Dissent’; ‘The Western’ – an enquiry into the popularity of Western films; a medical programme, ‘Fear Begins at 40’: ‘The Art of Architecture’; the series of five lectures by Sir Kenneth Clark on ‘Revolutionary Painters’; the lectures on British Prime Ministers by Dr. A. J. P. Taylor; and the ‘Right to Reply’ series in which Mr. William Clark interviewed among others, Mr. Selwyn Lloyd. Mr. Hugh Gaitskell, the late Aneurin Bevan, Father Trevor Huddleston, M. Jacques Soustelle, M. Hammarskjöld, the late John Foster Dulles, Mr. Krishna Menon, Mr. Henry Cabot Lodge, Mr. Paul Hoffman, and Mr. Norman Manley, Prime Minister of Jamaica.

It will be remembered that Associated Television Limited was the first company to introduce regular religious programmes in Sunday television and those who took part during the past year included their Graces the Archbishops of Canterbury and York, the Bishops of Kensington, Lincoln, Manchester, Woolwich and Bedford, the Roman Catholic Archbishop of Liverpool, Dr. Heenan, Dr. Donald Soper and Lord Woolton.

Notable Achievements

Notable also have been those series which, while serious in content, have nevertheless secured maximum audiences. The series ‘Emergency – Ward 10’ has throughout the greater part of the year played to a weekly audience in excess of 20 million viewers. The new series ‘Probation Officer’ has proved equally successful and has earned wide praise from social workers and the Church alike.

Among British companies, your own Company has maintained its lead in the field of international television film production. In addition to such series as ‘Four Just Men’ and ‘Danger Man,’ produced in this country, the Company is just completing a series, ‘Whiplash,’ in Australia.

Company’s Major Role

Your Company has continued to play a major part in the independent television industry itself. Your Deputy Chairman, Mr. Norman Collins, has for the past year acted as Chairman of the Independent Television Companies Association and is currently also the Chairman of Independent Television News Limited, the company which provides the news bulletins for all stations. Mr. James Drummond, the Financial Director of your Company has for the past year acted Chairman of the General Purposes Committee of the Independent Television Companies Association. Mr. Bill Ward, Productions Controller of your Company, is the current Chairman of the Society of Film and Television Arts and I am pleased to place on record that he is the recipient of the Award of the Guild of Television Producers and Screenwriters for the best Light Entertainment Producer of 1959.

The Industry’s Growth

The television industry as a whole continues to grow and it is pleasing to note that during the year under review the ITA has appointed new companies to serve East Anglia and Northern Ireland and has erected a satellite station to give coverage to the Dover area.

By April 1960, 47,578,000 viewers were within reach of programmes broadcast from the ITA transmitters and the average total peak viewing audience for independent television is now over 13,000,000, compared with the BBC’s 5,500,000, as measured by TAM in homes with a choice of programmes.

Your Company’s operations have from the outset been divided between London and the English Midlands and the proportion of locally produced programmes in the Midlands is higher than that of any other independent company.

Your Company, nevertheless, continues to feel that an uninterrupted seven-day-a-week operation in any one area is calculated to provide the most satisfactory service to viewers, and your Company again places on record the fact that, in the public interest, it would welcome the introduction of new stations providing alternative services, so that genuine competition could be assured.

Relations with the Independent Television Authority, under its Chairman Sir Ivone Kirkpatrick, G.C.B., G.C.M.G., have been most closely maintained and I would like to express the gratitude of your Board and more particularly of the Executive Directors for the unfailing service rendered by the officers of the Authority at all levels

Tribute to Management and Staff

As in other years I would, as Chairman, like to pay tribute to the services rendered by the Management. Your Company’s Managing Director, Mr. Val Parnell, and your Deputy Managing Director, Mr. Lew Grade, have continued not only to shoulder the heavy responsibility of the manifold interests of the Company but have added to their other duties by arduous business missions abroad. In addition, non-Executive Directors have continued to render most valuable services to the Company. They have given generously of their time and I would like to express my thanks to them.

Finally, I am happy to report that the Staff in all departments continue to reveal all those characteristics of enthusiasm which have served to build up the Company and I am sure the shareholders will wish to join me in thanking them for their loyal services rendered during the past year. It is gratifying that the Staff Profit-Sharing Scheme again enables the Company to show its appreciation of their efforts.

The post ATV financial results: 1960 appeared first on THIS IS ATV NETWORK from Transdiffusion.

One of the most outstanding recent successes in television programme-making is ATV’s The Muppet Show which delighted viewers for the first time in the autumn of 1976. Kermit and company took over the television screens at about 5p.m. on Sunday afternoon and the team of puppet characters succeeded in waking up dad from his afternoon nap and keeping mum from making the tea in order to join the children for 30 minutes of the zaniest, wittiest, most endearing comedy show in years.

Within two-and-a-half months the time slot which had been attracting six million viewers had an audience of over twelve million. Now into its second series The Muppet Show has become a cult and looks like remaining an integral part of our viewing habits for some time to come.

But how did it all begin? The Muppets – their name derived from the combination of marionette and puppet – were created by Jim Henson, who featured Kermit and some other Muppet characters in the children’s educational programme Sesame Street. Lord Grade of ATV, who showed a great interest in the series, invited some of the Muppets to appear in two or three major television specials being made at ATV’s Borehamwood studios. These programmes, which included Julie on Sesame Street (Julie Andrews), Herb Alpert and the T J B and Julie – My Favourite Things, were so effective that Lord Grade invited Jim Henson to make a series of shows designed for family viewing.

