Exhibitors Herald World (Oct-Dec 1930)

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In the first place, there is a vast difference in what I may term the clearness of speech in various theatres. I do not know that I can quite make clear what I mean by this. It is what I think may best be described as a difference in the enunciation. Anyway, it is a matter of the clearness with which the horns in various theatres seem to "speak." In some theatres every word is sharp and distinct. In other theatres, words from the same film are not distinct. They are "mumbled," with all degrees of clearness, or lack of it, between the two possible extremes. Now do not tell me that is due to faults in the sound track, for I have two Movietone reels, both of which were used at every lecture, and they gave me an almost ideal medium for comparison of reproduction and sound reception in about 60 theatres. I found the difference in sound quality to be very decided. Frankly, I do not know just to what this difference may be attributed. I believe, however, it may be one of several things, or a combination of several things. Whatever the cause may be, the condition is without excuse. If a certain type of sound apparatus can be, and is made to reproduce well in one theatre, it may also be made to reproduce well in other theatres — allowing, of course, for the difference in the acoustic qualities of the theatres themselves. Insofar as concerns the men, I can say that the improvement during the past 13 years has been very great. The advancement in morale and in knowledge has been such that there really is no basis of comparison as between the projectionist of today and the "operator" of yesterday. While there is always great need for study and the continual keeping up with the "game," still I think the worst trouble with the projectionist of today is perhaps — well, I don't know just what to say — I was going to say laziness. But that is not quite fair. It is not exactly laziness, but rather a human inclination to side-step a little in the matter of work. For example, the projectionist ought to examine the projector's entire film track after each reel is run, to make sure that there is no adherence which may possibly work injury to the film. Very few projectionists do it. They trust to luck, to Providence, or what have you, that such adherence does not exist, because usually it does not exist. The result is that some evening such adherence does exist, and the film gets scratched, whereupon the projectionist says bad words about his "luck." Really it is not his luck at all. It is just his failure to do his duty. The same thing is true with many things concerning the projectors. Men always seem to trust to that illusive thing called luck. EVIDENCE OF SLOPPY WORK ON this trip I have had forced upon me substantial proof that there still is lacking that careful care in some of our theatre projection work which should obtain, and which must obtain if the best results are to be had on the screen, and the maximum box office receipts realized. At each meeting I have had projected about 300 feet of film in the form of a talking picture very generously made by President William Canavan for the purpose of recommending the lecture and introducing my 'umble self to audiences. Now we would naturally presume that even if a man were disposed to be a bit careless with ordinary film, he would most certainly be very careful indeed when projecting the speaking image of the International President of the I A TSE&MPMO. He would surely see to it that that particular film sustained no damage, yet for many yards a scratch mark has been made directly over President Canavan's face, and I have already had to have the oil cleaned off the film three times, and it right now is in need of another cleaning. The scratch mark is due to the fact that some projectionist was too careless or lazy to examine the projector film track to make sure nothing adhered thereto at any point which would or could scratch the film. It was not made in rewinding. It is too long for that. As to the oil smearing, well you may form your own opinion. I will merely remark that if I found myself unable to prevent oil getting on the films, regardless of oil well leakage, I would resign and take up some line of human endeavor requiring less knowledge and skill. It is exceedingly unpleasant and disagreeable to write thus. But it also is exceedingly disagreeable and harmful for films to be oil-smeared, as they so often are. There is no excuse for it. Men who know their business can prevent it. Men who both know and attend to their business will and do prevent it. Exchanges should be ashamed of themselves. They can quickly put a stop to oil on film. They don't do it. They have no manner of right to ship out oilsmeared film to a theatre, but they do it ! Some projectionists, finding that no penalty is suffered for permitting oil to get on film, just let 'em smear. It requires some effort to keep the oil entirely off the films, but there is no penalty, hence they don't make the effort, and that, gentlemen, is something to be thoroughly ashamed of. Many men who pull this sort of sloppy stuff call themselves good union men. They are nothing of the sort, for the very simple reason that a good union