Film-Tech Forum ARCHIVE: Question of Professionalism

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Posted by Jim Alexander (Member # 226) on 12-13-2002, 03:18 PM:

I have a basic question of professionalism. Do most projectionists consider themselves to be professional...or not?

I run a single screen theatre in Nova Scotia, Canada, and because it is only one screen we seldom run national releases. As such, we routinely receive "hand-me-down" prints from larger chain theatres. Today, while putting together a print of Santa Clause 2, I was frustrated to find multiple layers of splice tape on the headers and footers [Mad]

. Does nobody think that there is another theatre that is going to run a print after them? Or are they just in a hurry? Do they care??

I've worked very hard over the last 5 years, since taking over my theatre. Most all training was done the hard way...asking questions and reading, reading, reading. I take great pride in the training I give prospective projectionists. They have been taught to make sure a print goes out they way they would prefer it came in. All new splices (one side only), Heads out, clearly marked and clean. Is this too much to ask. It may take a couple of minutes longer to break down a film, but the theatre that receives it will be more than thank-you for you effort.

Posted by Ken McFall (Member # 845) on 12-13-2002, 05:25 PM:

Professionalism.... it really depends on which side of the cheque book you are on.

Many compaines claim to support the highest standards... subject to what they are prepared to pay. I have a real sympathy for a guy who's running single manning in 6+ screens. He's had a long day, he's very frustrated, wants to do a good job but also wants to get home! An individual can achive the most amazing results as a one off.... expecting them to do it every week of the year is too much for anyone. So yes, they do tear joins and if you're very lucky they will tape them together.

Until the distributors start fining each cinema for not looking after a print in their 'CARE' then the situation will continue to deteriorate. Unfortunatly its a show like yours that suffers most.

Don't blame the projectionist totally... its the system and until its changed the situation will continue. I consider myself to be a professional but I can only do so much. 14 hour days are not uncommon for me and I may well be back within 7 hours of finishing a shift. A six day week is also not uncommon so can you really expect 'professionalism' every hour and minute of a regime like that?

Many of the guys who take part in this forum are very dedicated and professional.... but a brick wall is a brick wall and if your employer can't or won't give you the reources then something has to give.

I am in no way suggesting that my employers or anyone I know behave in this way.... heaven forbid [Roll Eyes]

Excuse the spelling because I'm very tired.... [Eek!]

Posted by Tim Reed (Member # 137) on 12-13-2002, 05:34 PM:

quote:
Professionalism.... it really depends on which side of the cheque book you are on.

Well put, Ken, well put. From my standpoint, it used to be a profession, but not any more. That's why I got out; you can't support a family on it, and it's darned hard to make a liveable wage at it as a single, too.

There's nothing I'd like more than to be working as a projectionist right now. I would give my eye teeth to do that, but it ain't gonna happen. I have a family to support, bills to pay, and health insurance to find.

The days when the job of projectionist was a craft are long gone.

Posted by Ken McFall (Member # 845) on 12-13-2002, 05:47 PM:

Thanks for that Tim

I would suggest your signature is due for a change, can I suggest....
----------------------------------------------
Better projection don't pay any more than crap projection.... you're just more tired at the end of the day!!
----------------------------------------------
God does that sound cynical [thumbsup]

Posted by Jim Alexander (Member # 226) on 12-13-2002, 09:29 PM:

quote:
--------------------------------------------------------------------------------
Professionalism.... it really depends on which side of the cheque book you are on.

--------------------------------------------------------------------------------

I can well appricate this statement. It is afterall a business. As the owner of a single screen theatre, I know only too well that you can't make a living at it. I also have a full time day job. So between the two, my time is at a primium! Having said that, it is my position that my staff live up to the standards that I have set. And yes, I am willing to pay for it. I know that a single screen does not carry half the load of a six-plex, but you get the idea. What I am talking about is a slippagle of professionalism within the world of projectionists. Blame it on over demanding employers. Blame it on an industry that has not maintained any "checks and balances". Blame it on whatever you like. The point of the matter is that it is slipping. Only through forums like these are we able to voice our displeasure and possibly encourage a return to the days of quality projectionists with any amount of professionalism. I well understand the pridicament that most projectionists at megaplexes deal with, and I simpathise with them, but one of the caracteristics of a professional is the insistance on not doing half a job.... That's my opionion...and being on this soap box is a little un-nerving since I have a fear of heights!