Jim Henson was delighted; for several years he had been trying to get the American television networks to back him for a similar idea but nobody in the USA was willing to make the show. Lord Grade then did the inevitable. He sold the show back to America where it has become as big a hit as in Britain.

But without the creative genius of Jim Henson and his team nothing would have been possible. Jim Henson, aged 41, was born in Mississippi and made his first Muppet (Kermit) 22 years ago. Needless to say there have been several Kermits rebuilt since, plus over 300 other characters created over the years. Jim has an extremely talented team around him which consists of puppet builders and designers, writers, and of course the puppeteers. Where Jim goes, they go! Therefore the entire unit moved to Britain and set up its work shop off the main studio at ATV’s Borehamwood studios, and that became ‘home’.

The production team is, of course, British, headed by two directors – Peter Harris, who did the entire first series, and Philip Casson who is an additional director for this second series. Jack Parnell and his Band provides the marvellous Muppet music, and David Chandler, Paul Dean and Bryan Holgate are the designers.

The British crew and Jim Henson’s team in no time developed a very warm working relationship and admiration for each other and rarely has there been such a compatible or happier unit on any production.

The technique of making the show and operating the puppets has created as much interest for viewers and the industry as the show itself. Every set is built at least four feet above floor level and the cameras work at an average height of seven feet. The sets are built to a two-thirds scale suitable to accommodate the human guests as well as the puppet characters which vary in size from eighteen inches [45cm] to two feet [61cm] (giant Muppets can tower fourteen feet [4.25m]).

The puppeteers are all at least six feet tall [1.8m] and very slim. They wear head bands with microphones attached and have a small monitor TV set in front of them. This enables them to synchronise the dialogue with the mouth, eyes and arms, and gauge the puppets’ expressions and movements. The puppeteers operate the puppets by hand, above their heads – an extremely strenuous and shoulder-aching pastime!

The puppeteers are performers. They have to be actors, comedians, singers, voice impersonators and even have a good sense of rhythm or know a little about music. For instance the ‘At the Dance’ sequence and the synchronisation of Animal on the drums and Rowlf at the piano must be perfectly timed. No wonder Jim Henson looks on auditions for new puppeteers as a formidable task. Fortunately, however, his current team of performers: Frank Oz (Fozzie Bear, Miss Piggy, Animal), Jerry Nelson (Floyd, Crazy Harry, Uncle Deadly, Robin), Richard Hunt (Scooter, Mr Statler, Sweetums, Thog), and Dave Goelz (The Great Gonzo, Zoot and various guest characters) have been with him for a few years. Incidentally, Jim’s own main characters are Kermit, Mr Waldorf, Rowlf, Dr Teeth and Mahnamahna.

Part of the attraction of the Muppets is that they all have very individual characters and often display recognisable human frailties and emotions. It is quite common in rehearsal or during a break between camera ‘takes’ for the Muppets to talk and joke with each other, and if the floor manager gives a direction to a puppeteer he is not surprised when it is the Muppet on the end of the puppeteer’s arm that comes back with the response.

The strength of The Muppet Show’s success can be further assessed by awards the show has received during 1977. In January the American Guild of Variety Artistes presented the special Georgie award for the ‘Best Special Attraction – 1976′. In March the British Academy of Film and Television Arts cited the show ‘Best Light Entertainment Programme – 1976’. In April The Broadcasting Press Guild voted the show ‘Best Comedy or Light Entertainment Programme’ for 1976 and in May the show won the most prestigious of all international awards for Light Entertainment, the Golden Rose of Montreux in Switzerland. Also in May, the Pye Colour Television Awards voted Kermit the Frog ‘Most Promising Male Newcomer’.

The series has now been sold to over 100 markets throughout the world and has an audience of hundreds of millions. It is dubbed into five languages: French, German, Spanish, Italian and Portuguese.

This is the story behind The Muppet Show to date, but doubtless more awards, more record successes (the first Muppet LP reached No. 1) will be forthcoming to reflect the quality and popularity of this truly original show.

The post The making of the Muppets appeared first on THIS IS ATV NETWORK from Transdiffusion.

Your television subsidiary, ATV Network Ltd, commenced its new contract with the Independent Television Authority on the 30th July 1968. The results for this past year have therefore included approximately four months of the old licence period when the company operated partly in the Midlands and partly in the London area, and eight months of the new licence period when our operation was for all seven days of the week in the Midlands.

The Board of this subsidiary company was reconstituted during the year and two very distinguished figures with widespread involvement in the life of the Midlands accepted our invitation to become directors. Dame Isabel Graham Bryce had retired some two years previously as a Member of the ITA. She has, thus, a detailed knowledge of the working of IndependentTelevision and clear views about its future development and its responsibility in each region of the country. In addition, her work as Chairman of the East Midlands Hospital Board and in many other fields of social work in the Midlands, gives ATV Network a new strength.

Sir George Farmer is Chairman of the Rover Car Company and brings to your Board a lifetime of experience from the exceptionally competitive British engineering industry. He is also a Director of the great British Leyland Motor Corporation, and his knowledge of modern industrial practices, of labour relations work and marketing, including the vital export field, will be an immense benefit to the Company. Sir George’s interests also include his Chairmanship of the Royal Shakespeare Theatre and Pro-Chancellorship of Birmingham University.

