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272 HANDBOOK OF PROJECTION FOR
of the projector (see general instruction No. 9, Page 603) and to excessive takeup tension.
As a general proposition we believe that most projectionists and some operators are at least reasonably careful in handling and repairing film. In many theatres, however, rewinding, threading the projectors and repairing film is made the duty of a more or less irresponsible usher or reel boy, whose main idea is to get the job finished in the least possible time. These boys do not understand the damage done by careless work; also undoubtedly many of them do not care. If a splice is to be made, their one and only idea is to get the film ends stuck together. In their view the quickest way is the best way, regardless of after-results. Badly matched splices, misframes, splices without the emulsion scraped off or only partly scraped off are the regular thing where an usher or reel boy does the repairing. It is no uncommon thing where this sort of irresponsible help is placed in charge of repairing film for an exchange to receive film back "spliced" with a nail or a pin. Even when the projectionist does the rewinding and repairing he is, in all too many cases, expected to do it while projecting a picture, hence must neglect either one thing or the other.
In the majority of cases the real underlying fault is in the failure of the theatre management to employ sufficient competent help in the projection room. Film repairing should, under no circumstances, be done by any other than a thoroughly competent, responsible projectionist or a regularly employed projectionist apprentice.
Injury to film in passing through a modern motion picture projector is invariably due either to the bad condition of the film itself, to the false economy of a theatre management which refuses necessary repairs to the projector, or to the lack of knowledge, carelessness or laziness of the projectionist himself, which results in improper tension adjustment, hooked sprocket teeth, etc.
Film exchange managers seem, in all too many cases, not to realize that the sending out of film in poor condition not only is an outrage against the producer, against the projectionist who must use it, against the theatre management which is paying for films in good repair, but also against the audience which pays money to see at least a reasonably perfect performance. The average exchange manager does not seem to understand that sending out film in poor condition is a direct invitation to more and greater damage, since a