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288 S. SUMNER [j. s. M. P. E.
shipping, these cases are inverted many times, the dirt is scattered over the reels and gradually works into the windings, causing the scratches with which you are only too well acquainted.
(3) Inspection Departments. — The young women employed in the film exchange inspection rooms pass film as satisfactory when most of the sprockets on one side of the film remain intact; a patch is approved if it is cemented at least halfway across ; the alignment of the re winder seems to be of no importance; and whether the band will fit over the film after it is wound, whether it is tightly or loosely wound or unevenly wound, is given little or no consideration. I recommend that every exchange center employ an efficient and competent film expert, as is done by the Boston office of Metro-Goldwyn-Mayer and Paramount, who should have complete jurisdiction over the inspection, receiving, and shipping departments. His duties should be: (1) to delegate competent persons to inspect every film case;
(2) to see that the film case is free from dirt and that it is not bent;
(3) that the required number of reels will fit into the film case easily and without jamming; (4) to ascertain whether the reels are in perfect condition; (5) to make sure that the film is wound on the reels so that the sides of the winding will be smooth from the hub to the periphery; (6) to inspect personally and at frequent intervals the film approved by the various inspectors, etc.; (7) to require inspectors to report film damage of any kind immediately after the film is returned by theaters; (8) and to require that theaters pay for such damage. If this inspection is done honestly and efficiently and the film is sent in perfect condition to the theater, a confidence would be built up in the minds of theater managers and they would be satisfied to pay for damaged film.
It is not unusual for my projectionists to work two or three hours on a single feature in order to put it into the condition they think it should be in to assure its safe travel through the projectors; and I want at this time to give you a brief account of an occurrence that I feel will convince you of the need of properly and adequately instructing the film exchanges, theater managers, and projectionists in matters like these.
About three or four months ago my chief projectionist reported that he had been working more than two hours on a Fox feature and had made so many cuts that he felt that he had ruined the continuity of the picture, cutting in some instances, where the sprockets were completely broken out, as much as twenty feet. He had gone hur