In addition, Mr Leonard Mathews, the General Manager in the Midlands, was elected a Director during the year. We welcome all three.

The repercussions of the Independent Television Authority’s decision to change the structure of the industry have been both profound and disturbing.

A very great deal of time has been involved, both in internal reorganisation of ATV Network, and also in arriving at new networking and other arrangements for the exchange of programmes between the various companies for the new licence period.

A new contractor was brought into the group of companies which supply the network with most of its programmes. Thus five companies were called upon to make the same number of programmes as four did previously-with a commensurate rise in everyone’s costs. In the initial months of the new licence period ATV Network, therefore, found itself with a reduction in total output.

Subsequent network re-scheduling resulted in a sudden considerable increase in the total output required from ATV’s studios. This produced a most difficult and continuing problem for our staff at Elstree and Birmingham.

Television Levy

The increase in the Levy announced in the Chancellor’s Budget speech came like a bombshell. It is quite clear that a major miscalculation has been made. The financial viability of ITV had been drastically altered as a result of the redistribution of licences and the past decisions of the Government to change the line standard from 405 to 625, and to introduce colour. These decisions, together with the requirement for new Midland studios, created an additional capital requirement, which will amount to about £7 millions in ATV Network alone. Your Board had come to the conclusion before the Budget that every effort should be made to impress upon the Chancellor that the Levy should be reduced.

We have made representations and will continue to press the Government with the utmost vigour to make a very substantial reduction in the Levy.

Staff relations

Almost immediately following the change of licence last summer, the industry was subjected to a major and quite unnecessary national strike by its ACTT members. This strike was created partly by the lack of confidence within the industry as a result of the licence change. Only after the industry had suffered considerable losses was it possible to return to the ordinary negotiating machinery and ultimately find a solution.

Concurrently with the negotiations with ACTT, the industry reached new agreements with its other major Unions – NATKE, ETU, NUJ and Equity. It is well worth mentioning that the new agreement reached with Equity was extremely complex but was negotiated with great goodwill, with each side adjusting its position so that benefits could flow to both.

It is the earnest hope of your Board and the Board of ATV Network, that a new basis of sound relations has been created within the company for the future. Short term productivity agreements were reached both at our Elstree studios and at Birmingham to cover our present production activities. We have now asked each of the main Unions to negotiate with us long term productivity deals protecting both their individual interests and your company’s throughout the remaining five years of the present television licence. We have been pleased with the initial response from the Unions to these proposals. They are now under detailed negotiation but we will need the full understanding of our Union employees that the only way the company can afford to pay additional wages beyond the exceptionally high levels which already apply in this industry is in return for further direct calculable improvements in individual productivity.

New Midland Studios

We are well pleased with the progress in completing our new television studios at Paradise Centre in Birmingham. Both our architects and the equipment manufacturers have worked well with us to ensure that the new studios will be available for transmissions from the target date next month.

By the early part of 1970 all parts of the Paradise Centre Television Studios will be fully operational.

Programmes

The centre of ATV Network’s activities is in its programmes. In spite of the many difficulties of the past year, ATV has once again produced a wide range of programmes of all types. Some of the highlights of the past year are shown on page 13.

There have been indications of a reduction in the total amount of viewing for television programmes. The largest proportion of the decline has fallen to BBC programming in spite of its control of two channels and monopoly of free advertising for its television programmes on BBC radio – a very great advantage which BBC Television enjoys. In the last six months, ATV Network’s proportion of the total television audience has risen substantially, and now stands at approximately 56%, with BBC1 and BBC2 combined having 44%.

ATV Network’s Educational Advisory Committee has been reconstituted under the Chairmanship of Professor Ronald Maudsley.

ITN

Like the rest of the industry ITN must operate on the 625 line system and in colour later this year. ITN’s Board therefore had no alternative but to agree plans for the building of a new ITN Studio Centre in London. These studios when equipped will cost about £1.5 million and represent a further large but unavoidable capital outlay for the industry. There will also be higher running costs when programming is in colour.

We were delighted to hear that Her Majesty The Queen and His Royal Highness, the Duke of Edinburgh, have agreed to honour the industry by making the official opening of these studios in November.

UN’s major news programme, ‘News at Ten’, continues to appear regularly in the Top 20 charts and draws widespread international acclaim.

Your Managing Director, Mr Robin Gill, became the Chairman of ITN during the year.

Viewing Hours

Last Autumn the Government allowed a tiny extension in the hours of broadcasting available to the BBC and ITV. We were grateful for this first indication that our long-standing request for the complete removal of all restrictions on the hours of broadcasting might yet be brought about.

We do most earnestly recommend that this restriction should be removed. It is wholly out of date and against the interests of the viewer. There are significant minority and other groups in the population who cannot be reached so long as such restrictions continue to apply.

TV Times

The year saw the unhappy closing of our very successful Midland magazine TV World. This came about as a result of the ITA’s new policy, which required all companies to use one programme magazine for the whole country.

The new national magazine was a re-creation of the TV Times. This new project involved heavy pre-operational charges, and it has taken a very considerable time to produce a continuing trading profit from the venture.

EVR (Electronic Video Recording)

ATV Network continues to keep a careful watch on the many technological developments within the television and electronic industries.

One of the most promising of these developments is a process for playing cassetted programmes through your home television set. This system is called EVR and we are pleased that the first full programme produced for this new system will be one of ATV’s.

