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This topic comprises 4 pages: 1 2 3 4
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Topic: TOO LATE - 35mm only release
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 01-17-2016 01:58 PM
I'm not sure if anyone would insure a theater against accidental film print damage, or that even if they would, the premiums and deductibles wouldn't be prohibitively high.
I'm simply pointing out that the growing trend by archives in particular to take a zero tolerance approach to film handling in theaters (which is what you seem to be advocating), and to regard what would previously have been considered acceptable wear and tear as unacceptable damage, will result in fewer public film screenings taking place; not least because many of the theaters that do retain film projection capability are small businesses and non-profits that are not able to absorb a print replacement bill.
Even now that film projection has become a boutique/specialty operation, negligent film handling practice is still happening. As I mentioned earlier, I was recently sent a print of Son of Saul in which the first and last 10 feet or so of each reel was covered in fingerprints and Whiteout deposits, and the splices had just been torn open when the print had been packed off - (s)he hadn't even bothered to reattach the heads and tails. I don't know if Sony Classics took this up with the theater that did this after we reported it to them, but if it's place I think it is (judging from the address labels on the Goldbergs, I think I know where it is, but don't feel comfortable naming online), then they would take a very serious financial hit if asked to replace the print.
I am not advocating or defending poor film handling, just pointing out that there is a law of unintended consequences aspect to print owners taking a zero tolerance line. Even if audiences want 35mm or 70mm, theaters are not going to try to offer it if doing so represents such a big financial risk to them. For the last few major film releases (e.g. Interstellar), the distributors seem to have taken the line that some prints will be damaged and that there is an acceptable attrition rate that they're prepared to absorb. If that approach changes, the number of venues willing to try to play film is going to diminish even further.
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 01-18-2016 11:57 PM
quote: Kenneth Wuepper
On several occasions we demanded a replacement print or the screen would go dark. (That, like a failure of the equipment, is an insurable event for the cinema)
Are you seriously trying to suggest that any insurer would pay out for a lost show claim if the theater received a print that was in poor condition but playable, and chose not to play it? If a reel was missing or the print arrived in Goldbergs half full of water (in other words, you did not receive what was needed to put on any show at all) then maybe. But if you received a print like the Son of Saul one I did, requested a replacement, the distributor could not or would not provide one and you then decided to cancel the show because the print you had did not enable you to present the film to the standards you wish to offer your customers, I'd be very surprised if any insurer would cover that; especially given the number of prints in that condition that are circulating, and in particular of repertory titles.
As for platters being at the root of all evil, I have shown many prints that have never been built up (no splices at the heads and tails) but still have been substantially damaged, usually when failure to clean the projector's film path properly results in all the even numbered reels or all the odd numbered reels getting scratched. Yesterday evening I showed one that had been built up, but looked spotless.
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Leo Enticknap
Film God
Posts: 7474
From: Loma Linda, CA
Registered: Jul 2000
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posted 02-01-2016 05:20 PM
quote: Kenneth Wuepper
The premise is operators that cut and splice the distributor's product are the first step in causing damage.
[...]
The fact was that the stalled sound drum had damaged the entire length of the print and severely from repeated passes.
Sorry, but cutting the heads and tails off each reel is not the first step in causing that damage. Letting the scanning drum's shaft seize up without noticing was the first step there. That damage would still have been done if it had been playing changeovers. I grant you that if, and this is a very big if, the theater always played odd numbered reels on one projector and the evens on the other, then only half the print would have been damaged (assuming that the other projector hadn't been suffering from similar neglect, which it probably would have been).
Checking that every roller which contacts the film spins freely and has not seized is a very basic, 101, start-of-the-shift check that any self-respecting projectionist should do. If you have a booth in which none of the projectionists do this, repeatedly, over many days, then film is going to get damaged in that booth, regardless of what equipment is in use.
quote: Kenneth Wuepper
The case in point was that the film was able to be run, that is to traverse the machine but was still not suitable for charging someone to watch it.
The issue here is that assessing that suitability is a subjective decision. You may believe that it's not suitable for charging someone to watch it, but an insurance loss adjuster might not agree with you, and, of course, will try his or her damnedest to avoid coughing up.
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Matt Miller
Film Handler
Posts: 10
From: Los Angeles, CA, USA
Registered: Dec 2015
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posted 03-03-2016 05:57 PM
Hey Matthew, thanks for posting here. The Sundance West Hollywood will be our first city/theater for the TOO LATE release, so I'm sure we'll be meeting in person soon. Are you in Los Angeles now? Would love to buy you a drink before we open.
For anyone who's interested, our first wave of theaters has been announced. You can view the entire list at http://www.toolatemovie.com which will be updated as more theaters are added. If anyone here is affiliated with any of the theaters where TOO LATE will be playing, feel free to say hi!
3/18/16 - Los Angeles, CA - Sundance Cinemas Sunset 5
3/25/16 - Austin, TX - Alamo Drafhouse South Lamar
4/01/16 - New York, NY - Village East Cinema
4/08/16 - Berkeley, CA - Rialto Cinemas Cerrito
4/08/16 - San Francisco, CA - Alamo Drafthouse New Mission
4/08/16 - San Jose, CA - Bluelight Cinemas
4/08/16 - Houston, TX - Alamo Drafthouse Vintage Park
4/08/16 - Dallas, TX - Texas Theatre
4/15/16 - Kansas City, MO - Alamo Drafthouse Mainstreet
4/15/16 - Portland, OR - Hollywood Theatre
4/15/16 - Seattle, WA - Grand Illusion Cinema
4/22/16 - Denver, CO - Sie Film Center
4/22/16 - Pittsburgh, PA - Melwood Screening Room
4/22/16 - Atlanta, GA - Landmark Midtown Art Cinema
4/22/16 - Chicago, IL - Facets Cinematheque
4/22/16 - Columbus, OH - Gateway Cinemas
4/29/16 - Vancouver, BC - Vancity Theatre
4/29/16 - Santa Fe, NM - Center for Contemporary Art
4/29/16 - Tulsa, OK - Circle Cinema
4/29/16 - Ottawa, ON - Mayfair Theatre
4/29/16 - Toronto, ON - The Royal
5/06/16 - Paducah, KY - Maiden Alley Cinema
5/06/16 - Boston, MA - Brattle Theatre
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