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Author Topic: Projectionist documentary needs suggestions! Gabriel Rhodes Film Handler Posts: 16 From: Brooklyn, NY, USA Registered: Jun 2001 posted 10-03-2003 11:10 AM                     Greetings, I have posted on this forum a couple of times in the past about my 16mm documentary called "Behind the Glass". The film profiles projectionists across the country and tells the story of the motion picture projectionist, from past to present to future. I will be in Los Angeles from October 15th-19th to conduct research for the film and I am looking to meet with colorful, enigmatic, enthusiastic projectionists in L.A. who can tell a good story about their life and their career. In particular (but not exclusively), I am looking to meet with projectionists who have worked in the studio system and speak to their "Hollywood Experience". If you, or someone you know fits the bill, please email me at: gaberhodes@earthlink.net For more information about the documentary, please visit our website at: http://www.behindtheglass.com. Be sure to check out the "News" section of the website for updated information on the progress of the film. Thanks to all those folks who responded to my last posting! I just found those postings, so I will be sure to follow-up with them. Many thanks, Gabriel Rhodes  |  IP: Logged Steve Kraus Film God Posts: 4094 From: Chicago, IL, USA Registered: May 2000 posted 10-03-2003 11:30 AM                    I hope you show everything, warts and all. By that I mean the cots, tv's and other recreational diversions. Or the days of two men per single screen booth...one who actually worked...the other who just collected a check because he had certain familial connections. That's not to take away from all the hard working, dilligent operators but you ought to tell the whole story and that is one of the more interesting aspects.  |  IP: Logged Bill Gabel Film God Posts: 3873 From: Technicolor / Postworks NY, USA Registered: Jan 2002 posted 10-03-2003 12:12 PM                     You should talk to Studio and Screening Room Projectionists, besides the ones in the regular theatres. Because every day its like working a film festival and they work closer with the film makers. Say Hi to Tara [ 10-06-2003, 05:17 PM: Message edited by: Bill Gabel ]  |  IP: Logged Gabriel Rhodes Film Handler Posts: 16 From: Brooklyn, NY, USA Registered: Jun 2001 posted 10-03-2003 12:19 PM                     I definitely plan on telling as much of the truth as I can. Being a bit of an outsider, I am only privy to what I see when I step into the world, so I will reflect what I see. As for studio projectionists, I am definitely trying to pursue some of those folks. I have heard great things about their work... Thanks, Gabe  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 10-03-2003 06:00 PM                     Gabriel, be SURE a prove your point about the lost art of projection. This is easily done too... At the very beginning of the last reel (literally being immediately after the leader), have your narrator explain what is about to happen and then go to a "white" screen and muted audio for about 20 seconds. That right there will let the patrons watching your movie know if they are in a theater with professional projectionists or not. I'll bet that VERY FEW can present your film without a speck of dirt or a scratch, that section of the movie especially, which will further the point of needing professionals in the booth.  |  IP: Logged Mark Gulbrandsen Resident Trollmaster Posts: 16657 From: Music City Registered: Jun 99 posted 10-03-2003 06:38 PM                     Also, go back to the start of film...don't start abruptly someplace in the middle of its history. Be sure to get the mobs roll in the union aspect too , thats a very important aspect and goes back to Al Capones early days. A film about a few projectionists out there might not interest the average person as would a complete history of the art of it. Mark @ CLACO  |  IP: Logged Chris Hipp Phenomenal Film Handler Posts: 1462 From: Mesquite, Tx (east of Dallas) Registered: Jul 2003 posted 10-03-2003 10:08 PM                     I think showing the decline of the industry would be great. Maybe show the general public things to look for when they go to watch a movie and demand better presentations. There are a lot of people out there that care about what they are doing, but due to management's attitude toward booth and the amount of money (particularly man-hours) they are willing to put into it, the presentation suffers. Some people on here will say that the theater's or the company's attitude shouldn't affect your work, but if they won't give you the time to do what you need to do (maintenance, cleaning, and etc) then you cannot get it done.  |  IP: Logged Brad Miller Administrator Posts: 17775 From: Plano, TX (36.2 miles NW of Rockwall) Registered: May 99 posted 10-03-2003 10:11 PM                     Oh I almost forgot, make sure your prints are done at Deluxe Hollywood. Make sure to insist on them running them at double normal printing speed and demand CAP coding on every reel.  |  IP: Logged Matt Zeiner Expert Film Handler Posts: 146 From: Windsor, CT USA Registered: Sep 2003 posted 10-04-2003 03:46 AM                     quote: go to a "white" screen and muted audio for about 20 seconds. That right there will let the patrons watching your movie know if they are in a theater with professional projectionists or not. I'll bet that VERY FEW can present your film without a speck of dirt or a scratch, that section of the movie especially, which will further the point of needing professionals in the booth brilliant. talk about caught with your pants down... What about those of us who are private in-house projectionists for celebrities (I know you are out there ...)?  |  IP: Logged Joe Redifer You need a beating today Posts: 12859 From: Denver, Colorado Registered: May 99 posted 10-04-2003 04:08 AM                        Brad's idea is a good one, but would only work if it was a decently distributed print. If a good theater gets the print after a bad theater has played it, then the good theater will look like crap. I agree that it needs to be as soon after a splice as possible.  |  IP: Logged Liam Utley Film Handler Posts: 42 From: Australia Registered: Oct 2003 posted 10-05-2003 09:22 PM                    Interlocking would be fun to show.  |  IP: Logged William Hooper Phenomenal Film Handler Posts: 1879 From: Mobile, AL USA Registered: Jun 99 posted 10-06-2003 12:42 AM                        The number of men in the booth *does* harken back to the earliest days, as well as being insurance for when there are problems. Running 2,000 foot changeovers on carbon arc, you're aware VERY quickly that another hand would have been neccessary before the motorized rewind, or if the rewind broke!  |  IP: Logged Warren Smyth Expert Film Handler Posts: 158 From: Auckland ,New Zealand Registered: Aug 2003 posted 10-06-2003 07:59 AM                     Congratulations Gabriel for committing yourself to recording a part of film history which has largely remained untold. I'm not going to tell you what you should or shouldn't include in your film, as there isn't any shortage of editorial advice from the experts. I'm sure the result will be eagerly awaited and enjoyed, but naturally, you won't please everybody. The technique you have chosen of letting the talent tell the story can work really well, with intercut i/vs, as opposed to wall to wall voiceover. I'm wondering what audience you are aiming at. Is it those who attend festival screenings? This seems to be the only opportunity for shorter, non feature films to be screened these days. Will there be an opportunity for screenings overseas? Do you plan an eventual release on DVD? I'm sure there is bound to be interest in other parts of the world, as there are experiences that are common in the industry, irrespective of country. In this regard, I would have to stop short of mobster control of the union though. My main point, is to wish you well. I hope I am privileged to see your production some day.  |  IP: Logged Gabriel Rhodes Film Handler Posts: 16 From: Brooklyn, NY, USA Registered: Jun 2001 posted 10-06-2003 09:06 AM                     Again, thanks to everyone for thei great suggestions and good wishes for the film. In response to Warren's questions RE: the film's distribution...I plan on showing the film on some television outlet, either cable or PBS. HBO has seen the clip and really enjoyed it, although I don't think that this material is salacious enough for them to appreciate it. POV, which is PBS' main documentary outlet, has shown an avid interest in broadcasting the completed film as has the Sundance Channel. I would love to have the film shown on PBS. I think it's an appropriate American tale for America's public airwaves. After the film is shown on tv, I will probably give the rights to a distributor for American and foreign distribution. I agree, that this film should be seen in Europe: in fact, I think they would love it. Oh! And film festivals, definitely. I would love to premiere it at Toronto or Telluride...two festivals that love movies about movies. And I WILL be showing a 16mm print. G  |  IP: Logged Liam Utley Film Handler Posts: 42 From: Australia Registered: Oct 2003 posted 10-06-2003 09:56 PM                    To be honest, if you make people more aware of projection issues, it could piss a lot of people off. For example, before I was a projectionist, i wouldn't notice MINOR scratches, dust or splices, but now if i see a bad print, it can ruin the whole movie for me. We received a terrible print of One Hour Photo, and I didn't really enjoy it, however, when i saw it on DVD, i thought it was great.  |  IP: Logged

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