Some of ATV Network’s programmes in the past year

Plays
‘Macneil, Cornelius and Emlyn’ a trilogy by Alun Owen shown in world markets as ‘Male of The Species’*, ‘A Heritage and its History’ adapted from novel by Ivy Compton Burnett, ‘A Matter of Diamonds’ by Paul Lee, ‘Retreat’ by John Hale, ‘The Marrying Kind’ by David Reid, ‘Colombe’ adapted from Jean Anouilh, ‘The Square on the Hypotenuse’ by Anthony Skene, ‘Uncle Jonathan’ by Linette Purbi Perry, ‘Stealers of Darkness’ by Jacques Gilles, ‘A Most Unfortunate Accident’ by John Bowen.

Drama Series
‘The Power Game’, ‘Fraud Squad’, ‘Love Story’, ‘Crimebuster’, ‘Crossroads’, ‘Honey Lane’, ‘Virgin of the Secret Service’, ‘Driveway’.

Light Entertainment and Comedy
‘This is Tom Jones’, ‘The Liberace Show’, ‘The Des O’Connor Show’, ‘George & The Dragon’ starring Peggy Mount and Sid James, ‘It’s The Bachelors’, ‘The Golden Shot’, ‘Goodbye Again’ starring Dudley Moore and Peter Cooke, ‘The Big Show’, ‘The Jimmy Tarbuck Show’, ‘The Real Mike Yarwood’, ‘Stars’ with Maurice Woodruff, ‘With Bird Will Travel’, starring John Bird, ‘John Brown’s Body’, starring Peggy Mount & Naunton Wayne, ‘It Must Be Dusty’, with Dusty Springfield.

Late Night Shows
‘Tonight with Dave Allen’, ‘Tonight with David Nixon’.

Current Affairs
‘Man of The Month’ including Governor Wallace, Dr Borlaugh, Deputy Prime Minister Allon of Israel, General Lemnitzer, Dr Lindt of the Red Cross. ‘Midland News’, ‘ATV Today’, ‘Police Five’, ‘Meet The Mayor’, ‘The Power from Beyond’.

Documentaries
‘Big Fish, Little Fish’ by Anthony Firth*. ‘The Lion & The Dragon’ by Robin Brown, ‘Welcome to Britain’ by Ross Devenish, ‘The Three Happiest Years’ by Norman Swallow, ‘Anything Can Happen’ by Hugh Raggett, ‘The Old Boys’ by Ken Ashton, ‘Hospital’ by David Rea.

Sports & O.B.’s included:
‘Wimbledon 1968’, ‘Cup Final 1968’, ‘Royal Show 1968/69’, ‘British Grand Prix’*, ‘Sportsweek’, ‘Sports from the Midlands’, ‘Major Football Matches’.

Religion
‘All Creatures Great & Small’ by Jean Morton, ‘Once More with Feeling’ Music, ‘The Church and I’ Discussion Panel.

Children’s Programmes
‘The Tingha and Tucker Club’.

Education
‘Towards Mathematics’, ‘Primary French’, ‘Ici La France’, ‘The Universe’ with Sir Bernard Lovell.

* Programmes which have won International Awards

Amongst those appearing in our programmes have been the following: Anne Bancroft, Shelly Berman, Michael Caine, Sean Connery, Harry Corbett, Jim Dale, Phylis Diller, Sacha Distel, The Fifth Dimension, George Gobel, Engelbert Humperdinck, Sid James, Michael Jayson, Tom Jones, Nemone Lethbridge, Liberace, Anna Calder-Marshall, George Maharis, Mireille Mathieu, Barbara Murray, Peggy Mount, Des O’Connor, Sir Laurence Olivier, Eric Porter, Nyree Dawn Porter, Marjorie Proops, Juliet Prowse, Lynn Redgrave, Cliff Richard, Peter Sellers, Paul Scofield, Sheila Scott, Lord Soper, Ann Todd, Terry-Thomas, Dame Sybil Thorndike, Kenneth Williams, Patrick Wymark.

The post Annual Report 1969 appeared first on THIS IS ATV NETWORK from Transdiffusion.

TONIGHT is the biggest night in commercial television in Britain since its inception 12 years ago. For tonight the new contract period comes into operation —bringing the new companies of Yorkshire and Thames to the screen for the first time, putting Harlech officially on the ITV map and redefining the pattern of Granada in the north and ATV in the Midlands.

And at the end of this momentous week the new London Weekend Company — with David Frost as one of the principal figures both behind and in front of the cameras —takes the air.

But, unless you happen to watch the ITV channel tonight for half an hour before the 10 p.m. ITN news, you might be forgiven for not realising that a new era has dawned with ATV.

ONE OF 17

For though there are 17 new programmes advertised to start this week, only one — a twice-weekly serial called Driveway — carries the ATV label (notwithstanding tonight’s half hour introduction and the Royal Gala show on Thursday which are, after all, only one-off programmes).

Of the others, one is from Anglia, two from Granada, four from Yorkshire, two from London Weekend and seven from the new London weekday company, Thames TV. It is hardly an impressive start.

For example. ATV’s Midland contributions to tonight’s 7¼ hours’ viewing amounts to 15 minutes of Tingha and Tucker, ten minutes of regional news, 25 minutes of ATV Today and the 30-minute “hullo-to-the-new-contract” programme.