Posted by Tim Reed (Member # 137) on 12-13-2002, 11:02 PM:

quote:
Better projection don't pay any more than crap projection....

Ken, I'm rolling!! [Big Grin]

That's funny, I'd forgotten my signature read that way. As you probably know, it's the old slogan of IPC Simplex, from back in the days when that statement was true.

quote:
one of the caracteristics of a professional is the insistance on not doing half a job....

Jim, that is true. Unfortunately, and it sounds like you understand the business has went in a direction where it's very difficult to attract people with that kind of dedication... to become expert in a job that offers no real future for the practitioner. Sadly, the job of projectionist has become a McDonald's job... yes, there are paths to pursue a career, but they are in management, not as a fry cook. [Wink]

Posted by Barry Martin (Member # 1376) on 12-14-2002, 11:12 AM:

As far as a multiplex goes, it really comes down to how many people they will staff, not how long. There were Thursday nights I would get out from anywhere between 1 and 4am. Often times the closing manager and I were due back in at 9am. Without commuting time or breakfast (assuming you had time to eat dinner Thursday night) that is 5-8 hours between shifts. Because of this I always tried to get out as early as possible.

If I was ALWAYS getting out at 4am not only would I be a wreck mentally but management would probably just replace me with someone who wasn't going to take the time to do it right (or better yet leave the work for Friday morning) just so they can get home an hour earlier and save 9 dollars on payroll. In my experience efficiency has become more important to most chains than quality, especially when that print you are no longer booked for is not going to affect your grosses if it goes to another company.

The McDonald's analogy is pretty accurate, except the last winter I worked as a projectionist they brought someone new into the booth starting at $7.75/hour (the floorstaff wage). That same winter the McDonald's in our Mall was starting people at $8.50/hour. [thumbsdown]

Kind of pathetic, don't you think?

Posted by Darryl Spicer (Member # 711) on 12-14-2002, 11:47 AM:

I consider myself a profesional. Even though I have never been in a union doesn't mean I am not a professional. Tim is right. You can not rely on this job to support a family. You must get into the management field were there are benafits and the potential for better money. That does not mean that you can not still participat in the booth functions. I manage a couple of days a week and run the booth the other four days. I am very purticular about what goes on in the booth and who is doing what. The big problem is long term employment. If you can't keep them around long enough to gain the experience then everything goes out the window. I think if a company wants to pay someone well and give them benafits to run there booths they could. You don't really need unions now like you did in the early days of unionisation. I look at Toyota as an example. Here is a company that pays there employees very well. Gives them plenty of benafits yet does not have that union umbrella over there heads. They don't have to worry about strikes or cantract negotiations or loss of production because of these happenings. All in all, if companies want to give the best that they can give without worrying about unions just pay them a little better and give them some kind of benafits. Even if it is just a payed vacation that is something.

Posted by Jesse Skeen (Member # 586) on 12-14-2002, 01:24 PM:

I *ALWAYS* felt that the condition a print went out in was a reflection of the theater it came from, which is why I never cut corners breaking down prints (Thursday night shifts at a 16-plex for me often ended at 8AM!)
It's sad that some companies consider "professionalism" only to the extent of dress code and following standard policies, but nothing pertaining to presentation quality or how the prints look to whoever gets them next. (He built the print up with white splicing tape, then when tearing down cut the splices and put the leaders on with masking tape, but at least he was wearing a tie!)

