|
|
 
|
|
Author
|
Topic: Union Projectionists
|
|
|
|
|
John Walsh
Film God
Posts: 2490
From: Connecticut, USA, Earth, Milky Way
Registered: Oct 1999
|
posted 02-26-2005 11:11 AM
Hi, Mark;
I know you lived near Chicago, and have a better idea of the history of 110 than I do. Having worked with those four operators for a couple of years, and with other operators and techs for less time, they were all first-rate. Getting the most out of operators was part of my job; I know they couldn’t ‘fool’ me for that long. I don't doubt that, like many unions, they had questionable beginnings. But on the other hand, big business back then wasn’t opposed to hiring a few goons and beating up workers, so business wasn’t opposed to breaking some laws either. Unions had to fight to get recognized.
Many people hang on to the stereotypical idea of a fat, lazy operator; I think many unions (especially for projectionists) KNOW they can be easily replaced because, well, they already have been. Look how many locals have closed. Federal labor laws and OSHA have lessened the need for unions to ‘protect’ workers, so unions have shifted their focus to service. They know they must provide a competitive service like any other to the owner, or they’re OUT. Even NYC, a strong union city, has lost many theaters. For example, today many union contracts have clauses where the theater owner can terminate a union employee for poor work without a whole grievance committee getting involved. Someone might laugh and say; “ … they will just put in another union guy!” But, how long can that last when owners can simply choose not renew the contract?
How long do we blame Italian people for Al Capone? It’s pretty well known Mayor Daly (Sr.) was supported by organized crime; do we say his son or even the general government of Chicago is no good? If my dad robbed a bank, is it OK for people to say to me, “Your whole family is no good” for the next 50 years? Also reminds me of the auto worker who; “…get $18 an hour to just plug the cigarette lighter in ..” did that person ever really exist? I never heard anyone insist that the film cans had to be brought up to the booth. Some of these analogies aren't perfect, but I don't think it's fair to keep blaming the rank and file long after the criminals have been caught and sentenced.
Jim Z. does make a good point about what IATSE does to members found guilty. Since those matters are handled in private, few know. But I agree guilty people should be forced to resign entirely to send a message to anyone else contemplating crime.
Mike B and Steve G touched on the idea that manager/operators make mistakes because they are forced to do too much. It’s true; anyone can get overloaded with work. But, whether union operators are better than non-union, I feel that one has nothing to do with the other. There are good and bad people everywhere.
I think it’s important to understand unions are a service ‘company’ an owner can hire to reduce his projection room workload (servicing, staffing, training, administrating, etc.) Many companies feel long-term agreements with service firms are a good way to go. If an owner has a theater where all the equipment runs well, has no problem hiring knowledgeable workers, then there’s no need for a union. On the other hand, if an owner has a large complex in an area where the public are less tolerant of poor presentations, a union sould be considered.
quote: Mark Gulbrandsen
Now I could tell you about the one armed projectionist that 110 sent to a theatre I maintained at the time to run 70mm if you want to hear about it.
quote: Michael Schaffer
Yes. I am particularly curious to find out if he was a guy with just one arm or if he was the one guy armed on the job.
Remember the old Groucho Marx line: My father shot an elephant in his pajamas. How he got in my father’s pajamas, I’ll never know…!
| IP: Logged
|
|
Jeffry L. Johnson
Jedi Master Film Handler
Posts: 809
From: Cleveland, Ohio, USA
Registered: Apr 2000
|
posted 02-26-2005 11:16 AM
IATSE Local 160 vs Jonathan Forman
quote:
Voices of Cleveland and beyond
IATSE Local 160 VS Forman, battle is on
ENOUGH IS ENOUGH!"
For 28 years members of the Projectionists' Union here in Cleveland have proudly worked the Cleveland Film Festival - showing the films and providing festival-goers with a quality experience to rival any big-name festival out there.
But this year, Cleveland Cinemas CEO and Cedar Lee Theater owner Jon Forman has decided the union has no place working the Cleveland Film Festival. After 28 years of proud participation in one of Cleveland's premier cultural events, what appears to be one man's personal vendetta has left a foul odor hanging over this year's festivities.
Forman has been involved in a labor dispute with the union for over a year now - purging his theaters of union workers and giving their positions to "managers." The union fought back last holiday season with a boycott campaign of the popular Cedar Lee Theater - asking folks to not support a union buster like Jon Forman, who was named Cleveland's 2004 "Scrooge of the Year" by Cleveland Jobs with Justice. The National Labor Relations Board has also been drawn into the fight, as the union continues to pursue unfair labor practice charges against Forman.
Not satisfied with violating workers' rights in his own facilities, Jon Forman used his clout in the Cleveland arts community to keep the union out of this year's festival as well. "Forman made it known that in order for the festival to use his facilities at Tower City, there would be no union labor used," says IATSE Local 160 business agent John Galinac. Rather than siding with the union - which in past years has helped raise generous amounts of money for the festival, including a $10,000 donation from actor Paul Newman - the festival organizers have decided to cast their lot with a man who has done everything in his power to destroy organized labor in his industry.
Cleveland should be so proud.
It seems that being named "Most Impoverished City in the Nation" has driven some in Cleveland to go out of their way to prove how worthy the city is of this title. As the high-paying manufacturing jobs of days past continue to disappear, employers like Jon Forman are also doing their part to wipe out the good jobs that remain - jobs like those held by the union projectionists in his theaters, which paid well and provided good benefits and pensions. But some Clevelanders are tiring of this race to the bottom.
