Free Swisspool in planning

The triple ad combination that TA-Media and NZZ, Basler Mediengruppe (BMG) and Berner Tagblatt Medien (BTM) are planning for their free titles ZürichExpress (ZE), Baslerstab and Tagblatt der Stadt Bern (WW 16/00)

The triple ad combination planned by TA-Media and NZZ, Basler Mediengruppe (BMG) and Berner Tagblatt Medien (BTM) for their free titles ZürichExpress (ZE), Baslerstab and Tagblatt der Stadt Bern (WW 16/00) is to be operational from September 1, 2000 under the name City-Kombi. In addition, the four publishers want to set up a Plus variant with the titles Luzerner Woche, Winterthurer Woche and Anzeiger (St. Gallen). According to other sources, talks with the publishers and publishing managers in Lucerne, Winterthur and St. Gallen are to take place within the next two weeks. Apparently, the Zurich publishers involved in ZE in particular are urging haste, because a readership study commissioned by them shows that the commuter newspaper 20 Minuten achieves by far the best results of all the Zurich newspapers.
The intention of the combined variants is clear: before the commuter newspapers Metropol and 20 Minuten spread out further, the intention is to occupy the markets in the "golden triangle" of Zurich, Bern, Basel and the whole of German-speaking Switzerland with an advertising pool of free newspapers.
Two details as a supplement: According to Galli, the BTM will bring the Tagblatt into the City-Kombi in any case, regardless of whether it wins the tendered concession for official publications. By the time the Kombi-starts on September 1, BMG will also have to prune its "free title garden." According to reports, it will discontinue Basler Woche in the summer and expand Baslerstab editorially. However, according to Beat Meyer, BMG's board delegate, nothing has been decided yet (mk).

Muse & Musse: Alphonse Garcia

Which cultural event did you attend last and why this one in particular?

Which cultural event did you attend last and why this one in particular?Muse & Musse Alphonse Garcia
Alphonse Garcia: The new Mummenschanz in Mézières. Because of its eternal youth and incredible creativity.
What are you reading right now and why?
Garcia: James Ellroy...to have an experiential journey.
Which CD do you currently prefer to listen to?
Garcia: "Born on the Bayou" by Credence Clearwater Revival.
Which movie would you most like to see again and why?
Garcia: "Bullitt." Because of the most beautiful car chase in the history of cinema. Because of Steve McQueen and the music by Lalo Schiffrin.
What TV show did you fall asleep during the other night?
Garcia: The TV in itself makes me sleepy.
What is your latest discovery on the Internet?
Garcia: The Originals of the Great Literary Classics as Rechargeable E-Book Versions at www.adobe.com
Love is ... ?
Garcia: ... important.

The crux of accountability

"Half of all advertising budgets are thrown out the window," claims a saying commonly heard among advertisers.

A common saying among advertisers is that half of all advertising money is thrown out the window, but most people just don't know which half it is. This statement is contradicted by the calculations of Advertising Accountability. This is a special approach to budgeting. One calculates mathematical-theoretical optimization techniques. Whether this checking of the advertising with the eyes of the controller is meaningful, leads again and again to passionate discussions in expert circles. Advocates and opponents of accountability in advertising thoroughly misunderstand each other - and probably also intentionally, says Wolfgang Koschnick on page 15.

Against the decline of the brand

Advertising Accountability in the Crosshairs: An Overview of the Discussions Within Agencies