Posted by Bruce McGee (Member # 131) on 12-15-2002, 06:03 AM:

I was taught from the beginning to send prints out of the theatre in better condition than when received. Being that I was with a drive-in, we often got some really-used prints. I was often amazed at the condition of things we received. Scotch tape, masking tape, or no tape with the ends of the reels simply wrapped around the bent shipping reels were the norm.

My boss was a stickler for quality on the screen. If the feature that we were playing was one that he really liked, he would bring his Maier-Hancock 16-35 cement splicer from home to do the inspections. Remember, this was in the days of tri-acetates.

I have tried to continue his legacy and make film stay clean and pretty on the screen. Hopefully, I will meet someone one day who has my passion for quality, and will be willing to learn the right ways to handle print film. In the real world, I doubt that this will happen. Not in this area, anyway. (Western North Carolina)

We ran STAR WARS in 1977 for 9 weeks on a changeover system with absolutely no damage incurred by us. Our distributor knew our track record with print care, and when one came available, a new print was sent to us to replace the one that we received for the first week of our runs. It was strange running the film with no pops and thunks from the lack-of-splices....

Posted by Scott Norwood (Member # 30) on 12-15-2002, 10:12 AM:

Agreed with Jesse. Prints should leave the theatre in better condition than they arrived in, and should be runnable out of the cans (I consider leaders attached with single-sided splices to be "runnable" in most projectors). Not that I would ever run a print without first inspecting it, but "print inspection" shouldn't involve "film restoration," either.

The problem is that, as others have stated, film projection has gone from being a lifetime job and respected craft to a short-term job often held by the same types of people who operate the fry machine at McDonald's. Since those people are often short-term employees (less than a year or two), they never really get the opportunity to learn more than what is absolutely necessary to get a picture on the screen and even those who do care often don't know that they were taught to do things in the wrong way.

There _are_ people in this business who do care. Unfortunately, most of them do so because they actually take pride in their jobs and not because they are encouraged to do so by their employers. I've met a few theatre owners who care deeply about quality, but they are very much in the minority.

Posted by Jim Alexander (Member # 226) on 12-15-2002, 12:21 PM:

--------------------------------------------------------------------------
Quote from Jesse:
I *ALWAYS* felt that the condition a print went out in was a reflection of the theater it came from...

Quote from Scott:
Prints should leave the theatre in better condition than they arrived in...
--------------------------------------------------------------------------

Here here! This is my point exactly. All to often, I have found that many, so called professionals, are cutting corners which results in their theatre looking like a bunch of half-wit-fry-cookers. Unfortunately, this means extra work for those that receive prints from them.

Not only do I insist that my staff break down a print so that it is usable and professionally done, but I also insist that, knowing where the print is going to, they will splice the headers and tails accordingly (if going to a 20 minute reel theatre, splice both sides. If going to a platter theatre, splice one side to make it easier for make-up). Is this to much to ask?

Posted by Jesse Skeen (Member # 586) on 12-15-2002, 04:13 PM:

Well get this- I also removed ALL cue tape, and when I worked at a place that spliced policy trailers in between the attached trailers, I'd actually take the policy trailer off onto a reel then splice the attached trailer back on (if the next theater didn't want to show it, they could take it off, if they wanted to put a trailer in between they could or if not just leave it the way it was)! I never got a used print where anyone bothered to do that.

Posted by William Hooper (Member # 71) on 12-20-2002, 06:52 AM:

"Professional" just means you take money for what you do, & you do it for a living. There are a lot of crappy professionals out there from lawyers to projectionists to engineers to actors to managers to tombstone cutters to automobile mechanics or whatever.

The question is does the professional fall in the category of crappy & smalltime, or not. It's generally a pretty good indicator of the extremity the individual's assessment of self from bottom of the well to delusions of personal super-significance, too.

