Warren, my friend, Cinema Treasures would be nothing without your always interesting and often educational posts. Please continue to enlighten and entertain us with your posts. I am sure I speak for many when I say I appreciate them very much.
Ed..Something tells me I would mot be welcome in that booth, I have a feeling they like things just the way they are.
Jeff.. you have a reel end alarm at home? Thats marvelous!
I have a pair of em in my basement they, ahem.. found their way into my bag when we cleaned out the booth at the Staten Island Paramount I took marquee letters spelling out my name as well.
Bill.. only if they run reel-to-reel, I am just to irritated that they would use a platter. Yeah, I know, I’m a stubborn old man, but I am a big lover of tradition and what is right, oh, and a lovable one as well.
Nice hearing from you Bill, Oh and yes, I miss that too. Did the Rivoli have a curtain? If so did they ever do a Delux, meaning the curtain would close at the end of the first feature and then open to the start of the second feature. As for that renegade reel end alarm, that actually happened to me on more than one occasion. I can still hear that damm bell ringing in my head.
Gee William, five changeovers a day. I’ll bet you did not miss any. I had a similar situation at Century’s Green Acres on Long Island when it was a triplex, we were running “War Games†in 70mm on a platter and the Will Rogers collection trailer was in 35mm. So I also had five changeovers a day. By the way, The Green Acres, when it was a single screen, was one of a few locations on Long Island with three projectors in the booth. Century had three at, Green Acres, Plainview and Route 110 drive-in. UA had three projectors at the Calderone. Now-a-days must theatres have only one.
I would agree with you, I’d love to see them fire up the #2 machine at the Ziegfeld, run a show reel-to-reel and see what happens. Can ya hear the ding-ding-ding? Oh for those of you who may not be aware of what we are writing about, ding-ding-ding refers to the sound of the reel end alarm which would sound about 2 minutes before the end of the reel to alert (wake up?) the projectionist to an upcoming changeover.
I also do not understand, as Jeff has stated, how they missed all those changeovers, it just seems so hard to comprehend. Of course in the roadshow days, after running a print for several weeks and up to a year, you pretty well knew when the cues were coming. Oh how I remember the butterflies in my stomach the first couple of times we ran a print to a packed house waiting for those cues, afraid to blink. Good times!
Thanks William for that post even though it only managed to depress the hell out of me over what has happened in the booth. I suppose the platter/reel-to-reel debate could go on forever but I recognize the fact that platters are here to stay. Too many new people are coming into the industry with absolutely no idea of what it was like to run movies without a platter. Last night, for example, there was a news fluff piece item about a single screen drive-in theatre that had re-opened somewhere down south. I got all excited and felt a warm feeling about what a great thing that was.,,,, until they went into the booth, and there it was, a platter. I guess that punctuates the whole point of what is happening today.
But darn it, I just want to see those classic films played the way they were back in the day.
Speaking of wages, it’s nothing new to pay more for extra screens, in my day we received a premium rate for 3-D or 70mm projection. In fact while I was at Lynbrook, Syosset or D-150 on Long Island, when ever we had a reserved seat roadshow engagement we would get paid a flat rate per show, and there was always two of us in the booth at all times. Later when I worked at Sunrise Multiplex, every time they added a screen our rate went up. Try and get THAT today. By the way, I have to say, the presentations in those days were flawless. Missed changeovers?? Unheard of. If you messed up a show in any way, you would slither out of the theatre after your shift and hide you head in shame.
Fact: The risks to running a print on a platter are far greater than they are running reel-to-reel.
Unlike a reel-to-reel operation, you are always at risk for a brain wrap or a thrown print, and yes I know there are preventive measures that can be taken, but these things happen anyway.
Next risk is in the speed control card failures that are more common than most people think. This failure causes erratic control of the speed a platter turns, or causes complete failure of a disk to operate.
The “Backdraft†issue was due to the projectionist running the wrong reel. Well, that can just as easily happen with a print mounted on a platter. I have seen reels out of order, upside down and even backwards.
Are ya scared yet??
I would not care if they even ran the print reel-to-reel on 6k reels to help with the life of the bulb.
Craig, you may have noticed they still put changeover cues on the prints being released today.
Come on big guy, lets use em. Oh, and as for the 2nd 70mm DTS reader you will need for 70mm DTS prints, I mean come on now, how expensive can they be.