Advertising accountability in the crossfire: an overview of the discussions in the agenciesBy Wolfgang Koschnick Can anyone at all still hear the saying, repeated ad nauseam, that half of all advertising money is thrown out the window, but we just don't know which half it is?
And yet accountability is the keyword for advertising in the 21st century. In English, the term is full of cunning ambiguity. It means "predictability" as well as "accountability" in the accounting sense, and therefore immediately provokes the verbal opposition of all creatives.
Creative performance cannot be understood from the froggy perspective of accountants. Advertising is a complex instrument whose complexity defies the primitive rationality of debits and credits. Yes, if one could calculate exactly which effects advertising achieves in detail and down to the last detail, then one could also handle it without all creativity and calculate the results mechanically. And so on and so forth...
Advertising does more than just increase sales in the short term
On the other hand, no other branch of industry can afford to be as incompetent. Or can you even imagine that the car industry would boast that fifty percent of all the cars it manufactures are unroadworthy, and that you just can't know in advance which ones they are?
Proponents and opponents of accountability in advertising misunderstand each other thoroughly and probably also intentionally. Each of them simplifies the arguments of the opposing side in such a sustainable way that it becomes easy to pick them apart in the air in a cheap way. That's why it's worth taking a look at what accountability actually means - and what it definitely does not mean.
The strongest argument against all accountability is that anyone who looks at advertising through the eyes of a controller does not understand its nature. Advertising does much more than just increase sales in the short term. On the contrary, that is only one tiny aspect. And only that is easily measurable. All other services provided by advertising, such as the long-term development of brand value, the development and maintenance of the image of a brand or a manufacturer, and the like, are beyond accounting calculation - and beyond short-term calculation anyway.
That's true. But the demands of advertising accountability are not that high. Its proponents simply argue that the costs associated with a company's marketing and communications objectives should be calculable. No more, but also no less. So it's all about a clear hierarchy of goals.
The marketing objectives are derived from the corporate objectives. Advertising objectives are a special case of the communication objectives derived from these. And the advertising company calculates - as best it can - in advance the amount required to achieve these goals. This is the core of Accountability in Advertising.
Agencies do not consider whether even half is enough
Accountability is therefore a special approach to budgeting. It is a variant of the objective-and-task method of advertising budgeting, which also makes use of mathematical-theoretical optimization techniques. Advocates of accountable advertising take exception to the way in which advertising companies make decisions about communications budgets.
Usually, a budget is set based on one or more criteria. In varying degrees of primitiveness, this can be the amount of money left over after deducting all other expenses, the expenses of the past year, the sales expectations for the next year, the market share or some other criterion.
In the rarest of cases, companies set themselves marketing goals and the budget for their market communication that is required to achieve these goals. Once the budget has been set, it is then passed on to an advertising agency, which considers how it could spend the money. As a rule, it does not consider whether the advertising objectives could be achieved with half the money. After all, they would be pretty stupid. But it would be in the interests of the advertiser if they did.
Advertising is also one of the investment risks
Accountability amounts to putting corporate decisions about the use of advertising on the same level as other investment decisions. However, this does not mean that the standards to be applied to advertising must be more rigid than those applied to other investments. Every business decision involves risk. Advertising decisions are, of course, too.
There is no doubt, however, that the mentality from which the theory of Accountability in Advertising was born comes from the Anglo-Saxon world, where a more short-winded corporate philosophy prevails than in other parts of the world.
In the U.S. and the U.K., there is a single perspective for a business enterprise that is of central importance: short-term profit maximization. Therefore, the objection that this perspective neglects long-term advertising goals counts for very little there. In other regions of the world, such as Asia and to some extent Europe, the focus is on market criteria such as the continuous improvement of product quality or the defense and growth of market shares.
How to measure advertising impact in saturated markets?
This is why the criticism that the Accountability in Advertising approach measures all advertising by the yardstick of sales promotion cannot be completely dismissed. And that is, of course, fundamentally wrong. After all, accountability measures advertising impact in terms of increased turnover and sales - even if its proponents argue eloquently against it.
And the Anglo-Saxons don't understand the meaning of the objection: If advertising doesn't even trigger short-term sales and revenue growth, how can it achieve long-term effects? They do not accept the accusation of short-sightedness. If something doesn't work in the short term, how can it be successful in the longer term?
The crucial problem of Accountability in Advertising lies in the state of the markets in advanced industrial societies. The markets are saturated. Increases in sales or revenue are not necessarily indicative of successful advertising. All too often, both markets and brands are static. But how is it possible to assess the value of advertising if an increase in sales and turnover cannot reasonably be expected at all?
Brands live in a
"dynamic tension"
Among British sutlers, there is widespread agreement on four basic characteristics, according to advertising theorist Colin McDonald:
- Stabilized markets: In developed economies, most markets have reached their maturity stage. In other words, growth has been exhausted.
- Similar patterns: According to the empirical studies of Andrew S. C. Ehrenberg, consumer buying behavior in stabilized markets follows very similar patterns. Brands differ from each other predominantly in that they are purchased in larger or smaller proportions. In this way, brands of different sizes tend to be in a state of equilibrium with each other. This equilibrium has the character of a "dynamic tension", since each market participant always tries to gain a competitive advantage over its rivals. Sometimes there are even shifts and disruptions in the pattern, but the tendency to fall back into equilibrium remains.
- Short-term shifts: For established brands, an increase in the advertising budget often does not lead to any short-term increases in sales. However, this by no means suggests that the additional advertising expenditure should necessarily be regarded as a shot in the arm.
- Too small: Even if increases in sales can be seen, they often seem far too small to justify the high additional advertising expenditure. However, it would be completely misguided - according to Colin McDonald - to suggest that advertising spending is useless: "There is no shortage of evidence that numerous branded products have stopped growing and indeed cannot continue to grow. And this may be as much a sign of successful past advertising activities as it is of unsuccessful present ones. Continued success in the future, then, may be that nothing changes at all. But how can we determine that our advertising is working well to bring about that success? And how can we determine whether we should continue, change or abandon the current strategy?"
Answers to these questions are being sought in Great Britain using the tools of Accountability in Advertising. To explain the principle of advertising impact, marketing consultant Simon Broadbent, who has written a book on the subject, likes to use the metaphor of an airplane. Advertising is the engine that keeps the plane flying at the same altitude. If you turn it off, the plane stays at the same altitude for a moment, but then it inevitably starts to descend. Advertising is therefore a means of keeping a brand alive in a saturated market.
Accountability in practice The next installment of this series of articles deals with the topic of accountability in practice and describes the conditions under which advertisers and agencies can make their advertising accountable. To this end, it examines in detail the ideas of the British marketing consultant Simon Broadbent and reviews their practical applicability to larger, medium-sized and also smaller companies.

