I won't disagree with the notion of having multiple start times, though.

I smile every time I remember a set-up in the old "Crest" theatre in north Seattle. Let's say that we are starting in house #1. From an old Potts platter (the ones that used Chrysler auto distributor points), through the first AA II, across the ceiling, through a hole in the wall, across the manager's office, a left turn and down a hall way, a right turn, through another hole in a wall, across a small booth, through the second AA II to take-up on a Drive-In platter. The two automations were totally different and special interface boxes had to be made. The building was undergoing alterations with all the attendant dust so we put a pair of opposed anti-static brushes in the middle of the run which really worked well. There was enough film in the air that it took 51 seconds from screen to screen which means a length of about 96 feet because this was in 70mm! Yup, it is fun!

Again, "Done Right" is the big question mark. One badly aligned guide roller, or poor tensioning that drags the film across the floor, will forever leave its mark on the print. At least KODAK VISION Color Print film will not attract dirt on all that free-hanging film (2200 feet for the 16 screen world record, 96 feet for yours) with a static charge, because of it's transparent conductive backing layer. Older film was a shocking "dust magnet".

I can understand the need to interlock when a picture like "Hannibal" is selling out, and you haven't sold any tickets for the "dog" playing next door. But the scheduling flexibility and lower risk of having multiple prints for a hit movie is hard to argue with.

I totally agree that in addition to keeping the booth clean, on-line film cleaning is the best way to keep prints looking good, and avoid winding in abrasive particles that eventually will cause cinch marks. An on-line film cleaner for each projector is a good investment in "doing film right".