Ziegfeld Theatre
141 W. 54th Street,
New York,
NY
10019
141 W. 54th Street,
New York,
NY
10019
131 people
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Here is the text of the article:
August 24, 1982
PROJECTIONIST TROUBLED BY NEW TECHNONLGY
By JANET MASLIN
Those who attend movies frequently are bound to find themselves thinking the occasional rude thought about projectionists. Is the projectionist hard of hearing? Doesn’t he know that the sound is inaudible, or that it’s ear-splitting? Can’t he see that the film is out of focus, or that the actors' heads are being lopped off above the Adam’s apple? Doesn’t he know the audience is hooting, whistling and stomping for him to fix the frame?
If there’s any group unhappier over these problems than the ticketbuying public, it’s the projectionists themselves. Without denying that the blame for such trespasses can sometimes be laid to individual operators, projectionists contend that increasing automation has made their work more problematic and less satisfying.
When a single projectionist is in charge of several screens, which is more and more often the case, he isn’t always on hand to oversee difficulties. And a lot can go wrong.
‘'Automation can be nice if it’s done properly,’‘ said George Gordon, a representative of the Moving Picture Machine Operators Union, Local 306 of the International Alliance of Theatrical Stage Employees. ’‘But when it’s done sloppily, the showmanship is gone and the public is being cheated.’'
Local 306 is presently negotiating with the United Artists theater chain over a variety of automation-related issues, among them ‘'sharing’‘ – the use of one projectionist to run screens in more than one building simultaneously. The present contract expires next Tuesday.
A spokesman for United Artists Theaters confirmed that talks were under way but did not wish to discuss the details. Mr. Gordon had agreed to conduct a guided tour of various midtown theaters and to explain their projection systems and the problems inherent therein. The theaters ranged all the way from tiny, shoebox-shaped multiple theaters like the four in the basement of the Criterion Center to the lavish roomy facilities at the Ziegfeld.
The Criterion now operates almost as two separate theaters. While one projectionist runs the four small screens in the basement, another is in charge of the two larger theaters upstairs.
It was in one of these larger theaters that the first show of ‘'Blade Runner’‘ proceeded – or rather didn’t proceed – a few weeks ago. The show stopped several times and there were long delays with each breakdown. The 12:30 P.M. show was never concluded, and the second show was postponed until 5 o'clock that afternoon.
The two upstairs Criterion theaters, like most midtown multiple theaters, show film that is stored on platters instead of on the smaller, old-fashioned reels. The platter, which revolves horizontally instead of vertically and is almost five feet wide, allows the entire film to be contained on a single reel.
This development became possible when the xenon lamp was developed in the early 1960’s to replace the carbon-arc lamp. The carbon-arc lamps burned so quickly and grew so hot that they had to be changed every 20 minutes, but a xenon lamp can burn during an entire show.
When the necessity for changing lamps was eliminated there was no longer any reason to keep the film on small, 20-minute reels. So the one-reel platter evolved.
The platter system means the projectionist is ostensibly free to do something else, like run another film on another screen.
At the Criterion, the same projectionist is in charge of both upstairs theaters, which are several flights of stairs apart. A warning system in each projection booth indicates whether the film in the other booth is still running. But the warning system doesn’t indicate anything more -whether the film is in focus, whether the sound is right, whether there are problems in the audience.
Down in the basement, the projectionist is even busier, running four theaters out of two cramped projection rooms. The theaters are so close together that it’s possible, if a film is a big enough hit, to run it simultaneously on two different screens by stringing it through two different projectors and across the length of a projection booth, almost as if it were clothesline.
Charles Moss, head of the B.S. Moss Organization, which owns the Criterion, makes no great arguments for this arrangement. ‘'I knew those theaters weren’t going to be knockouts when we built them,’‘ he explained. ’‘But they give us a chance to show films in Midtown that the public wouldn’t otherwise be able to see. Nowadays, if a film takes in $10,000 or $15,000 in a midtown theater, that’s not enough to maintain it in a larger house, and so the film closes. We can keep something longer because our operating costs are low.’'
At the Criterion the ‘'Blade Runner’‘ fiasco occurred because this was the first 70-millimeter film to play on the theater’s upstairs platter, and the adjusting of the platter for the weight of the heavier-than-35-millimeter reel had been done incorrectly. The projectionist was elsewhere and didn’t spot the problem until minutes later.
Similarly, when a recent performance of ‘'The Sword and the Sorcerer’‘ at the Cinerama was interrupted by several minutes of trailers for other films the projectionist was away. A bit of sensing tape on the Cinerama’s platter automatically triggered the platter to stop and turned on the theater’s auxiliary projector, which was loaded with the trailers.
That this equipment works great until anything goes wrong was the unanimous opinion of the various projectionists visited. But, they agreed, if problems develop the show is lost. The platters can’t be repaired as quickly or easily as more old-fashioned equipment can, and if their speed isn’t perfectly adjusted the film may tear.