Head of the week: "Lucerne can be marketed like a fairy tale".

Mario Lütolf: Swisscom's "Joker" Chief Is Moving to Lucerne to Succeed Kurt H. Illi

Mario Lütolf: Swisscom's joker boss moves to Lucerne to succeed Kurt H. IlliHead of the week
"Lucerne can be marketed like a fairy tale".
Lucerne's Mario Lütolf never used the adjective "rude" in the interview. Nevertheless, his enthusiasm for Lucerne comes across as convincing. "The city is ranked sixth among the most popular destinations in the world, alongside San Francisco, Paris, London, Venice and Rome," he says, citing a recent survey by the American Traveller Magazine.
It's clear that the newly elected transport director sees it as a challenge to market such a tourist dream destination in the future. "With its lake, mountains, culture and old town, Lucerne is almost like a fairy tale to market."
Lucerne's tourism industry turns over 600 to 800 million Swiss francs a year. "We offer a very well-rounded destination," says Lütolf. In addition to winter or summer tourism, Lucerne has an excellent name in incentive, cultural and group travel, as well as for seminars and business trips.
"Kurt H. Illi leaves behind a life's work that I do not want to endanger, but rather to stabilize and complement," says Lütolf, describing his goals. As of September 2000, he will be the new captain on the most dazzling "steamship" in Central Switzerland.
Traffic school in Olten, five years at Swissair, twelve years at Imholz and, since summer 1998, in charge of the Joker project at Swisscom are the most important moorings where the marketing man, who is only 39 years old, has so far put his ideas into practice. At Imholz, Lütolf started as a buyer and, in the course of changing structures, was involved with
the partners TUI and Vögele, finally, with the support of the resale agencies in Switzerland.
Lütolf built up the Internet presence at Imholz and gave direct marketing a face. These contacts with customer loyalty programs such as Bonviva from Credit Suisse or the customer card from Jelmoli culminated in the Joker project from Swisscom, after Lütolf had also completed the marketing planner, the direct marketing assistant at Sawi and the preparatory course to become a tourism expert on the side. At Swisscom, he left behind with the Joker "a successful and promising bonus program" with currently 625,000 participants.
Unlike previous job changes, Lütolf cannot take another full sabbatical as a tour guide in Greece and then travel around the world with his wife and two children. He has to use the time to find a new home in and around Lucerne. And finally: What's the point of a big trip around the world, when the whole world already knows that Lucerne is one of the most beautiful destinations on our planet anyway? Andreas Panzeri

Is uniform poster research coming?

