TALENT DOESN'T CARE HOW OLD YOU ARE

I remember when I joined the William Morris Agency in their contract department after one unenjoyable year at a New York Law firm.

The year was 1950 and prior to my employment I had never heard of the William Morris Agency. I had, however read some of the literature about show business in novels. In contrast, and much to my surprise, with few exceptions I met a cadre of executives who were primarily in their 40's, early 50's and 60's, mostly married, with their children in the best schools or pursuing professional careers.

These men (very few women at the time) were respected by those of us under them and we enjoyed repeating the myths and apocryphal stories about them in relationship to their colleagues, clients and buyers.

When I became a network executive I learned that the major studios, network and advertising executives were by and large of comparable age, experience and attitude.

Television has always sought younger viewers but in the last few years with much greater intensity. This premium placed on attracting younger viewers has resulted in much younger executives than referred to above.

The only scientific research in our industry on age discrimination was prepared by a private research organization under the aegis of the Writer's Guild of America (West). According to this research, the fastest growing number of working writers is under 30 with peak earnings from 31-40 subsequent to which there is a sharp drop-off in number and amounts.

The belief seems to be growing that if you are age 40, either you cannot produce, direct or write for people under 40, or, if you are over 40 then you can't do it at all.

Of course, there are exceptions both of uniquely talented or well connected individuals who for whatever reasons transcend these generalizations. If you are not an exception, in today's market you are "old."

Many different reasons are given to explain this phenomenon and its consequences. Many years ago, Bill Froug had the courage to write in this Journal of age discrimination. We must continue to pound away at the injustice and stupidity.

One explanation offered is that the striation of similar age groups can be said to be responsible for the under 40's wanting to be involved with their own contemporaries both professionally and socially, and not be reminded of someone who looks like their fathers or mothers. Still, that denies men and women of experience and talent their rightful place in network television. Another, is that these so-called "older" producers, directors and writers are not sufficiently "with it."

In television everyone is looking for that hot young element. Today's situation comedies are more youth oriented and hip than in the past. Casual jokes about condoms, masturbation, sexual affairs and gratuitous violence, which would have been rejected by continuity, acceptance a short while ago, are now commonplace--even on the 8:00 o'clock shows.

But are the shows, in general, any better? I think not.

Perhaps the reason is that the producing, directing and writing for television in both drama and situation comedy historically reflected one's life experiences which resulted in greater diversity and quality than in subsequent generations which were raised on television and now replicates itself.

And what of theatrical features? A disproportionate number are finding their inspiration from previously successful television series or other material from which emotion and logic are absent and sensation is all.

To my knowledge we are the only civilized country in the world which does not honor and respect its senior citizens.

David Levy, in an article in another publication, pointed out that "Age is Not a Disability--it's a Liability." The stories are legion about the elimination of credits from resumes--even award winning ones--if they are too old, or dressing "younger" or "teaming" with someone under 30.

It is my contention that aside from the unnecessary pain inflicted on our older producers, directors and writers who served us so well, the American public is being cheated by being denied the talent of thousands of men and women from the creative community.

What is desired is a level playing field. Not only are these talents not working, they can't even get an appointment to pitch a project or an agent to collaborate with them on it.

George Bernard Shaw was working in his 80's, Bertrand Russel in his 90's, Herman Wouk, Arthur Miller, Norman Corwin are still writing with passion and talent. Are Network executives in pursuit of this experience and talent? Why not? Let us return to a time where age -- has no meaning and respect and experience still do.

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