Nevertheless, automated projection is becoming more and more prevalent. ‘'A certain level of competence is required to run this equipment,’‘ Mr. Moss said, ’‘but it isn’t so demanding that 5, 6, 7 or 10 of them can’t be run simultaneously. That doesn’t have to mean a loss of quality. There’s always been a degree of featherbedding here, and what you’re seeing is the number of employees reaching a more realistic level.’'
At some point, the realistic level is liable to be exceeded. There are now theater complexes with eight screens operating out of a single projection booth ‘'that looks like a bowling alley,’‘ according to one projectionist who has seen the setup.
In places such as northern California and eastern Long Island, theaters use a ‘'sharing’‘ policy, which means one projectionist shuttles between screens that are not even in the same building and that may be miles apart. There are even ’‘usher-projectionists’‘ and ’‘manager-projectionists’‘ in some regions, although in New York Local 306 continues to resist such ideas.
‘'If you think you see bad projection and get irritated at us,’‘ said Robert Endres, who works at the Ziegfeld, ’‘just imagine what your usher can do.’'
The Ziegfeld’s performance of ‘'The Wall’‘ was ready to begin. On the screen, instead of the inexpensive ’‘kaleidescope’‘ image that has replaced curtains at many small, new theaters, the Ziegfeld’s two sets of curtains were ready to open.
With everything in perfect working order, Mr. Endres opened the dark outer curtain, then the transparent inner one, and showed a trailer. He closed the inner curtain again, dimmed the house lights, and turned up the sound to ‘'show level.’'
The equipment – three projectors, none with platters – was immaculate, and appeared to be in perfect working order. As ‘'The Wall’‘ began without a hitch, both Mr. Endres and Mr. Gordon looked pleased. The Dolby sound was delicately adjusted, and the image was big, bright and clean. The movie was terrible. But that wasn’t the projectionists’ problem.
That 1982 New York Times article can be accessed here, but for a fee of $3.95:
View link
I believe we have access to the Times archives at my job. I’ll check it out on Monday.
REndres: Please let me know 1) where one might reach you, 2) where we might find that article about projectionists where you spoke about curtain cues, and I’m still curious how you might present a roadshow at the Ziegfeld.
The mag strips are not really that narrow. The three front tracks are about 1/8", the surround is about 1/16". The tone was used to cue the rear sound system to come on, so when you heard it come on, that’s when sound would emanate form the rear, with the tone filtered out, using the proper equipment. The film is moving at 18 inches per second, so that’s a pretty good speed for magnetic tape. I’ve got some 40 year old mag prints that sound glorious, lots of nice high frequencies, and really great separation.
Some older magnetic films tends to develop a “twisty” condition, it tends to precede vinegar syndrome. This could have been what was causing the focus flutter some have reported, just a guess.
Those that have never seen what a piece of magnetic 35mm film looks like, are welcome to click the link below:
View link
I was there on Thursday night. About 300-400 people there, but I could be wrong. I got there early to be in the “sweet spot.” . Very smart, enthusiastic crowd.
Gold curtains were closed during overture and the sound was very muffled. When golds & sheers opened for credits, the music just blared, and was glorious.
That 12 Khz tone was murder on my ears at first, but I got used to it. Interesting to hear it come on by itself in anticipation of a musical cue. Besides that, I was surprised by the quality of the sound – it really had “oomph” and some nice separation. The hurricane scene was especially impressive. It amazes me that all that rich sound comes from 4 narrow magnetic strips on a print from 50 years ago. As mentioned before, there were focus problems. I bought new eyeglasses that day and kept asking my friend, “is it my prescription, or is it out of focus?”
All in all, a fascinating experience – and getting the technical back story from you guys is priceless. It astounds me, though, that there wasn’t better press coverage of this event.
Vani, why don’t you look up the main office for Clearview CInemas to inquire about upcoming premieres at the Zieg?
Hello…Does anyone know where to get information about upcoming premieres at the Ziegfeld? I’m in New York on occasion and I’m a huge movie fan and would love to see a red-carpet event.
Thanks in advance for any help.
On another forum Mitchell from the Loews Jersey City posted about the focus issue and that the 12kHz tone was still there in the surrounds.
Did anyone go to last night’s show? I was interested to know how big the audience was, and whether or not they fixed the surrounds. I almost went back again myself, but decided not to at the last minute.
I would like to mention something about the focus issues.
Many panoramic scenes, like those so prevalent in PORGY AND BESS, have altered focus so that items of best interest are sharp while others are soft, drawing the viewer to that part of the screen. Since main items were hard to determine in PORGY the projectionist kept playing with the focus trying to find one.
I do not fault him for his efforts but it does make this particular film a challenge on a big screen. I know this was common issue with David Lean films but does anyone know if this was always the case with PORGY?
Reports on last night’s screening, please.
Vito, I had to buy an old CinemaScope cement splicer on eBay to make repairs to my ancient mag prints. My tape splicers will damage the sprocket holes as you say.