Affichage and Plakanda aim to reach an agreement before the end of this year

Affichage and Plakanda want to come to an agreement this yearAffichage S.A. (APG) and the Plakanda Group, Switzerland's two largest poster providers, have "decided to jointly carry out new poster research," the Swiss Advertising Contractors Association (SWA) announced in a note, while congratulating "the two managements on this important, desired step into the future. "But the SWA rejoiced too soon. According to Affichage CEO Christian Kauter, the breakthrough in this matter has not yet been achieved. At the annual press conference (see WW 17/00), he announced the prospect of a new basic study and confirmed to WerbeWoche that talks were underway with Plakanda.
At the same time, he emphasized that no decision had yet been taken because of differences of opinion. Differences of opinion existed above all about which methodological approach should be chosen for the research.
Previously, both companies collected their own data, but it was not possible to compare them. The SWA therefore pressed for a uniform method. Kauter expressed confidence that APG and Plakanda could reach an agreement - "in the interest of the poster medium. In any case, the decision would have to be made this year. Peter Gmür, CEO of Plakanda, expressed a similar opinion.
Unlike Plakanda, which set foot in radio advertising for the first time at the beginning of the year, no such step is planned at APG. However, it is open to cooperations with radio stations, said Kauter. More important at the moment, however, is the investment in the Big Screen project, around 80 square meters of screens that can be controlled online and updated quickly.
APG will establish another subsidiary for the new business. The holding structure is predestined for this, and new people are also needed for such a medium, said Kauter. Markus Knöpfli

Adaptation to Mach 2000

Federal study of SonntagsZeitung with LpA values also available on the Internet

The SonntagsZeitung publishes its latest national usage study and shows itself to be innovative: Reach is already surveyed with LpA values (readers per issue). As of September, Mach Basic will also be using these harder measurement values as a replacement for the K1 value.
The Demoscope survey shows an LpA reach of 19.5 percent for the SonntagsZeitung. Due to the new methodology, however, a comparison with the last Federal Utilization Study from 1998 is no longer possible.
As in the last study, the general statement is that readers of the SonntagsZeitung show a high level of interest in all topics. The readership shares of the individual alliances vary between 70 percent and 85 percent. At the lower end of the scale is sports, with the news bunch attracting the most attention.
"The results of the surveys were in line with our expectations," explains publishing director Sandra Geiger. "The only surprise for us was that Bund Innovation tends to appeal to a rural audience."
The percentage of readers using a bundle can be transferred to the reach of the SonntagsZeitung, resulting in an LpA value for each individual bundle. When Wemf delivers the official reach figures for the Mach study in September, the bundle reach figures will be adjusted on the basis of the same reader shares.
Little has changed in the profile of SonntagsZeitung readers since the last federal study: As before, the majority belong to the upper educational segment, are urban and earn good money. In the interest of refinement, the media radar was also consulted. The result shows SonntagsZeitung readers to be progressive, consumer-friendly people.
In addition, the study surveys readers' topic interests ranging from food to travel to cars. Within the media radar, the reader profiles of the individual alliances can now be compared with the topic interests. This breakdown is intended to help the advertising industry place its products in the bundles with the greatest possible impact on the audience.
Results are available on the Internet
The entire study will be published on the homepage www.bundnutzung.ch as of May 21. The 1998 study is currently still available at this address.
In the future, the study will be conducted on an annual basis. One argument in favor of this is the new Online Bund, which will be published for the first time on September 3 and will take over the computer topics of the Innovation Bund. It is likely to have an influence on its use.

