International projectionist (Jan 1963-June 1965)

Sound Track William Dozier, Greenway Prexy, Addresses SMPTE Conference by J. G. Jackson Starting in the June, 1964 issue o£ International Projectionist, contributing editor. J. G. Jackson will conduct a column to be carried under the heading "Sound Track." This will afford readers an excellent opportunity to express their views on a variety of subjects dealing with projection technology and the industry in general. Dear Readers: This column has been suggested for the purpose of getting the viewpoints of projectionists throughout the world. We will discuss one subject at a time and when sufficient information is gathered, we can make some form of recommendation to the standards committees of the industries. In this way the voice of the projectionist can be carried to the powers that be in the production end of the industry. The first topic I wish to discuss is, I think, very pertinent to all projectionists, "Curtain Cue Marks on 35mm Film." The deplorable condition of film received in the theatres is nothing short of shameful. Every one puts on his own marks by scratch, punch or grease pencil, with the result no one can tell which one to use. Surely we as Projectionists of 1964 can find a solution to this wanton mutilation of valuable film stock. My own suggestion is; a curtain cue be placed on the film at a distance from change over to suit a slow curtain and the mark to be a thin straight line. In this it would not be confused with the motor cue and we who have fast curtains will simply delay a second or two before striking the curtain switch. When the cue is set at a standard distance from change over there is no excuse for anyone putting any extra marks on the film. So let's go, brothers, drop a line to Sound Track and give your suggestions and views as to what kind of a mark would you like to see and how many feet from change over. I can well remember the silent days of the roaring twenties when there were no cue marks of any kind William Dozier, President of Greenway Productions, Inc., Hollywood television production organization, was guest speaker at the 95th Technical Conference of the Society of Motion Picture and Television Engineers (SMPTE) April 13 at the Ambassador Hotel in Los Angeles. His subject was "The State of Television . . . An Appraisal." Long active in the motion-picture and television industries, Mr. Dozier for four years until last January was senior vice-president in charge of production and West Coast operations for (Screen Gems, Inc. IPrior to his association with Screen |Gems, he was viceW. Dozier president in charge of network programs for CBS-TV in Hollywood. A native of Omaha, Neb., Mr. Dozier attended Nebraska schools and received his bachelor's degree from The Creighton University, Omaha, in 1929. He was studying law at the University of Southern California in Los on the film. Each projectionist had to check the film and look for some specific point of action at about where to start his motor. Later the film exchanges produced a cue sheet which was put in the tin with the film. When sound came in the projection craft demanded something better so the standard motor and change over cues were put on when the film was printed. Now it is high time we made ourselves heard again and get the producers to give us a standard curtain cue as well. So come on boys — "Sound off" and let me record your voice on the Sound Track. J. G. Jackson Sound Track Editor P.S. Address your cards and letters to Sound Track, c/o International Projectionist, 1645 Hennepin Ave., Minneapolis, Minnesota 55403. Angeles in 1935 when he first entered the entertainment business, representing writers with the Phil Berg-Bert Allenberg talent agency. After six years with BergAllenberg, he joined Paramount Pictures as head of the studio's story and writer department. Held RKO Office In 1944, Mr. Dozier was appointed executive assistant to the late Charles Koerner, then vice-president in charge of production at RKO. In 1946, he joined Universal-International as associate head of production, and in 1949; moved to Columbia Pictures as a producer. Mr. Dozier left Columbia to work as executive assistant to Samuel Goldwyn, where he remained until he joined CBS Television in 1951 as a member of the New York program executive staff. In February, 1952, he was named executive producer in charge of dramatic programs, in which capacity he guided such programs as "Studio One," "Danger," "Suspense" and "You Are There." In January, 1955, he was transferred to the West Coast and was elevated to the post of director of network programs, Hollywood. Returned to Hollywood Mr. Dozier returned to RKO in the fall of 1957 as vice-president in charge of production in Hollywood. He returned to CBS Television City in November, 1957, and on April 1, 1958, became vice-president in charge of all Hollywood programming. During his administrative regime at CBS, such Hollywood-originated programs as "Gunsmoke," "Have Gun — Will Travel," "Playhouse 90," "Rawhide," "Climax" and "Perry Mason," several of which are still on the air, came into being. He married actress Ann Rutherford in 1953. Mr. Dozier's son, Robert, by an earlier marriage, is a wellknown motion-picture and television writer, whose current credit is the screenplay of Otto Preminger's film. "The Cardinal." He also has a daughter, Deborah, 15, whose mother is actress Joan Fontaine, to whom Mr. Dozier was married from 1946 to 1950. iP International Projectionist May 1964