Last night I had to break down 6 films and build up four films. We have been rather slow at the Rialto Cinemas lately and we needed to change our films. (This week we seem to have all foreign films.) So all this grunt work got me to thinking, (Always a dangerous thing.)

I had 5 Technicolor films and one Theatre Transit film. Of course they all wanted them all back on Friday morning. We had many films sharing a screen so I was able to get started at 3:30 PM. I was still at it until 2:00 AM. So as I worked and bemoaned my existence, I came up with the following idea. Let me know what you think.

Supposition.

We make the money for the studios therefore we should be entitled to deduct reasonable expenses out of our film rental.

1. Each theatre should charge the studio $35 for film inspection, building up, tearing down or even repairing splices for reel to reel showings. This charge would be automatic.

2. $35 additional for each film received after close of business Wednesday.

3. $35 additional for each film received Friday morning.

4. $35 for each film that is required to be picked up less than 24 hours after its last showing.

5. These fees are to be collected by the theatres by withholding them from film rental.

6. These fees are to split 50/50 with the projectionists.

Based on these figures, my theatre would have collected $455.00. My projectionist on duty last night would have collected $52.50 in addition to his hourly pay. I would have collected $175.00 towards buying a house in this tight market. The theatre would have been able to keep 227.50, which would be real handy in purchasing more Film-Guard!

Any print not received at a minimum of 36 hours before the first show is to commence will not charge $$$ to the studios, but will not be obligated to play that film to a public audience until 36 hours has passed. Let the screens go dark and suddenly prints will be there on Mondays.
 

The distributors will claim that the studios delay the release until the last minute, so the delivery is beyond (the distributors) control. Besides, the distributors will say, We are working on that problem; that's why we must go to electronic projection.

There would be all kinds of resistance. Also, suppose the distributors started to really (I mean _really_) look at the items that get back-charged to them, like the electric bills, etc. I know several theaters that play "pad the bill" and the distributors know it. If they don't overdo it, the distributor just lets it go. Those theaters don't want to rock the boat.

An overwhelming number of theaters would have to participate in some form of action, and that's not going to happen. Theaters are in an ever-weaking position (with the recent over-building and lack of quality product) and don't have any leverage. Could you afford to "go on strike" and not run any shows? Meanwhile, the studios are finding new markets (and money) in video distribution and the internet. And I wouldn't count on NATO. While I know there many hard working people supporting NATO, I personally find NATO to be largely ineffective. (On my soapbox) Look at ELR's, which would cut make-up and break-down times.

Don't get me wrong; I wish your idea would happen. But I think it's too much to ask for, at least all at once.

How about something less radical, but a small step in the same direction? What about some sort of action against film exchanges? Film exchanges always used to inspect prints, and I didn't see any price break when they stopped (citing they were too busy.) Hey, maybe they are, but theaters are busy, too. If the can is damaged, leave all the film out in a box (or several different sized ones) so the guy has to make two trips. If there's a bad reel, wind it on a core, then pop the core out before returning. Be creative, but be sure your're right. A "work to rule" kind of thing. Document why you're doing it, and make it "cost" them in labor. But still pay them, to help prevent any legal action.

And to be fair, I want the exchanges to get pissed, and start charging theaters for any film damage (which they generally don't.) That way, it becomes economically in the theater's best interest to run a good booth, and will get rid of incompetence. Exchanges are "closer" to the theater (we can impact them more directly) and putting pressure on them may force them to turn around and put pressure on distributors for more time.

Maybe things will "flow uphill" for a change and start a movment towards your idea.
 

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"And the monkey flips the switch."
- Major Don West, "Lost In Space"

Andrew D'Vrey
IATSE Local 219
 

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"I luv the smell of napalm in tha mornin !" :D

Keep Smiling......Chris
 

jasoN

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"That's what life is - a series of down endings. All Jedi had was a bunch of muppets." -Dante Hicks