Posted by Jim Alexander (Member # 226) on 12-20-2002, 08:11 AM:

---------------------------------------------------------------------
Quote William Hooper:

"Professional" just means you take money for what you do, & you do it for a living.
---------------------------------------------------------------------

Sorry, but this is only one of the meanings of the word professional, and one that has come as a result of the sporting industry. Another, and one in which this thread was contexted, is "someone following a line of conduct as if it were a profession." Having said that, you will note that the title of the thread is "Question of Professionalism" which further defines the context of the definition above to mean ones motivation to increase their conduct to a level that is unimpeccable.

Having said that, so long as people feel that to be professional, means to accept money for they do, as mention above, their will be no professionalism within our choosen feilds.

Posted by Jim Alexander (Member # 226) on 12-20-2002, 08:34 AM:

Quote:

...their conduct to a level that is unimpeccable.

Sorry, that should be impeccable. Fingers faster than the brain [Roll Eyes]

Posted by Carl King (Member # 398) on 12-20-2002, 11:04 AM:

Professionalism is a state of mind. It does not matter one bit about any "system" or corporate mentality or bosses with tight budgets. It is the projectionist who is handling the film and he/she is responsible.....period.

Blaming a system or company is a cop out. It is up to you.

Posted by Shaun Flichel (Member # 1435) on 12-22-2002, 03:40 AM:

I am also a professional projectionist, but managers and kids run the shows 2 days a week, i must add they had maybe if they are lucky, a weeks training. This past Tuesday, I started a show, looked over at the platter and found about 10 feet of crinkled/torn film on the way to the projector, fortunately I was able to hit stop before I hit the screen. It doesnt matter how professional I am anymore, im forced to run scratched prints because of this.

Shaun

Posted by Paul G. Thompson (Member # 655) on 12-22-2002, 05:37 AM:

I remember in the carbon-arc days where a 13-reel movie I inspected was in such bad of shape, I spent 6 hours splicing, repairing, and cussing before I could even think of running it.

It is very easy determine who is and who is not a professional projectionist when the film arrives or is circuited to the theatre. More often that not, you'll be correct on your guessing.

It is very frustrating when we have to shovel manure against the tide on second-run or circuited prints! [Mad]

Posted by Mark DeLettera (Member # 125) on 12-23-2002, 09:02 AM:

OUCH... Wait until the digital cinema folks start lurking at this thread! [Eek!]

They're going to have a 'ball' with this and start their "....just another reason to...Blah, Blah, Blah" rap again!

Posted by Mark J. Marshall (Member # 1409) on 12-23-2002, 09:10 AM:

I'm going to print this thread out and show it to our booth staff. [Wink]

Posted by John Pytlak (Member # 331) on 12-24-2002, 06:32 AM:

IMHO, a true "professional" takes pride in their work. Whether you are a professional engineer, a professional projectionist, or a professional ditch-digger, you recognize that YOU are responsible for the quality of your work.

Both film and digital projection require skilled and caring professionals to assure presentation quality, especially with regard to maintaining and servicing the equipment, and maintaining a sense of "showmanship" and quality in presenting the movies:

Kodak ScreenCheck Projection Training

Kodak Digital Cinema

Posted by Frank Angel (Member # 248) on 12-24-2002, 06:58 AM:

Well said, John. And I will add that I strongly disagree with the argument I hear too often and from people who should know better, that someone is "not being paid enough" to take their work seriously or give 100%. Excuse me, but when a you take a job, the salary is not a secret that is only discovered after you're on the job; it is known and part of your agreement with your employer, no matter what the job. And you agree to do the job for that amount of pay. You didn't tell the employer when he stated what the job pays, "Well, I think I am worth 20% more than what you are offering so I'll take the job but I will only work at 80%."

Ethics would dictate that when you agree to work at a given salary, you are also agreeing to do that job to the best of your ability. You don't get to decide after the fact that you are not getting paid enough so you will do a half-ass job. To do this would only mean that every morning when you look in the mirror you can point to yourself and say "Hello, you thieving low-life."

