Adolph Coors Company (B) no. 1-1028
their correspondents over the head all year long. Good camera crews and
good editors improve pieces, but it is the producer who does the donkey
work at every level, and it’s his neck that’s out. If his case—and that includes
his big-name correspondent—doesn’t perform up to expectations, it’s a blot
on the producer.”
Obtained tapes of recent speeches and information about David Sickler, the AFL-CIO
official who headed the Coors boycott.
Researched and gathered all facts surrounding every issue which could be brought up by
Mike Wallace.
Obtained permission from Mike Wallace for the Coors Television Department to film all
aspects of the “60 Minutes” visit to Coors. It’s good to have a record of questions asked and
responses.
Prepared Bill and Joe Coors for the Mike Wallace interview with professional spokes-
manship training using actual reporters. These techniques would apply to any interview
situation for any company.
• Reviewed message objectives and explained technique of bridging from Mike Wallace’s
questions to positive points about the company. (Emphasize that audience will not see
actual bridging of message objectives during the “60 Minutes” film they will see because
of editing. Explain that the message objectives were communicated through-out the
entire “60 Minutes” investigation, including when we transmitted all information to
producer in response to his requests.) Example of bridging: Mike: “Joe Coors, you
give to right wing groups, including Anita Bryant, to help stamp out gays. You are the
acknowledged leader of the Colorado Crazies, including James Watt. You sneak into
• Reviewed interview strategy:
o During an inter-view, you have rights…Advised Joe and Bill of their rights with
Mike Wallace, i.e., the right to set their own pace, the right to be comfortable, the
right to have Mr. Wallace repeat a question if they are uncomfortable with it, the
right to ask Mr. Wallace for more information or why he may be asking a certain