Movietone Bulletin (June 1928)

Heart to Heart Talk Please understand that what I shall say is aimed at no one in particular. We hope and believe that every one of the. movietone projectionists can read it and honestly say to himself, it doesn’t apply to me! We have reason to believe that at least the great majority of movietone projectionists are taking their work seriously and striving to place our productions before their audience at as nearly as possible one hundred per cent. of their amusement and entertainment value. We want to believe this, in fact to know it, because in the last analysis we know that the effectiveness of any motion picture production before any audience, whether it be silent pictures or with sound accompaniment, will, to a very large extent, depend upon how thoroughly the projectionist is on the job, exercising care and applying expert knowledge to his work. And after all, men, projection is work. It is not play. It is a very, very serious work, too, because so very much depends upon its excellence. Poor work or careless work may cost your theatre much in wasted electric power and in too rapid deterioration of equipment. That is one phase of the matter, but after all the more serious, in fact by far the more serious end of it is the fact that careless, inefficient work in the projection room lowers the entertainment value of the productions placed before the audiences, hence lowers the box office income. In fact it may cut very deeply, though insidiously into the box office returns. This latter is especially true where the theatre depends largely upon regular patronage. We of course fully understand that the projectionist cannot possibly place movietone productions, or other productions before his audiences at 100 per cent. value if his projection equipment is in less than perfect condition. In this respect, however, let the projectionist do a bit of soul searching. Be honest and ask yourself these questions. Answer them to yourself honestly and without any _ side-stepping. Have I done everything possible to put my equipment in the best possible condition, or have I side-stepped because doing it would involve work which I. might avoid by taking the other course? For example, have I paid much real attention to the matter of lubrication? Have I really examined into the matter of what oil is best for the various purposes? Do I lubricate the equipment carefully, or do I just use any old thing provided, without question, and “squirt some of it on” upon occasion ? Continuing: When the manager refuses to supply a needed replacement part, do I do the best I can to make the old part perform well, or do I add the effect of indifference to results to the manager’s foolishness, and thus make things very bad indeed? Remember, friend, that when you do that, while you may feel justified in your attitude, and possibly might be too, in so far as the manager is concerned, still it must be remembered that more than you and he are directly vitally concerned. There are those who have worked hard to perfect the productions, the showing of which is injured by your action, and there is the public which has paid good money to view what you place before them. If you fail in any degree, then the box office will suffer, (which you may consider justified under the circumstances, though that is a question subject to debate), the producer will suffer and the public will be what comes very close to being defrauded. Also other interests will suffer. Ask yourself honestly: Can I afford to shoulder such responsibility because the manager is unwise? There, men, read what has been said over again, and with kindly feeling toward the writer. It is not meant to convey censure, but merely to set certain matters before you for your serious consideration. We are trying to be absolutely on the level with you. We ask you in return to be on the level with us and place movietone before your audiences in the best possible manner. Are you with us? ‘ovvenaanvaineusnunevucotocannannacviveneuneacaencaevceacezneagae ease FLICKERS Pe TO Projectionist Pete—We had a lot of excitement down at our place last night. Movietone Mike—How was that? P. P.—Somebody found a pair of silk stockings hanging to a chandelier. M. M.—Say, what th’ hy P. P.—Well, you see there was somebody in ’em. Keeping the sound gate clean is a small matter but it is of supreme importance. ‘It will pay you. to look into this,” as the fellow said when he climbed into the dentist’s chair and opened his mouth. There are plenty of reasons why movietone excels—and all of them are sound reasons. No wonder a lot of guys can’t sell themselves. Look at the samples they carry. Porch swings may be more oldfashioned than flivvers in which to make love. But you never hear of a porch swing running into a tree. You will probably recall that not long ago Thomas Edison publicly praised movietone. ‘Tommy, you know, is that fellow who never sleeps more than four hours a night and invented the phonograph so nobody else could. “Throw yourself into your work,” advises a blurbist. That sounds like good enough advice, unless you happen to be a well digger. (Continued from page 1) You can’t afford to do that, can you? Of course you can’t. You wouldn’t think much of the fellow who, to save himself just a wee bit of trouble or added work, deliberately took the chance of injuring other people, would you? Of course you wouldn’t. All right! All set! Let’s go.