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that wouldn’t last and certainly wouldn’t replace movies or the
theater. But for other members, especially New York stagehands,
television meant more regular work, especially in the days of
live telecasts when theatrical workers were called in to build and
change sets, operate lights and do everything they did in the theater,
only on a smaller scale.
The crossover between theater and live television was a natural
for many of these IATSE members. The movie studios were
fascinated by the possibilities of television as well. Movie companies
such as Paramount either owned or had financial interests
in some of the early television companies.
From its earliest days, profits and technology drove the development
of television and the Alliance was vital to both. It took
IATSE members to implement — and in many cases, to create
— the technological advances that gave television the constant
interest and stimulation that viewers required. As with theater
producers and movie studios, the networks would focus on profits,
and they knew that retaining and winning new viewers was
essential. They also began to understand the power of television
to touch people, to influence events, and to entertain. The power
of the dramatic story, centered on human events, became the
mainstay of TV in the early years.
Alliance members met the early challenges of television
with ingenuity and enthusiasm. It also became apparent early
on that the techniques for movie-making or the legitimate
stage would not necessarily work for television. For example,
close ups — as opposed to long, wide shots — became key
ingredients of a TV play, and the lighting technicians, camerapeople
and other skilled personnel who could execute these
tight shots live, with only one chance to get it right, were in
great demand.
Other studios were experimenting with theatrical television
systems. Alliance projectionists were the logical technicians
to operate this equipment. In 1949, there were television
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