Please take what I have written with all the good intentions I can muster, I am just an old fashion guy looking to preserve a little projection history.
Good story Al
Oh Ed, I am so tired of hearing that “Backdraft†story, and while I know it’s true I also know it was a rare occurrence in a reel-to-reel operation.
I agree with Jeff, switching to platters was a ridiculous solution, the problem with the wrong reel being shown is far worse when it happens on a print loaded on a platter than it is reel-to-reel. When the wrong reel hits the sheet in a reel-to-reel operation it only takes a few minutes to correct, when the print is mounted on a platter out of order it could be an hour or more before it can be corrected. The problem with platter mounted prints out of order is so severe that National Amusements has a rule that all prints must be screened before opening day. This to check print quality, but mostly to ensure that the print is not mounted out of sequence, which happens far more often than it ever did in the good ole days of reel-to-reel. Granted we are not talking about professionals here but manager/operators which of course is a whole other story. We can all agree that platters are a necessary evil in multi screen operations, but using one at the Ziegfeld, using that tired old “Backdraft†excuse does not cut it. OK, so if some misinformed studio exec wants his/her premiere shown on a platter, so be it, but unless the print is screened in advance the same “Backdraft scenario will occur again, and if there is a God, a couple of brain wraps as well. So go ahead, use the platter when directed by someone for a specific show, then cover the darn thing up in plastic and go back to reel-to-reel..
Thanks William, I appreciate that info. By the way, It’s nice to know that there are still some reel-to-reel operations left.
I ran reel-to-reel for most of my professional life, I grew to hate platters. While I understand the need for those contraptions in a multi screen operation, I cannot imagine why a projectionist would choose to run a platter in a single screen operation like the Ziegfeld. I would go insane siting all day with almost nothing to do but lace up a projector once every couple of hours and then sit around and watch a platter go around. Worse yet, is running Digital where all it takes is a few keystrokes on a computer and you are done. If I were working the Ziegfeld I would be eager to get my hands on those classic films and play them reel-to-reel, it would be such a hoot. But I guess you and I are from a different generation of projectionist. May a platter never see the light of day in your theatre.
Let me take back a statement I made in my previous post. I wrote it was easier to run platter than reel-to-reel. I most certainly DO NOT
agree with that idea at all. No self-respecting projectionist would say that, only an “operator” would.
I say nonsense, pure nonsense to the notion that it is better to run movies on a platter then reel-to-reel. It’s NOT better, just easier, but the risks involved in running a print on a platter are far greater than reel-to-reel, ever wonder why the studios won’t allow the classic films to be run on a platter?. One reason is the risk of damage a platter can do to a print. My goodness, I have to laugh at these idiots who talk about the advantage to platters, We had
reel-to-reel presentations for some 50 years before platters came along in the mid 70s and did just fine, thank you very much.
As to the number of projectors at the Ziegfeld, last I heard the two Centurt JJ 35/70 projectors were still there, along with a third Digital projector. The confusion may lie in the fact that only one of the JJs are equipt with a DTS 70mm sound reader, so a 70mm Dts print like LOA was run on a platter. Perhaps someone could confirm this. Finally, if in fact both 35/70 projectors are still in tact, there should be no reason not to run the 35mm classics, and any 70 mag sound prints, reel-to-reel. Come on Clearview, lt’s do it right!
Last time I visited, which was about a year ago, the building had begun to deteriate, some walls in the upper balcony area and lower lobby had some crumbling, also there was a terrible stench, pidgeons have made it home now. there is no orchestra seats and the booth is gone. As Lost Memory has pointed out, I recall a few years ago a provision in the deed which prohibits showing of movies, perhaps that can be overturned. It will take a lot of money, and with movie attendance on the decline, even for classic films, It may be a struggle to find investors. Howver it does have a better shot than the poor ole Paramount had.
I think everyone understands this now but just to be clear, the original Syosset, which at one time was a cinerama theatre and later used for 70mm roadshow engagements, was in Syosset. The theatre was later triplexed and became the Syosset triplex. The D-150 cinema was In Woodbury and remained a single screen until it closed. The theatres were close to one another one on each side of Jericho Turnpike. Bottom line here is they are both missed, especially the one and only D-150.