REPEATS

It even manages on this first night of the brave new world of independent television to devote 80 minutes to repeats of American film series.

Given the regional news and ATV Today each night, the rest of the week’s Midland contribution to our viewing is:

• Tuesday: Crossroads (25 minutes); Driveway (new series — 30 minutes).
• Wednesday and Friday: Tingha and Tucker (15 minutes); Crossroads (25 minutes); Pulse (new religious series — ten minutes).
• Thursday: Tingha and Tucker (15 minutes); Crossroads (25 minutes); Driveway (30 minutes); Pulse (ten minutes).

And of the other 27 hours of evening television this week ATV productions account for only three hours and ATV presentations, usually film series purchased from overseas (mainly America), amount to five hours — 25 minutes of which is a repeated programme: in total, less than a third of the week’s evening programme time.

Nor is the picture to be much better between now and the beginning of the autumn schedules at the end of September. For while the other programme companies pour out thousands of pounds worth of new programmes, and experiment with new ideas, ATV’s “new” offerings for the period are:

‘X’ SERIES

A late night “X” film series starting on Saturday; another new twice-weekly series Crimebuster (about a disgraced sportsman who turns exposé journalist for a Sunday newspaper); a documentary on Warwick University; another documentary about the racehorse Arkle; Sunday afternoon recordings of Midland soccer matches when the season starts; a series called Stars, with Maurice Woodruff and Marjorie Proops; and three programmes featuring Peter Cooke and Dudley Moore.

Again, not a line-up which really merits a heralding fanfare.

On ATV’s side, of course, it could be argued that it is bringing Midland viewers a choice of the best of the new programmes being produced by the other companies. This is true — and so it should.

TOO FACILE

But it is also a far too facile answer, and no excuse for a company which was one of the “big four” and is now one of the “big five,” being responsible for only one seventeenth of the week’s new programmes.

It would also be an all-too-easy reply that ATV is already known in the Midlands and, therefore, does not have to make such a big splash just because it enters a new contract period which now includes the weekends as well as the weekdays.

Neither does Granada, now seven-day contractors in the north-west area based on Manchester, have any need to re-establish its identity in that region. But, true to its tradition of liveliness and willingness to have a go, it is managing to introduce two new series this week, one of them an hour-long drama series in the mould of City ’68.

The sad fact is that this week, ATV had a once-for-all opportunity to make a real impact in the Midlands, to give us some foretaste of all that is promised for the future – but it chose not to take it.

Even if such a splash by ATV had only been a gesture — it is one that ought to have been made nevertheless.

NO SNAGS

What makes the picture even more damning from ATV’s point of view is the fact that it has not been beset with the chaos of moving or the uncertainties of starting from scratch that some of the other companies have experienced in recent months.

A few months ago Yorkshire TV had only a few odd rooms in Leeds to work in. Yet today, it has four new programmes ready for the network. Thames has had severe internal problems, mainly staff ones, as a result of its formation out of Rediffusion and ABC, yet has come up with no less than seven new programmes.

ATV has had no such problems. True, its faculties in Birmingham will remain limited until the new centre is ready.

FACILITIES

But it has had available all the marvellous facilities of its vast Elstree production centre and it would have mattered not one jot that the programmes were actually produced there provided that they had either a real Midland content or were worthy of networking under the ATV Midlands banner.

Having said all that, however, I am still prepared to take at face value the promises made by ATV that the autumn schedules will reveal all; that the new programmes being planned (some of them announced a few months ago) will be really new and extremely viewable; and that ATV will prove its allegiance to the Midlands as a region within the ITV pattern.

And if I have expressed doubts about independent television in the Midlands, nothing would please me more than that ATV should, with its new programmes and new interest in the Midlands, confound those fears and doubts and make me eat my words

Commentary

The post Watch carefully – it’s TV’s big night appeared first on THIS IS ATV NETWORK from Transdiffusion.

From the ATV Television Show Book for 1963

As this small band became integrated with all branches of crime in the capital city, and as its members rubbed shoulders with the criminals of all types who frequented their new “beat”, so valuable information was picked up and passed on to Scotland Yard. Such information often meant that a planned crime could be nipped in the bud. On other occasions it meant that the movements of a wanted man were known to the authorities and the means of capturing him could then be executed with the minimum of risk to success.

Jack Capstick and John Gosling, now retired senior police officers, were both members of the first exclusive band who were prepared to remove themselves from all the protection that the law could give so that they could help their colleagues on the outside perform more easily their job of keeping the law.

It was to Gosling’s book on “The Ghost Squad” that ATV turned when a series of programmes depicting the work of such men was first considered.

But where Capstick, Gosling and the rest of the early “Squad” operators lived and worked, in an area which seldom stretched beyond fifty square miles of London — and there were even weeks on end, in fact, when their activities confined them to the square mile of Soho itself — the brief given to the authors of ATV’s “Ghost Squad” stories enabled them to range the world, for their settings, to tell their stories through the fortunes and misfortunes, hopes and shattered dreams of people from almost any corner of the globe.

If the television “Ghost Squad” was to be international, then its operators were not to be confined merely to London policemen who were prepared to change their uniform — official or otherwise — for any disguise befitting the case on which they were working.

So the idea of “Ghost Squad” operator Nick Craig was created. The character called for an American actor, tall and rangey, distinctive in voice, with the ability to melt into the background, yet with a personality and presence which allowed him to leave his imprint on any assignment undertaken.

