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Yes, this is the mind of the dedicated projectionist, wanting perfect shows, eliminating any imperfection that may mar the audience's ability to experience the film to the fullest, constantly trying to figure out ways to correct anything that will detract from that goal.
One time when I was running MONTEREY POP, a film by D. A. Pennebaker, Don came up to the booth before the movie and explained it was a rock music film and if I could turn up the volume two points at the beginning of the first reel. I told him, believe me, that wouldn't be a problem -- I said I loved to punch up sound on such movies -- WOODSTOCK, LET THE GOOD TIMES ROLL. A HARD DAYS NIGHT, etc., plus I had run his film at least three other times and I was familiar with it. Over the years, as an art house, we've had directors at the screenings of their films for Q&A and some of them have sent messages about this or that issue they wanted corrected or dealt with -- not unusual. Mr. Pennebaker, however, was the first one ever to come up to the booth himself. That surprised me; what surprised me even more, was at the end of the show, he again made his way up to the booth again to thank me for the presentation. Then he added that most people don't appreciate that the success of his film is in the hands of the projectionist...it all rests on his shoulders. Wow! I then thanked him profusely! Think about it -- the projectionist, although perhaps separated by lots of time, yet he is still the last member of the team of hundreds of people from the actors, the cinematographer and every technician that worked to make that film a reality. All of their creative work is distilled down to a loan projectionist in a booth in some theatre somewhere running out reels of their film. Either he does as good a job as everyone else who's work on the film, or he can ruin it. It all comes down to his expertise, his attention to detail and his dedication to make that movie come alive for an audience sitting in a dark theatre through a flawless presentation. A projectionist just like Jim, determined to figure out what is the best way to get negative splices to be the least objectionable. Jim, I would think that Paul Thomas Anderson would thank you for your concern and efforts with LICORICE PIZZA. And then go scream at the lab that did the work on those prints. Is it THAT difficult to hard-matte 70mm prints to cover neg splices the same way they hard-matte 35mm 1.85 prints to cover set gack and mics?
One time when I was running MONTEREY POP, a film by D. A. Pennebaker, Don came up to the booth before the movie and explained it was a rock music film and if I could turn up the volume two points at the beginning of the first reel. I told him, believe me, that wouldn't be a problem -- I said I loved to punch up sound on such movies -- WOODSTOCK, LET THE GOOD TIMES ROLL. A HARD DAYS NIGHT, etc., plus I had run his film at least three other times and I was familiar with it. Over the years, as an art house, we've had directors at the screenings of their films for Q&A and some of them have sent messages about this or that issue they wanted corrected or dealt with -- not unusual. Mr. Pennebaker, however, was the first one ever to come up to the booth himself. That surprised me; what surprised me even more, was at the end of the show, he again made his way up to the booth again to thank me for the presentation. Then he added that most people don't appreciate that the success of his film is in the hands of the projectionist...it all rests on his shoulders. Wow! I then thanked him profusely! Think about it -- the projectionist, although perhaps separated by lots of time, yet he is still the last member of the team of hundreds of people from the actors, the cinematographer and every technician that worked to make that film a reality. All of their creative work is distilled down to a loan projectionist in a booth in some theatre somewhere running out reels of their film. Either he does as good a job as everyone else who's work on the film, or he can ruin it. It all comes down to his expertise, his attention to detail and his dedication to make that movie come alive for an audience sitting in a dark theatre through a flawless presentation. A projectionist just like Jim, determined to figure out what is the best way to get negative splices to be the least objectionable. Jim, I would think that Paul Thomas Anderson would thank you for your concern and efforts with LICORICE PIZZA. And then go scream at the lab that did the work on those prints. Is it THAT difficult to hard-matte 70mm prints to cover neg splices the same way they hard-matte 35mm 1.85 prints to cover set gack and mics?
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