I not only worked as a projectionist at both the Syosset and D-150 cinema theatres, but lived at Woodbury Town Houses directly across the street from the D-150 cinema, I could see the attraction board from my kitchen window. Since I had a Woodbury address I have to imagine the D-150 Cinema had to be in Woodbury as well. Hope that helps.
In addition, having worked most of the theatres in Nassau County before I retired, I can only recall the Syosset, which was of course triplexed but retained the same name, and the Cinema 150 or D-150, as we called it, in Woodbury. I never heard of a Woodbury theatre.
Great post William, I would agree the prints should be projected reel-to-reel (as God intended) I would happily come out of retirement to be a part of that type of presentation again.
I am afraid the ship has sailed on saving the Paramount. If you have not already done so, check out the newly restored St George theatre when you visit Staten Island. It’s a gem!
Just a note: In the early days of stereo sound, many of the larger theatres used large A-7 type speakers for surrounds, usually mounted in the rear or extreame left and right of the stage, the three stage speakers were usually A-5 type speakers. Today, the surrounds are mounted in the ceilings or along the side and back walls, and are much smaller and efficent. As I recall, the speakers for the Paramount were Altec. The movie sound system RCA
Yes Ken, that is correct as I recall, the organ was removed about the same time as CinemaScope was installed. It was during the installation of the two Altec A-7 surround speakers which were used for stereo sound and mounted at both sides of the proscenium.
Excellent post Ken, I worked the house for many years starting as an usher/curtain puller/marguee changer, and later worked the projection booth. I still recall the CinemaScope installation we did on Christmas eve 1953 and the grand re-opening in 1961 with “Flower Drum Song”. We also ran a lot of 3-D movies and installed the floating skeleton which was called Emergo for “House on Haunted Hill” in 1959. I will never forgive the Steckmans for allowing the savages, who leased the theatre from them, to do so much damage while in their care.
Forget my last post, old age kikcking in. I realise now, since no one could access theatre pages their were no comments,
hense no e-mails.
Great to have you back!
Warren, my friend, Cinema Treasures would be nothing without your always interesting and often educational posts. Please continue to enlighten and entertain us with your posts. I am sure I speak for many when I say I appreciate them very much.
Ed..Something tells me I would mot be welcome in that booth, I have a feeling they like things just the way they are.
Jeff.. you have a reel end alarm at home? Thats marvelous!
I have a pair of em in my basement they, ahem.. found their way into my bag when we cleaned out the booth at the Staten Island Paramount I took marquee letters spelling out my name as well.
Bill.. only if they run reel-to-reel, I am just to irritated that they would use a platter. Yeah, I know, I’m a stubborn old man, but I am a big lover of tradition and what is right, oh, and a lovable one as well.
Nice hearing from you Bill, Oh and yes, I miss that too. Did the Rivoli have a curtain? If so did they ever do a Delux, meaning the curtain would close at the end of the first feature and then open to the start of the second feature. As for that renegade reel end alarm, that actually happened to me on more than one occasion. I can still hear that damm bell ringing in my head.
Gee William, five changeovers a day. I’ll bet you did not miss any. I had a similar situation at Century’s Green Acres on Long Island when it was a triplex, we were running “War Games†in 70mm on a platter and the Will Rogers collection trailer was in 35mm. So I also had five changeovers a day. By the way, The Green Acres, when it was a single screen, was one of a few locations on Long Island with three projectors in the booth. Century had three at, Green Acres, Plainview and Route 110 drive-in. UA had three projectors at the Calderone. Now-a-days must theatres have only one.
I would agree with you, I’d love to see them fire up the #2 machine at the Ziegfeld, run a show reel-to-reel and see what happens. Can ya hear the ding-ding-ding? Oh for those of you who may not be aware of what we are writing about, ding-ding-ding refers to the sound of the reel end alarm which would sound about 2 minutes before the end of the reel to alert (wake up?) the projectionist to an upcoming changeover.
I also do not understand, as Jeff has stated, how they missed all those changeovers, it just seems so hard to comprehend. Of course in the roadshow days, after running a print for several weeks and up to a year, you pretty well knew when the cues were coming. Oh how I remember the butterflies in my stomach the first couple of times we ran a print to a packed house waiting for those cues, afraid to blink. Good times!