Such an actor was found in the person of 6ft.-4in. Michael Quinn, who came to Britain almost unknown to play the role of Craig. But he was to do such a good job that more than one major film organisation was to make very serious attempts to woo him back to Hollywood during the eighteen months he spent working at ATV’s Elstree Studio Centre.

Quinn is a good example of the new-type American actor who is now looking beyond his own shores for work, as well as looking for an opportunity to find out what is new and challenging in other film and TV capitals throughout the world. Producer Antony Kearey cast Neil Hallett in the part of Tony Miller, the other main “Ghost Squad” operator, seizing an opportunity to bring a new face to a regular TV role.

Where Quinn, at a glance, can be said to be undeniably American, Hallett has all the attributes which are characteristic and distinctive in an accomplished English actor with the sound experience and training of an apprenticeship served in English repertory theatres.

He has a good speaking voice, is agile in movement, dresses well, and he can throw off a humorous line of dialogue in comedy banter as easily as one-word questions.

Behind the activities of both men lies the guiding hand of Geoffrey Stock, the Chief of the “Ghost Squad”. An irascible character, Stock sweats it out in lonely silence when one of his operators is on a dangerous mission. The tensions he suffers are not helped by the “pressures” to which he is exposed from the “faceless” ministers to whom he must report, or by a constant nagging stomach complaint for which no amount of powders and glasses of water, kept readily at hand by his harassed secretary, Jean Carter, can bring relief.

At times his operators think of him as being unreasonable, bad-tempered, inconsiderate — occasionally all three at once—but they would not deny that he possesses the ability for his taxing job.

There are occasions when Geoffrey Stock puts his big desk in his secret headquarters, his multitude of phones and the large-scale map hidden in a panel of the wall of his office behind him. When he thinks he must handle a case personally his mastery of disguise, his ability to assess people and his eye for fine detail come into their own — and his missions successfully accomplished leave his younger associates very much in awe.

Genial Anthony Marlowe gives the appearance of being ready made for the tweed suits, bow ties and countryman’s soft hat with its raffish swept-up side which would seem to be Stock’s favourite choice in dress. If such clothes are characteristic of the man, so also is his pair of horn-rimmed spectacles — especially when they slip to the end of his nose, for this is invariably a sign of trouble for someone. And if Craig or Miller are not on the receiving end of it, then woe betide the one “the Chief” has it in for.

Cases which the “Ghost Squad” are asked to handle have sent Craig and Miller — and occasionally Geoffrey Stock himself (as well as “Porridge”, the Chief’s Scots-born secretary) — travelling to most of the capital cities of Europe. It has also meant their operating in torrid Middle East oil centres, getting caught up with white-slave traffickers, drug-pedlars, counter-agents who cunningly used Army paratroop manoeuvres as their means of passing information, and criminals of all races and descriptions who are prepared to play for the smallest as well as the highest possible stakes.

Danger is the “Ghost Squad” man’s constant companion whenever he is on the job. He has no recourse to the recognised means of help if he finds himself in difficulties, for he must play a lone hand.

The real-life “Ghost Squad” called for men of initiative and imagination and “guts”. The television series requires artistes who can bring to each new story in which they appear acting technique of a high order, understanding and a sense of adventure.

Messrs Quinn, Hallett and Marlowe — not forgetting Claire Nielson, who played Stock’s secretary — have proved that they are well able to measure up to all these requirements.

The post Ghost Squad appeared first on THIS IS ATV NETWORK from Transdiffusion.

from the ATV Television Show Book 1963

If the critics didn’t welcome the change with unreserved rapture and if some faithful fans grumbled unnecessarily at the passing of a hero, there is no denying that it took courage and a sense of adventure for Tony Hancock to try something new, to experiment, in the series which he made for ATV this spring.

Tony went back to his early, radio days for the all-important material on which he was to build the new, highly civilised, middle-class Hancock — with its capital “H”. Godfrey Harrison had written the scripts on which the Hancock reputation was firmly founded. So, as Tony looked around for a new image, what better than to go right back to the source of his first inspiration and once again team up with the man who had committed the right words and lines to paper, knowing that the Hancock talent for putting them across would ensure the true marriage of thought and presentation.

No more the faded city gent’s outfit. Put away were the rollneck sweater, tight-fitting trousers and the medal on a thin artificial-gold chain. Bring out, instead, the badges of respectability: the sheepskin jacket, the Robin Hood style hat. Thus attired, Tony Hancock ventured into his new series. And with a new series came a new setting for the inquisitive, audacious Hancock.

Focal point of all his adventures was the doorway of the local bank, a humdrum, unexciting place in itself; but with Hancock around anything could happen — and it usually did.

It was from here, for instance, that “The Lad” became ensnared in a drama which had him rubbing shoulders with the anonymous Big Brass of M.I.5, who, glad of any excuse to see this inveterate nosey-parker out of their way, invented codes, passwords, identification signs and secret messages which had Tony completely confused as he found himself caught up with a Government department kitchen staff, a queue waiting for a bus and the inevitable “overseas agent”.

No amount of red herrings or contrived clues could put Hancock off once the smell of middle-class responsibility was wafting around his nostrils. He just had to succeed; see through to the bitter end the task which he felt he must carry out — invariably ending in disaster and humiliation. For such is the character of Hancock on the screen, and no matter the elevation in his social standing he is still doomed to failure and ridicule — and to our sympathy in the process.