Point is, if someone thinks they should be getting paid more, ask for a raise, and if that isn't forthcoming, then stop whining and get another job that will pay you what you think you are worth! Of course the problem with that is, if you're that kind of unethical slacker, you are probably worth LESS than what you are being paid. [Mad]

Posted by Mark Maxwell (Member # 1355) on 12-25-2002, 01:24 AM:

As far as being a proffesional, Know your' machines and present the best quality picture you can. Know how to build up right, and deffinatly know how to break down correctly because once you loose a movie, another theater has to play it. It sucks workin at a second run theater and getting a bad print. Make sure you put the DTS discks back in the can before you send it off. I came back to my old theater and there were about a years worth of discs. And if a movie finals, break it down that night, unless you want to watch it one last time, in which case you better be there the next morning to break it down. My tech is an old school projectionist who got out of the industry when the union fell apart. I listen to him, and his word is the projectinist bible.

Posted by Sean McKinnon (Member # 612) on 12-25-2002, 01:33 AM:

Wow, at least someone agrees with me. Frank, I made that same argument in another thread and got jumped all over on it by some members with thier own agendas. [Roll Eyes]

It seems though that you have a better way with words than I do!

Thanks for helping the argument for common sense! [Wink]

Posted by Dustin Mitchell (Member # 372) on 12-25-2002, 03:16 AM:

Well said Frank, well said.

Posted by Nate Lehrke (Member # 1460) on 12-25-2002, 04:06 AM:

Frank, I don't think it could be said better that that, right on.

Posted by Ken Lackner (Member # 1002) on 12-25-2002, 08:17 AM:

quote:
Does nobody think that there is another theatre that is going to run a print after them? Or are they just in a hurry? Do they care??

Yes, but yes, and no! I can't tell you how many times other operators (are they even worthy of being called "projectionists"?) have told me, in no uncertaint terms, "I don't give a [bs]

what happens to this print when it leaves our theater," or, "It's not my problem anymore," etc.... Unfortunately, that attatuded is way too common in our industry these days. I guess nobody knows the meaning of "do unto others" anymore.

quote:
Make sure you put the DTS discks back in the can before you send it off. I came back to my old theater and there were about a years worth of discs.

That is one of my biggest pet peaves!! I'm back at my old theater while I'm visiting family for the semester break. I was running the booth one day last week and noticed that 8 Crazy Nights was not playing in DTS. This house had DTS and optical only; there was no SRD to back up the DTS. I opened the drive, and was absolutely shocked and what I found: the disc for Goldmember!!!! WTF??? Not only did that disc not get returned with the print, but that means that no movie was playing in DTS in that house since, what, August?!! That is shameful!

Because none of the theaters back home seem to want to hire me, I currently work at Wendy's. I take my job seriously. I've done everything from the french fry fryer, to the grill, to washing dishes and cleaning bathrooms. Even though I know I'm only going to be there less than a year until I finish school and get go back to my old theater again, I still do the best damn job that I know how, and I constantly strive to do better. (My GM even said that I am her favorite dining room closer because I'm the only one who does everything properly.) Same as when I was working at a theater, fellow employees make fun of me when I am reading the operations manual on my break. Why is this so? I truly cannot understand it.

Posted by Thomas Procyk (Member # 1170) on 12-25-2002, 11:36 AM:

I noticed three bulbs at the current theater I work at (feels good saying I work at a theater again!) that were dark on top and frosted the rest of the way through. (We have Film Systems vertical lamphouses) I was unfamiliar with our lamphouses and didn't want to find any "surprises" on my own, so I asked an assistant manager if he could show me how to change a bulb on these things.

"I'm not paid to do that." was his answer. I asked again, if he could just SHOW me, and I would do it. He said again: "WE'RE not paid to change bulbs." [Confused]

Guess it's time to search the booth for a manual to these things.

One good thing, though. The GM has REALLY noticed since we started using FilmGuard! [Cool]

(I wonder if we're "paid" to run the film cleaner??)