No sex, please, my name is Tell

Audace Publishing Geneva is launching the men's magazine *Tell* in September and promises in-depth editorial content

Audace Publishing Geneva launches the men's magazine Tell in September and promises editorial depthBy Anita Vaucher With the men's magazine Tell, Audace Publishing, a small publisher in French-speaking Switzerland, is launching its second product after the women's magazine Profil Femme. Tell will focus on Swiss topics and is aimed at a male readership between the ages of 25 and 55.
In the first week of September 2000, men in French-speaking Switzerland will discover a new magazine on the newsstands that has nothing to do with men's magazines in the Playboy or Penthouse style.
Tell is the first magazine in French-speaking Switzerland to target male readers with a broad range of topics. With its bold and aesthetically pleasing layout, developed by Geneva-based graphics agency Acua, the new magazine is first with the American magazine format and certainly an eye-catcher.
The magazine will focus mainly on Swiss topics, but without engaging in self-absorbed navel-gazing. It will also look beyond the country's borders, as Eric Valette, director of Audace Publishing, assures us.
The editor-in-chief is no son of a gun
Following the example of Profil Femme, the publisher also wants to work with as many freelance journalists as possible for Tell who have specialized in certain topics. Eric Valette is convinced that this will enable an in-depth approach and thoroughly researched articles. The name of the editor-in-chief cannot be revealed at the moment. Only this much: It should not be a Tellensohn, but a Frenchman.
The magazine is divided into five sections. The first part deals with Swiss current affairs, part two reports on cultural events. The third section, the so-called magazine section, deals with topics from the economy and society. The fourth section offers a reader service, and the last part deals with leisure and everything that is fun in life.
The circulation of Tell is 20000 copies at the beginning, but it should be increased to 25000 copies as soon as possible. The magazine has 140 pages and will be published in September, October and December of the current year. Eight issues are planned for 2001. Tell is sold at the newsstand at a price of seven francs.

"PubliGroupe's Publicité Suisse idea was not realistic".

Jean-Pierre Bonny, Chairman of the Board of Affichage, on Decaux and PubliGroupe

Jean-Pierre Bonny, Chairman of the Board of Directors of Affichage, to Decaux and PubliGroupePer July 1, 2000, Jean-Pierre Bonny vacates the seat of Chairman of the Board of Directors at Affichage-Holding. But the vacant seat on the Board of Directors is filled internally. Decaux, Affichage's largest single shareholder, goes away empty-handed. In an interview with WerbeWoche, Bonny explains why the appointment to the board of directors should remain a Swiss matter.Decaux has a 30 percent stake in Affichage, Clear Channel eight percent. Will the vacant seat on the board go to one of the two major shareholders?
Jean-Pierre Bonny: No, we nominated the Bernese advocate Markus Scheidegger. He contributes to the rejuvenation of our BoD, is a lawyer, and at the same time has professional experience in outdoor advertising.
Why doesn't Decaux get a BoD seat?
Bonny: As you know, the purchase of the PubliGroupe package by Decaux triggered an investigation by the Competition Commission (Comco). Your question can therefore only be answered once the Weko's report is available. There are competition law aspects involved.
When do you expect the Weko decision?
Bonny: You have to ask the Weko that question.
Why does the Affichage Board of Directors pay such close attention to independence in the age of globalization?
Bonny: Because of our clientele. In addition to customers for posters, they also include countless cities and municipalities that value the fact that they can work with a Swiss partner they have known for years and decades. The fact that the BoD wants to preserve the independence of the company is also evident from the fact that the existing transferability clause can only be changed with an 80 percent majority of votes.
What criteria are used at Affichage to nominate people, Markus Scheidegger for example, for the BoD?
Bonny: This question cannot be answered in general terms. For us, what counts first and foremost is the quality of the personality. Advocate Markus Scheidegger is a top man and represents Polymedia Holding, our partner in certain subsidiaries (see box). Last year, for example, the former member of the Zurich government, Eric Honegger, was elected, also a top man, who guarantees us various connections, for example to the print media and air traffic.
Regarding foreign business: PubliGroupe sold its 25 percent stake in Affichage to Decaux because it was disappointed: According to PubliGroupe, Affichage entered foreign business too late and too hesitantly. PubliGroupe had already suggested this a good ten years ago...
Bonny: I don't know anything about that, I wasn't chairman of the board at the time. However, in 1997, I offered PubliGroupe the opportunity to work with us abroad, and they refused. The fact that we are number 1 or number 2 in outdoor advertising in many countries in Central Europe shows that we are not too late. And PubliGroupe's idea that the number 1 in Swiss print advertising and the number 1 in Swiss outdoor advertising should merge to form Publicité Suisse was not realistic. It did not come about because of antitrust considerations and would never have been accepted by the Competition Commission.
After just five years, your business in Eastern Europe already accounts for nine percent of Group sales and around three percent of Group profit. Surely that shows that there is great potential abroad and that you should have tried expanding in Western Europe exactly ten or 15 years ago.
Bonny: No, Western Europe was already occupied and extremely expensive in terms of outdoor advertising. As a serious company, we didn't want to pay fantasy prices. But when I became Chairman of the Board in 1995, foreign business was my first priority. In 1996, we started with it in Eastern Europe because there was no need to pay exorbitant prices there and there was a significant pent-up demand for outdoor advertising. In the meantime, however, the competitive situation there has also intensified.
But shouldn't the move abroad, to Western Europe, have been made earlier? According to PubliGroupe, the Western European outdoor advertising plots are now divided among the big players, whereas ten or 15 years ago it would still have been possible to enter the market.
Bonny: No, no, we first had to consolidate our company in Switzerland. If APG is strong today, it is because it has strictly adhered to the principle of concentration of forces.
How many seats on the BoD did you offer PubliGroupe, which was Affichage's largest shareholder until a year ago? One, two?
Bonny: That's not up for discussion here, and it doesn't play any role now, since the cooperation sought by PubliGroupe, as I said, was not possible for reasons of competition law.
Interview: Markus Knöpfli
This is Polymedia Polymedia-Holding in Bern, with a share capital of one million Swiss francs, manages holdings of the Scheidegger family (Bern) in Interplakat as well as in Affichage-Holding and its subsidiaries Impacta, Ecofer and P&W. It is also the 100 percent owner of Advisa-Treuhand. According to Walter Scheidegger, Chairman of the Board of Directors at Polymedia, the holding company exists for inheritance reasons: His sons, one of whom is Markus Scheidegger, will one day be able to inherit shares in the holding company, but not in the individual holdings, so that the investment package "does not come apart.