Who, for instance, can forget his attempts to bring to a “This is Your Life”-style story his own individualistic contribution? Hancock had to make his entry to the programme in the grand style — and even if he had nothing really worthwhile to say he was not to be denied the opportunity to make an impression. This he did — to the embarrassment of the subject of the programme and to ATV question-master Shaw Taylor, who played the compere in the programme.

Hancock, the civic-minded citizen, bungled the job of helping the police when the local bank — yes, that very same one where he seemed to spend so much time annoying and lording it over the bearded newspaper vendor who had made his pitch the entrance to the bank — was robbed. Ever hogging the limelight, ever bigger than life, once again Hancock was in trouble, this time with the police, as well as the robber who had done the job.

Big-headed, pompous, naive… Hancock has been called them all. And he earned such descriptions when he got himself involved in helping a casual friend impress his wife with his ability as a “do-it-vourself” exponent; when he took on the job of a professional “escort” to visiting women who wanted a night on the town; when he fell for the smooth talk of an experimental film producer who saw in our Tony the answer to his dreams of a new face for his new-wave movie — with Tony definitely on the receiving end of anything but bouquets from the film critics. His reward was face-slapping, insults from a conscientious house-owner and torment at the hands of a young starlet and a very experienced film actress.

Hancock aping his betters is always an intriguing sight. With the inevitable props of dressing-gown, cigarette-holder and silk kerchief, here was vintage Hancock as he assumed the role of author and comedy script writer. But always the results were the same: disaster, disappointment and a sense of disenchantment.

But only for the moment. For such is the stuff of which Hancock is made that in his mirroring of life he is like a rubber ball: down one moment, up the next, always ready for the next adventure, ever prepared to stick his nose in business which is not his own — invariably with disastrous results. And for those very same reasons he has become a character, a special friend and accomplice — even a national institution.

But behind the facade of buffoon and busybody lies the professional approach of the perfectionist. Too much rehearsal, too much interpretation of the slightest act or situation, is no problem to Tony Hancock. Alan Tarrant, who produced Tony in his programmes for ATV, tells of many hours spent after the official time for rehearsal had ended while Hancock dissected some minute aspect of the plot or action. Time, which saw the night before pass into the early hours of the next morning, went by unnoticed — and rehearsal hour was drawing nearer and nearer. Overflowing ashtrays told of hours of concentration spent in deciding how a particular scene should be played, how a look or word should be used to provide the best effect… and when rehearsal was called, seemingly only minutes later in a rehearsal room at ATV’s Elstree Studio Centre, who was the freshest, most enthusiastic member of the cast on call? Why, Hancock, of course.

“The man thrives on hard work”, says Tarrant. He also confirms the belief held widely in show-business circles that Tony Hancock insists on having “professionals” around him — to work with him and with whom he can work. Hancock saw such an assembly of “pro’s”, for in the programmes which came to ITV screens regularly at 8.30 each Thursday evening for three months such established artistes as Dennis Price, John le Mesurier, Maggie Fitzgibbon, Harry Towb, Edwin Richfield, Diane Clair, Hazel Hughes, Brian Wilde, Thomas Heathcote, Edward
Chapman, Wilfrid Lawson, Judith Stott, Denholm Elliott, Peter Vaughan, Kenneth Griffith, Mario Fabrizi, were on hand to lend their professionalism and know-how to the situations and predicaments in which Tony found himself.

But always the impact was that left by Hancock himself—and who would have it otherwise? For his is an impact of individuality, which reflects the “little man” in all the millions who watched his on-screen activities — unsuccessful and slapped-down though they may have been — and which attracted our affection and recognition: for here, surely, is a kindred spirit.

Hancock is unique.

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The Muppet Show — on screen this Sunday — is a today spectacular. A slick musical where cows, dogs, bears, hens and all kinds of likely and unlikely characters sing, dance, make music and tell jokes. And they allow a real live human being in the form of a big-name star to join their ranks each week. For Muppets are puppets, and without a shadow of doubt they’re the greatest, most animated, most believable puppets you’ve ever seen.

After many years of the educational programme Sesame Street, and after guesting on major TV spectaculars with stars like Julie Andrews, Tom Jones, Perry Como and Herb Alpert, the Muppets move into a family appeal slot of their own, described by their creator, Jim Henson, as a music-hall variety entertainment with on-stage and back-stage action. Kermit — his oldest and best-loved character — has the support of a whole Muppet orchestra, a Muppet chorus-line, and Muppet acts. There are Muppet scene-shifters, and even a Muppet wardrobe mistress, named Hilda.

If it’s corny comedy you’re after, listen to Fozzie Bear. His jokes are so bad they match his own description of them. ‘Unbearable’.

Singing? Listen to Miss Piggy – She’s so far out, she’s coming back!

You want a piano-playing dog? Rowlf’s the name.

Operating these puppets is an incredibly involved job. Some of them are worked by hand. Others by strings. Yet more by rods. And there are even times when life-size puppets get on stage, worked by animators dressed in black, against a black velvet backdrop, so’s you can’t see them. In fact, part of the fun for the viewer is to try and guess just how the many and varied visual tricks are worked.

When you join resident theatre-goers Waldorf and Statler, two very human Muppets who spend their time commenting on acts from their permanent box at the stage-side, you’ll see Guru, a mystical Indian. You’ll see the incredible Doctor Teeth, leader of a way-out band that includes Zoot, a remarkable sax-man, Floyd, a bass-player, and a wild-man drummer named Animal. And when you see the Snoths — cow-like females who sing — you’ll flip! Their appearance in the opening show in company with a zany beatnik Muppet has to be seen to be believed!