Yes, the tracks are subject to damage from magnetized surfaces, fields from motors and transformers, etc. I put a special piece of magnetic shielding (mu-metal) between my motor and where the film runs past it to try to prevent any further degradation to the track. I also demagnetize the film path and heads occasionally, and especially before running a mag print.
Hopefully that wonderful aroma isn’t vinegar syndrome. I lost one really one-of-a-kind magnetic print to VS.
Vito, where have you worked over the years? I was never a projectionist, only a collector. I got this bug from my Grandfather who did run a movie theater and I spent many summers growing up in the booth.
AlAlvarez, may I loving say, as the kids say today,
“What a buzz kill”
William and Jeff, another problem with the mag tracks is the deteriation of the tracks especially in the high freq.
But there was always something wonderful about that wonderful aroma of the mag racks when you opened the film cans, remember that??
Another thing is, you need a Fox sprocket splicer to make repairs, I don’t think the newer tape splicers will not accomidate the mag prints.
“It can rip right down the middle of the frame.”
Oh so true. I’ve had it happen.
Remember one reason why the owner does not want that many runs of the print. Is since it’s a vintage 35mm 4-Track Mag print, there is a chance that the print has shrunk alittle for it’s age. It can rip right down the middle of the frame. This happened at a screening I saw of a Mag print of “The Guns of Navarone”.
Foster Hirsch said Sam Goldwyn practically blackmailed Sidney into taking the role after Harry Belafonte turned it down, which may be one reason he’s never liked the film. But Al A. is right – he never let that show in his performance for a second.
As for Dorothy Dandridge, I couldn’t take my eyes off her whenever she was on screen. Knowing how unhappy her real life was and how tragically it ended made her performance that much more touching.
They needed a little rehearsal, at least with the openings and closings. Tonight should be better.
Sidney should shut up and realize that “Porgy & Bess” is black history !
With all due respect to all those on this thread who love curtains and reel to reel, I really enjoyed last night’s showing of PORGY but I will be the devil’s advocate and report that the curtain was indeed a nuisance and the reel changes were jumpy. I felt like I had missed something each time.
The curtain was indeed opened late after intermission (I thought it was up to its old tricks and we would never see the second half)and we missed part of the scene anyway as it was started without sound. The curtain play at the end credits was distracting and unnecessary.
I will chalk it up to a lost art in the projection booth but lost it has been and for way too many years.
Aside from this the introduction from the biographer was endearing and the film itself lived up to all the hype and justifies none of the detractors, including Mr. Poitier, who was actually quite good in it.
We are a lost breed, gentlmen. But thanks to CT,
Showmanship lives on!
Yeah, Peter, the fact that you care enough (and know enough) to try makes you a hero in our book.
Pete, take it from me. It’s fine. Your showmanship is top notch. You have nothing to apologize for!
Vito – I wish I had seen some of those shows you did – they sound wonderful. In my own limited way, I try and recreate that at the Lafayette with my classic shows (though with only a single traveler curtain and limited lighting choices, I can’t go that far).
Vito and Roadshow talked about the “West Side Story” overture image. Thanks to Martin Hart’s Widescreen Museum, here is a shot of that image actually being created:
View link
Here is Martin Hart’s caption:
Linwood C. Dunn, photographic effects icon for decades, and his associate Cecil Love, photograph the colorful overture/title sequence to Robert Wise-Jerome Robbins' West Side Story in 1960. Dunn’s 65mm work was done with a Mitchell FC, fitted with appropriate lenses for Super Panavision/Todd-AO or Ultra Panavision. Love was Dunn’s optics expert. The film’s main credits, appearing at the end, were created by Saul Bass.
Photo courtesy of William Luca
What a fasinating story Rob, It just goes to the heart of the matter of being a showman in the booth. It was demanded in some locations back then, but often it was up to us to “put on a show” using all the bells and whistles at our disposal. When it came to running a roadshow, premiere or just opening night, I was always the kid in the candy store. Thank so much for bringing all those wonderful memories back. Like Sinatra once said about Fred and Ginger, you can hope and you can dream but you will never see the likes of that again.
My experiences with two curtains was always just about the same.
Just before the start of the show and the end of the music (non-sync)playing (you never cut a record or faded it out), we would open the the first curtain (contour or traveler) and dim the house lights to
half, after a couple of beats the first frame of the film would hit the screen and the 2nd curtain would open. I recall the audience reaction of applause when the first curtain opened in anticipation of the beginning of the show.
The end of the show in a theatre with a contour and travelor curtain was handled (with all due respect Rob) Music Hall style, with both curtains closing together. it was essentional that the two legs of the curtain kiss as the contour hit the stage, all of this had to Be perfectly timed to the fade out of the movie and the last note of music. ESSENTIAL!
In the case when we had twe travelor curtains, one curtain would be timed so that the two legs kissed at the same time the movie faded. Then the 2nd curtain would be brought in as the stage lights came up.
Of course with roadshows we went completly nuts and created new and different methods of opening and closing the curtains, dimming and raising the house and stage lights to go along with the overtures.
Of course, there was never any pre recorded music (non-sync) played during a roadshow.
God I miss those days!!