Thanks William for that post even though it only managed to depress the hell out of me over what has happened in the booth. I suppose the platter/reel-to-reel debate could go on forever but I recognize the fact that platters are here to stay. Too many new people are coming into the industry with absolutely no idea of what it was like to run movies without a platter. Last night, for example, there was a news fluff piece item about a single screen drive-in theatre that had re-opened somewhere down south. I got all excited and felt a warm feeling about what a great thing that was.,,,, until they went into the booth, and there it was, a platter. I guess that punctuates the whole point of what is happening today.
But darn it, I just want to see those classic films played the way they were back in the day.
Speaking of wages, it’s nothing new to pay more for extra screens, in my day we received a premium rate for 3-D or 70mm projection. In fact while I was at Lynbrook, Syosset or D-150 on Long Island, when ever we had a reserved seat roadshow engagement we would get paid a flat rate per show, and there was always two of us in the booth at all times. Later when I worked at Sunrise Multiplex, every time they added a screen our rate went up. Try and get THAT today. By the way, I have to say, the presentations in those days were flawless. Missed changeovers?? Unheard of. If you messed up a show in any way, you would slither out of the theatre after your shift and hide you head in shame.
Yes Craig, please
Fact: The risks to running a print on a platter are far greater than they are running reel-to-reel.
Unlike a reel-to-reel operation, you are always at risk for a brain wrap or a thrown print, and yes I know there are preventive measures that can be taken, but these things happen anyway.
Next risk is in the speed control card failures that are more common than most people think. This failure causes erratic control of the speed a platter turns, or causes complete failure of a disk to operate.
The “Backdraft†issue was due to the projectionist running the wrong reel. Well, that can just as easily happen with a print mounted on a platter. I have seen reels out of order, upside down and even backwards.
Are ya scared yet??
I would not care if they even ran the print reel-to-reel on 6k reels to help with the life of the bulb.
Craig, you may have noticed they still put changeover cues on the prints being released today.
Come on big guy, lets use em. Oh, and as for the 2nd 70mm DTS reader you will need for 70mm DTS prints, I mean come on now, how expensive can they be.
Please take what I have written with all the good intentions I can muster, I am just an old fashion guy looking to preserve a little projection history.
Good story Al
Oh Ed, I am so tired of hearing that “Backdraft†story, and while I know it’s true I also know it was a rare occurrence in a reel-to-reel operation.
I agree with Jeff, switching to platters was a ridiculous solution, the problem with the wrong reel being shown is far worse when it happens on a print loaded on a platter than it is reel-to-reel. When the wrong reel hits the sheet in a reel-to-reel operation it only takes a few minutes to correct, when the print is mounted on a platter out of order it could be an hour or more before it can be corrected. The problem with platter mounted prints out of order is so severe that National Amusements has a rule that all prints must be screened before opening day. This to check print quality, but mostly to ensure that the print is not mounted out of sequence, which happens far more often than it ever did in the good ole days of reel-to-reel. Granted we are not talking about professionals here but manager/operators which of course is a whole other story. We can all agree that platters are a necessary evil in multi screen operations, but using one at the Ziegfeld, using that tired old “Backdraft†excuse does not cut it. OK, so if some misinformed studio exec wants his/her premiere shown on a platter, so be it, but unless the print is screened in advance the same “Backdraft scenario will occur again, and if there is a God, a couple of brain wraps as well. So go ahead, use the platter when directed by someone for a specific show, then cover the darn thing up in plastic and go back to reel-to-reel..
Thanks William, I appreciate that info. By the way, It’s nice to know that there are still some reel-to-reel operations left.
I ran reel-to-reel for most of my professional life, I grew to hate platters. While I understand the need for those contraptions in a multi screen operation, I cannot imagine why a projectionist would choose to run a platter in a single screen operation like the Ziegfeld. I would go insane siting all day with almost nothing to do but lace up a projector once every couple of hours and then sit around and watch a platter go around. Worse yet, is running Digital where all it takes is a few keystrokes on a computer and you are done. If I were working the Ziegfeld I would be eager to get my hands on those classic films and play them reel-to-reel, it would be such a hoot. But I guess you and I are from a different generation of projectionist. May a platter never see the light of day in your theatre.
Let me take back a statement I made in my previous post. I wrote it was easier to run platter than reel-to-reel. I most certainly DO NOT
agree with that idea at all. No self-respecting projectionist would say that, only an “operator” would.