Also: Two new additions to the creative team at Seiler DDB:

AD Matthew Katumba (left) and copywriter Alex Taiganidis both come from Metzger Lehner Briccola, where they were under contract for a year.

AD Matthew Katumba (left) and copywriter Alex Taiganidis both come from Metzger Lehner Briccola, where they were under contract for a year. Also, two new additions to the creative team at Seiler DDB:
Three new employees at Lesch+Frei: André Bournet, 36, joined from WHS and started as a consultant on April 1. He has been supported in this role by Monica Miraldi since May. The junior consultant began her career in advertising as an executive assistant at Guye & Partner. The third new hire is junior copywriter Barbara Hutter, who also works as a music teacher and is the frontwoman for the band Superkind.
Effective May 1, Mario Romano and Angelika Schnetzer from Schreibwerk Verlag have joined
St. Gallen, as well as Suzanne Vock of Gwand Fashion Concept in Lucerne, are responsible for advertising sales for the Swiss lifestyle magazine Massiv.
Bernhard Baumgartner took over as head of the New Media division at Bund Verlag on May 1. He previously worked in advertising sales at the NZZ.
Pierino Caprez is the new sales director for FAZ at the new Leadermedia in Zurich. Zsuzsa von Gleichen will be responsible for ad sales in German-speaking Switzerland.
New at WrwUnited: Karin Wolter, a marketing specialist, has joined the client advisory team. She comes from a project management role at Coca-Cola. Ulrike Dekiert supports the PR unit at
WrwUnited.

"The show smells too much like a hospital".