But here — why should you take our word for it? Tune in yourself and see why the Muppets are going to be the television talking point this autumn.

The post It’s the Muppet Show… appeared first on THIS IS ATV NETWORK from Transdiffusion.

So began Emergency — Ward 10 — and the series has been running continuously (except for a break brought about by the Equity dispute) ever since. Last May it reached its 500th performance.

No one in those early days could have foreseen the tremendous popularity that this series would achieve.

Tessa Diamond has written many of the scripts for the series, and today a team of writers work on the programmes. During the six years that have elapsed since the first Ward 10 story went on the air, writers, producers and artistes have changed. But the series retains its high viewing figures. The first programme, in February 1957, was watched by a million viewers. Today, the figure is 16½ million.

Two of the longest serving members of the cast are Australian actor Charles (known to his friends as Bud) Tingwell — who plays Consultant Alan Dawson — and attractive Jill Browne, Nurse Carole Young. Today the close-knit team of artistes includes Desmond Carrington (Dr. Chris Anderson), Anne Brooks (Nurse Jill Craig), Paula Byrne (Dr. Frances Whitney), David Butler (Dr. Nick Williams), John Line (R.S.O. Shaw) and William Dysart (Dr. Maclean).

Emergency — Ward 10 has always paid close attention to detail, and although its primary aim is to entertain, it can—indeed has—helped to bring to the public’s attention the importance of certain real-life medical services, such as immunisation against polio, the importance of blood donors, cancer research, and preventative measures against road accidents and accidents in the home. These are services for which the programmes have received praise from the medical profession and from religious bodies.

John Cooper, the present producer, is the series’ fourth since 1957. Cooper is particularly anxious that details of the programme’s story-lines should not become known in advance of each episode’s transmission. Cooper believes that advance knowledge of the plot kills the true-to-life illusion. ‘We like to believe,’ he says, ‘that what you watch is actually happening in Ward 10 at the time you see it.’

Despite this authentic air of spontaneity, tremendous preparation goes into each episode of Emergency — Ward 10. An episode is born at a script conference attended by all the writers. Today the writing team includes Diana Morgan, Robert Holmes and Rachel Grieve. Also at the conference is Cooper, his production assistant, Carol Williams, and the series’ medical advisers. Within a few days the first draft scripts are in the producer’s hands and the medical advisers check them for authenticity. Then the artistes are brought in for rehearsals.

The first rehearsal takes place in one of the spacious rehearsal rooms at ATV’s Studio Centre at Boreham Wood, Hertfordshire. All the artistes connected with the episode are called and they ‘walk-through’ with the producer using only the barest of props—perhaps a table, chair, a telephone, sometimes a bed. After perhaps two days of this kind of rehearsal the whole company move into the studio.

By now, scripts will have been distributed to all the other studio departments. The sets will be well under construction, the props section will be providing the necessary dressing for the sets, wardrobe will be arranging costumes and make-up will be standing by. The technical departments, such as lighting, sound and cameras, will be lining up their equipment.

The producer now takes his artistes through the scenes in the exact settings of the actual transmission. On the day of the performance the artistes are made-up and appear in full costume for the final dress rehearsal. Cameras and sound have been rehearsing steadily, co-ordinating their movements under the producer’s instruction. Now all is ready for the programme itself.

For the artistes the pace is hot. Learning two scripts a week, rehearsals and more rehearsals take up most of every day of the week, leaving few opportunities for spare time activities.

But to say that they enjoy their work would be an under-statement. A visitor to a Ward 10 rehearsal is certain to find high spirits. Not that the cast do not take their work seriously—they certainly do. But there is the ever present good humour that is reflected on the screen in the happy atmosphere of Oxbridge Hospital.

It is not only the artistes who are serious in their approach to the programme. The public, too, are sometimes carried away by the authenticity of the series. Frequently telephone calls are received from members of the public who wish to discuss their ailments with Mr. Dawson or Dr. Anderson.

How do the artistes feel about their respective roles?

Charles Tingwell says: ‘I have always admired people who are deeply engrossed in their jobs, particularly men with a sense of vocation — as in medicine or the church. So I enjoy playing Alan Dawson and trying to get inside the character to act and think as I believe he would.’

‘Playing Nurse Carole Young has affected me in several ways,’ says Jill Browne. ‘Sometimes I wonder who I really am. Whenever I hear anybody say “Carole,” I respond automatically — even when they are not talking to me.’

This is the measure of how her two personalities have become entwined. In fact, she would seem to have three personalities — her own, the trained actress and the character of Nurse Young!

Desmond Carrington, too, has found his private life becoming involved with his role of Dr. Chris Anderson. ‘When Barbara Clegg had to leave the series,’ he says, ‘the scriptwriters decided that Barbara — who played my wife in Ward 10 — would be drowned in a flood. I received so many letters of consolation from viewers after this episode had taken place, that I really began to think that I had had a bereavement.’

Such examples show how ‘real’ to viewers Emergency — Ward 10 has become. The series has successfully combined first-class entertainment with helpful and informative information about everyday hospital life. It has also helped to eliminate the dread many people have of entering hospital. Could this, in fact, be the secret of its staggering success?

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