The county commissioners, for one, have withdrawn their financial support of this year's festival. After giving $15,000 last year to support the festival and it's use of union labor, the commissioners are less than happy about this recent turn of events. For a festival that is already in financial straits, this kind of snubbing really hurts.
The union is attempting to provide an alternate location for filmmakers that would agree to pull their films from the festival at Tower City. "We want Cleveland to see these films, but we want to offer both the filmmakers and the filmgoers a socially responsible opportunity to enjoy them. We think many of this year's participants and attendees will have quite a problem with being in any way connected to a union buster like Jon Forman," says Galinac. The union is currently reaching out to the filmmakers to encourage them to withdraw their work from this year's festival.
Cleveland Jobs with Justice will be helping the union organize specific actions throughout the festival, to draw attention to the labor dispute and encourage socially conscious festival attendees to spend their money elsewhere.
Anyone interested in receiving more information about the campaign should contact Cleveland Jobs with Justice at 440-333-7007.
| IP: Logged
|
|
|
|
|
|
|
|
John Walsh
Film God
Posts: 2490
From: Connecticut, USA, Earth, Milky Way
Registered: Oct 1999
|
posted 02-26-2005 02:48 PM
Jeremy, where is it written union operators always get twice the rate as non-union? I know several union contracts where the operators get $12 an hour; the amount depends on the area, cost of living, etc. Anything less, and a person couldn't make a living. And how does an owner train people when he often doesn't know anything himself? Wouldn't you agree that it would be nice if an owner didn't have to worry about training or replacing oprators out sick, on vacation, etc.?
I tend to agree with Richard: Theaters often just want to save the money. Problem is, I can't blame them, since I feel the studios are 'selling' out the theaters.. but that's a different topic... !
| IP: Logged
|
|
|
|
|
|
|
|
|
|
Monte L Fullmer
Film God
Posts: 8367
From: Nampa, Idaho, USA
Registered: Nov 2004
|
posted 02-26-2005 04:14 PM
quote: Mark Gulbrandsen
I am not willing to train just anyone on all aspects of the booths while I am performing booth maintainance even if a customer asks me to train them in a certain thing.
Brother, do I agree with this one!
Tekkies, are just the "sound guys" who comes in and do a service, give the bill to the theatre and "beat it the hell out of there".
It's the theatre's responsibility for operations and training, not the "sound guys". They should be going to their superiors in this area, especially if they have a "technicial department" of sorts.
"Sound guys" may be "magicians" in their trade, but not someone to lean on for training.
For the "sound guys" do not want to take any responsibility in showing tips and ideas, for it WILL come back to them and eventually the finger being pointed at that service tekkie, and/or the service company, and the service company doesn't want any sort of liability placed on them due to their service people making any mention to theatre operations of how to operate their business.
Just WAY too risky and dangerous if this became a common habit.
Even me as the my theatre company's "tekkie": I do run into this at times of having the finger pointed since I gave instructions on proper operations, and still sometimes wish that I was independent...to to be a "sound guy." Why being is that they get to dependent on me to be the "magician" in solving things, whereas they should be thinking through things themselves.
-Monte
| IP: Logged
|
|
|
|
Scott Norwood
Film God
Posts: 8146
From: Boston, MA. USA (1774.21 miles northeast of Dallas)
Registered: Jun 99
|
posted 02-26-2005 05:01 PM
I agree that it isn't the job of the technician/sound man/field service engineer (insert preferred title here) to instruct theatre personnel on basic operation of the equipment. On the other hand, it would seem to me that it is in the best interest of all parties concerned (especially if the theatre has a service contract) for him to educate qualified theatre personnel to perform routine maintenance tasks without his assistance? This has the benefit of reducing service calls and dark screens.
Also, I would make the point that it is the responsibility of the technican to point out to theatre staff when equipment is being misused and to correct the source of the abuse. Again, this reduces service calls and general downtime.
Thankfully, I have personally only had to make one emergency service call ever, but that one was solved over the phone (the technican found another theatre with a replacement xenon igniter on hand and told me how to install it).
In the case of routine maintenance, installations, and upgrades, it would also seem to me that it is in everyone's best interest to involve qualified theatre staff in the process. I wouldn't expect the technican to give a full lesson to the operators, but I would expect him to explain what he is doing (in general terms), and answer questions. The theatre employees can assist in the process (thus speeding it up) and will learn something about the equipment. Even if the theatre doesn't have the proper tools to do a full sound alignment, I think it is useful to understand how and why each adjustment is made. This could save a show at some point (even if it has to run in mono) and also underscores the importance of not adjusting (for example) the soundhead lateral guide rollers without the proper test films and equipment.
Again, I haven't had much need to deal with theatre service technicians, but those whom I have dealt with (mostly from NCS) have all been very helpful and willing to answer questions. If I were a theatre owner, I certainly wouldn't hire any service organization which was only interested in performing servide without any interaction with the operators.
| IP: Logged
|
|
|
Powered by Infopop Corporation
UBB.classicTM
6.3.1.2
The Film-Tech Forums are designed for various members related to the cinema industry to express their opinions, viewpoints and testimonials on various products, services and events based upon speculation, personal knowledge and factual information through use, therefore all views represented here allow no liability upon the publishers of this web site and the owners of said views assume no liability for any ill will resulting from these postings. The posts made here are for educational as well as entertainment purposes and as such anyone viewing this portion of the website must accept these views as statements of the author of that opinion
and agrees to release the authors from any and all liability.
|
Home
![[thumbsup]](graemlins/thumbsup.gif)
Printer-friendly view of this topic