Hans Jürg Deutsch on Corrections to Sat-1 Broadcasts

Hans Jürg Deutsch on corrections to Sat-1 broadcastsThe weekday Swiss Sat-1 program window has been on the air for eight weeks, but ratings are languishing at a meager two percent market share. Now Hans Jürg Deutsch, TV boss of Sat-1 partner Ringier, and the station's Swiss management want to restructure the health magazine "1 x tägl." and promote "täglich ran" more intensively. "1 x tägl." and "täglich ran" have too few viewers. How do you explain the unexpectedly low ratings?
Hans Jürg Deutsch: Eight weeks is a short time for new programs. Viewers need longer to get used to new programs. On the other hand, we underestimated the audience magnet "Tagesschau" on SF DRS. The attention
"1 x daily" depends very much on what's going on there at the moment: If there's a report about Chechnya, people switch over; if the "Tagesschau" reports about a plane crash, they stay.
Before the launch of the two programs, however, you said that the program window was not aimed at the "Tagesschau" audience at all, but at the million viewers who watched other stations.
German: We underestimated the loyalty of Swiss viewers to the station, saw viewers too much only as a number, and disregarded the sociodemographic structure and specific information needs of viewers. But as it now turns out, "1 x tägl." appeals to the same audience as the "Tagesschau.
Could it also be that a daily medical show is just too much of a good thing and viewers simply don't want to be confronted with illness and hospital smells on a daily basis?
Deutsch: The show actually smells a bit too much like a hospital, we've realized that. That's why we will no longer produce in the university hospital, but in the TV studio. Various formal changes are also planned. The program will be more TV-oriented and broader in terms of topics. In the new concept we are now working on, several topics will be covered instead of just one. This will also make the show longer. Instead of 15 minutes today, it will now last 25 minutes.
But a lack of viewers isn't just the problem with "1 x tägl."; "täglich ran" also has far too few viewers. The 8 p.m. time seems ideal: Once you've seen the "Tagesschau," you can zap over to Sat 1 and catch up on the sports news. But that doesn't work either.
German: "täglich ran" actually plays a kind of complementary role to the "Tagesschau. The fact that this is not yet reflected in viewer numbers has to do with the novelty of the offering. The majority of viewers haven't even noticed this show yet.
Why are you so sure that "ran daily" is on the right track?
German: Viewer numbers increase continuously during the show. For us, that means the show is basically catching on. But we need to invest more in program awareness. We're working on that now. We will certainly launch viewer campaigns and intensify our cooperation with the Ringier media.
Sat 1 generates fewer viewers with the Swiss window than without such a programming niche. Is there a danger that the German partner will lose patience?
Deutsch: Sat 1 was weak in Switzerland before 8 p.m. anyway. We would never have gotten in at a slot where viewer numbers were already sufficient beforehand.
Nevertheless, the audience figures for the program window still have to improve significantly if it is to survive in the longer term.
German: Absolute figures are not so important at the moment. But a positive trend must be visible, and that is the case. If, contrary to expectations, we find that we are still at 30000 spectators by the end of 2000, we would have to come up with new ideas.
What would you do differently today if you could start again with the Sat 1 program window for German-speaking Switzerland?
German: You shouldn't try to raise the Swiss flag at a German station. That was a mistake from the viewer's point of view. People who tune in to Sat 1 do so because they like the station and its programming, not because of Sat 1 Switzerland. Our goal for the future remains to offer Swiss viewers programming with a Swiss touch.
In other words, a further expansion with Swiss content?
German: We are thinking about various new magazines. For example, instead of the country magazine between 5:30 and 6 p.m., we could well imagine a program with Swiss content. Another avenue we're pursuing is to supply shows on Sat 1 with Swiss content.
Interview: Daniel Schifferle

Cult stars read TéléTemps

Publicis Lausanne is running an ad campaign featuring Columbo & Co. to promote the TV guide of the newspaper Le Temps

Publicis Lausanne advertises with Columbo & Co for the TV magazine of the newspaper Le TempsNothing should be the same for TV consumers when they read the new TV magazine TéléTemps. Launched by the French-speaking Swiss daily Le Temps, the magazine lets viewers rediscover the world of television. With background reports, analyses and interviews, TéléTemps is intended to go beyond a conventional program offering. Inspector Columbo is also interested in the new title in the TV and print campaign designed by Publicis Lausanne. The agency integrates cult TV series such as "The Prisoner" and "Les Shadoks" into its advertising concept. Page 10
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