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I have worked with several women in the booth. One is one of the best projectionists I know. I currently have 5 women working for me and they are my top 5 operators. They are more mature (most of my people are under 20) and listen and follow directions better. Guys tend to just do what they want and try and change things. Of course being a guy I enjoy working with women

I think anybody can do the job if they love it. Women have an eye for detail which is very valuable in a projection booth. Men, on the other hand, are more intuitive with technical equipment. Which is not to say that every woman will be good in booth, or any man can fix any problem with the equipment. Projection is a personality intensive job. If you don't have the right characteristics, male or female, you won't last.

Who let you out of the booth. Don't you have some film to build up? Get back to the booth!

I find though that it's mainly guys who ask if they can be trained. I guess the girls do see it as a bit of a boys club (as do more than a few guys).

Erika, if you're ever out this way, I'll give you some work (and I won't ask you to clean out the purple gunk out of the gates...and that's not just because we don't get any purple gunk in the gates, either)

I used to date another girl who'd been a projectionist in a carbon booth. It's interesting to note the nuances of a female's approach to the job. I often find them to be very precise.

Somewhere in New England, I heard there was a very good female service tech, too.

And then there's the personable Karen Hultgren at DTS, who's certainly a brilliant tech.

The guys tend to get sidetracked. They will want to fix some problem or adjust things, etc, etc, and forget to start the show.

I have concluded who is the worst person to train. It's not teenagers, women, potheads, alcoholics or mentally retarded people. I know because I have trained all of the above (admittedly, with varying levels of success.)

It's FILM STUDENTS. Sorry to any out there, but generally speaking, they are the worst. First they keep "lookin' at the movie" instead of paying attention and watching the film. They want to change everything (one thought we should change the house light settings, for each feature, for a more artistic presentation.)

I show them a frame of film that's flat, but uses the full frame. They say; "What about that wasted area?" I say; "Only 446 x 825 is used at the theaters." They say; "Don't you know that increases the grain!? (You don't care enough to do a good job.)" I say; "Yes, I know. (I would like to strangle you with this film.)" They say; "Aren't you going to do anything about it?" I resist the temptation to say; "Sure, go get the film stretcher at our other theater...."

I told another that we only show 1.85 and 2.39 ratios at our theaters. He said that (when he is a big director) he will make sure our theaters won't get his movies because he "should have the freedom to choose any ratio he wants and the theaters should be able to show it." That same guy actually ripped up a few feet of film while making up a show, and slugged the damaged film with black leader.

When it comes to looking at a projector, or whatever, a guy will ask questions and EXPECT that other guys will ask them questions.

(Many) girls will stand there and say, "Uh Huh". Guys don't think girls know about machines becasue they didn't say sonething like, "Is that a 1/4 horsepower motor or a 1/2?" Maybe it's becasue the girl is paying attention to what you're saying when the guy isn't?

You mean you can't just spray them film guard?

John Walsh,
Couldn't agree more. I've trained a couple film students, and it's not worth the headaches. I get pretty tired of these guys telling me I should treat a particular film better than others, simply because it was directed by Stanley Kubrik or something.
It's so funny, though, when you get an applicant who has never run a booth, but thinks just because he/she has taken film production classes in college, he/she knows everything there is to know about film, including how to run a booth.