I say nonsense, pure nonsense to the notion that it is better to run movies on a platter then reel-to-reel. It’s NOT better, just easier, but the risks involved in running a print on a platter are far greater than reel-to-reel, ever wonder why the studios won’t allow the classic films to be run on a platter?. One reason is the risk of damage a platter can do to a print. My goodness, I have to laugh at these idiots who talk about the advantage to platters, We had
reel-to-reel presentations for some 50 years before platters came along in the mid 70s and did just fine, thank you very much.
As to the number of projectors at the Ziegfeld, last I heard the two Centurt JJ 35/70 projectors were still there, along with a third Digital projector. The confusion may lie in the fact that only one of the JJs are equipt with a DTS 70mm sound reader, so a 70mm Dts print like LOA was run on a platter. Perhaps someone could confirm this. Finally, if in fact both 35/70 projectors are still in tact, there should be no reason not to run the 35mm classics, and any 70 mag sound prints, reel-to-reel. Come on Clearview, lt’s do it right!
Gus, please see my post /theaters/3414/
Last time I visited, which was about a year ago, the building had begun to deteriate, some walls in the upper balcony area and lower lobby had some crumbling, also there was a terrible stench, pidgeons have made it home now. there is no orchestra seats and the booth is gone. As Lost Memory has pointed out, I recall a few years ago a provision in the deed which prohibits showing of movies, perhaps that can be overturned. It will take a lot of money, and with movie attendance on the decline, even for classic films, It may be a struggle to find investors. Howver it does have a better shot than the poor ole Paramount had.
Long Island and Ed, What about the ole Roslyn by the clock tower?
That might be rather old. Unfortunatly it’s no longer a single screen.
I think the top of this page which lists the name of the theatre should read the address as Woodbury NY and not Syosset.
I think everyone understands this now but just to be clear, the original Syosset, which at one time was a cinerama theatre and later used for 70mm roadshow engagements, was in Syosset. The theatre was later triplexed and became the Syosset triplex. The D-150 cinema was In Woodbury and remained a single screen until it closed. The theatres were close to one another one on each side of Jericho Turnpike. Bottom line here is they are both missed, especially the one and only D-150.
I not only worked as a projectionist at both the Syosset and D-150 cinema theatres, but lived at Woodbury Town Houses directly across the street from the D-150 cinema, I could see the attraction board from my kitchen window. Since I had a Woodbury address I have to imagine the D-150 Cinema had to be in Woodbury as well. Hope that helps.
In addition, having worked most of the theatres in Nassau County before I retired, I can only recall the Syosset, which was of course triplexed but retained the same name, and the Cinema 150 or D-150, as we called it, in Woodbury. I never heard of a Woodbury theatre.
Great post William, I would agree the prints should be projected reel-to-reel (as God intended) I would happily come out of retirement to be a part of that type of presentation again.
I read with interest of the Rodgers and Hammerstein festival in London, any thoughts of doing that here?
What a trip down memeory lane. I wonder if there are any more marquee photos of the Paramount which was my favorite theatre
I am afraid the ship has sailed on saving the Paramount. If you have not already done so, check out the newly restored St George theatre when you visit Staten Island. It’s a gem!
Just a note: In the early days of stereo sound, many of the larger theatres used large A-7 type speakers for surrounds, usually mounted in the rear or extreame left and right of the stage, the three stage speakers were usually A-5 type speakers. Today, the surrounds are mounted in the ceilings or along the side and back walls, and are much smaller and efficent. As I recall, the speakers for the Paramount were Altec. The movie sound system RCA
Yes Ken, that is correct as I recall, the organ was removed about the same time as CinemaScope was installed. It was during the installation of the two Altec A-7 surround speakers which were used for stereo sound and mounted at both sides of the proscenium.
Excellent post Ken, I worked the house for many years starting as an usher/curtain puller/marguee changer, and later worked the projection booth. I still recall the CinemaScope installation we did on Christmas eve 1953 and the grand re-opening in 1961 with “Flower Drum Song”. We also ran a lot of 3-D movies and installed the floating skeleton which was called Emergo for “House on Haunted Hill” in 1959. I will never forgive the Steckmans for allowing the savages, who leased the theatre from them, to do so much damage while in their care.
Gustavelifting, I have been inside a couple of times since the new owners took over, sadly there is very little left of the ole girl.
Forget my last post, old age kikcking in. I realise now, since no one could access theatre pages their were no comments,
hense no e-mails.
Great to have you back!