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This topic comprises 2 pages: 1 2
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Author
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Topic: classic film overature presentation.
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Bernie Anderson Jr
Master Film Handler
Posts: 435
From: Woodbridge, New Jersey
Registered: Apr 2000
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posted 01-24-2013 09:55 PM
Also remember, the music tag at the end of Act 1. While Spencer Tracy is on the phone and the film starts to fade there is a musical cue that is found on the CD, which is not on the studio print, that should be played. Its the short musical cue with the lyric: "Now step into the lobby, for whatever is your hobby. A drink, a SMOKE, or repeat a joke, from its a mad, mad, mad, mad world." We would fade up the audio of the CD at the end of the scene(while the curtain closed). Then there are the notorious lobby "police calls", which played in the lobby during intermission updating the audience on what's happening to the cast during the intermission.
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Frank Angel
Film God
Posts: 5305
From: Brooklyn NY USA
Registered: Dec 1999
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posted 02-01-2013 03:40 AM
Sean -- That manual was at the beautiful State Theatre on Main Street in Austin TX, run by the Interstate Theatre chain -- this was in the mid-60s. It was a 1600 seat house. I am sure it's not even still standing as was the fate of most large single screen theatres of the day. I am not even sure if that chain still exists. Hasn't EVERY chain be gobbled up by either AMC or Regal?
I landed the job of an assistant manager there right off the street; I was looking to apprentice as a projectionists, but they laughed at that without even telling me why and said there was an opening for and assistant manager, handed me that handbook and I got the job. I worked there only until I realized that an assistant theatre manager wasn't a stepping stone to becoming a projectionist, which was my youthful quest.
Here I thought I could introduce myself to the projectionist, become buddies....he'd mentor me and I'd be doing my dream job.
Imagine my disappointment when I made my way up to the projection booth on only the forth or fifth there and introduced myself to one VERY unfriendly projectionist who asked why I was up in his booth. He got even more unpleasant when I expressed my desire to learn how to run the projectors. I suggested that I was a quick learner and had run 16mm projectors at school; I said that if he helped teach me the 35mm projectors, I promised that I would help him run some shows as asked me to and even run shows when he wanted to take time off. I was soooo naive; great pals we weren't going to become....no Cinema Paradiso team was going to develop here! In my defense, I was just 21 or 22. When I suggested I could take some of his shifts, this guy looked at me like I had just told him I wanted to have my way with his daughter. He told me never to come up to his booth except if there was something wrong with the picture or sound, and even then to use the intercom. My hopes were pretty much dashed so I gave my notice a week later, realizing my idea of working in a theatre wasn't sitting in the store room counting the popcorn boxes inventory.
BUT, I did learn about the use of the curtain; the handbook was pretty specific; also, it seems the regional manager would visit the theatres in his district quite often and it just so happened that the curtain motor had been giving them some problems. The manager told me it was imperative that I put TWO ushers on the curtain to do the curtain pulls for each show. Why, two? Because the manager seemed terrified that the regional guy would show up and a curtain cue would be missed. He wanted two ushers there just in case one idiot didn't show up. And then he told me that I'd loose my job if that got messed up and the regional manager was on hand. THAT'S how important they viewed showmanship back then.
I would be just as keen as you to see one of those old manuals surface. Very good window into a different time.
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