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have been neglected when breakdowns of any equipment occurs. Pre-setting is helpful but not always necessary.
Should a fault develop in one of the projectors at the New York Paramount Theatre, it is possible with the extra or duplicate equipment always on hand to carry on with the show without any loss of entertainment value.
Rubin is a firm believer in the idea that supplementary equipment gives better distribution of wear, and that is one of the reasons why high standards always have been the rule at the Paramount. Every single piece of equipment is kept in top-notch condition at all times; gears, sprockets, tubes, and other parts are replaced before there is the slightest chance of trouble. To date there never has been a delay in the performance of a Paramount show and, of course, this is largely due to the installation of the duplicate equipment and its proper care. With the reserve equipment available it never is necessary to use any piece that shows the slightest sign of trouble. When trouble does appear the equipment is switched out of service until it has been repaired. In the meantime the show continues with perfect results.
From the foregoing the thought may arise that maintaining these top standards may indicate a disregard for costs. But that certainly is not the case, for pennies are pinched at the Paramount Theatre so closely that even stringent war conservation found that nothing in addition could be conserved excepting the salvaging of copper from carbons, and the metal from discarded parts — items that have practically no value during peace times. Carbon savers have been used ever since the theatre was opened.
The Paramount projection staff is trained to maintain high standards of showmanship. The men are exceptionally qualified through their long experience and knowledge of electricity, optics, and mechanics. Rubin's requirements undoubtedly are exacting but his men constantly strive to maintain his standards — he expects them to be practically infallible.
Rubin points out that in most lines workmen can correct their mistakes before the product is delivered to the customer. Projection room mistakes, however, reach the patron at the instant they are made and reduce enjoyment of the show. Poor projection lessens the entertainment value even when the customer is not aware of a defect or its cause. To guard against mistakes and breakdowns is the big reason why Rubin observes so may precautions — and they have paid big dividends in constantly smooth operation of the show during the years he has been with Paramount.
Above are three views of the New York Paramount projection room. Top view shows the 3 projectors, 2 spotlamps, 1 floodlamp, and 1 slide projector. Center view shows the film cabinets, sound system and stvitchboard. Lower picture is a view of projectionist Sam Selden placing a reel of film in the cabinet to be rewound, and projectionist Meyer Schankman is shoivn removing a reel of film in the rewinding room. (The door between the projection and rewind room is always kept closed, but was opened for purpose of this picture).
APRIL 1943
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