=TMP=

Posted by Scott Norwood (Member # 30) on 12-25-2002, 06:51 PM:

So who does change the bulbs at this theatre? Do they just cancel shows if a bulb fails to strike?

Posted by Gracia L. Babbidge (Member # 582) on 12-25-2002, 11:58 PM:

Generally, I feel as though I do my job well. I take the time and care to do things properly, and not half-assedly.
"Haste makes waste"

but damn, it sure does come in handy that I'm on slavery ..er, salary , and I get to make up the projectionists' work schedule. My employers do have some care for the quality of presentation (not as much as they could, but they're still leaps and bound ahead of local competition).
I've even been informed that my booth (my title is 'head projectionist'), is the best running booth the company has. [Big Grin]

In nearly three years in this one booth, I've had fewer prints attempt to throw themselves off platters than I saw in just one winter that I had been at a theater that is our closest (geographically speaking) competitor.

Do I consider myself adept as a technician? Hell no! There are a lot more things that I cannot fix than things I can fix. Maintenance is not a difficult concept, and when regularly kept up, does pay off, somewhat reducing the need for technical know-how. [thumbsup]

Something I do not do is change the xenon lamps.
In theory, I know how. I just will not do it.
Quite frankly, I'm too much of a f*cking clutz for my own good.
So naturally the things I am clumsiest with are either very fragile, very expensive, or very dangerous... [Embarrassed]

Even so, lamps get changed out at my theater before they fail to strike (or blow up) - I delegate quite well. [evil]

Now if only I could improve some other issues in my work environment... but I won't get into that! [eyes]

Posted by Jack Ondracek (Member # 1466) on 12-26-2002, 01:01 AM:

quote:
from Paul T.:
I remember in the carbon-arc days where a 13-reel movie I inspected was in such bad of shape, I spent 6 hours splicing, repairing, and cussing before I could even think of running it.

Most people who ran drive-in booths in the changeover days probably remember too much of that, if they think about it for a while...

Professional or not, many of those old booths had oily, leaky machines, and a lot of projectionists (operators?) let the leaders drop into those oversized drip pans... or the floor, in some cases where there were no pans. The ends of many reels were oily, dirty, scratched up messes, and you just about didn't need cue marks to find the ends on some of those prints. Multiple passes in front of some of those monster Strong (no offense, Pat!) and Ashcraft lamps made a mess of a lot of prints.

I think today's technology brings the ability to execute a quality presentation to operators who may not have had the resources, education, knowledge, intelligence or (unfortunately) the interest to go that extra few steps to even do "film half-assed" in the past.

What's unfortunate to me is that too many exhibitors have taken advantage of technology in order to economize even further in exactly the wrong area. As others here have said, the customer doesn't drive to your theatre to buy your popcorn (well, most of them, maybe)... yet a lot of theatres are dishing out some pretty sad presentations.

Boxoffice magazine recently ran a series of interviews of chain execs, asking them about how technology had affected their operations. One guy actually said he wished they could come up with a way to stick film into the top of a projector and make it come out the bottom, all threaded up like those old Bell & Howell Film-O-Sounds at school. He must have forgotten how much leader those things chewed up! The point is that there actually are some operators out there who would run their theatres with nothing but a single employee, if they could get away with it.

What they seem to miss is that it's gotten to the point that a little attention to detail and customer service... and I'm not talking a lot here, is actually noticed by the audience in a lot of cases... and what does that say about what some of these chains are dishing out as a "quality movie-going experience"?

Professionalism is a pretty subjective topic. It can take a lot of forms, depending on who you ask & what their background is. I worked for independent operators for years before I get anywhere near a union booth. I sure learned a lot from those guys when I did get the chance, and most of it stuck through the years and helped me establish standards that I operate by today. What comes out of the booth is our top priority here, with everything else being important but somewhat less so. Am I a professional? I think so... but from the perspective of a career union projectionist (what few there are left), probably not. Is Brad a professional... or Joe, or some of the other frequent posters here? By some standards, maybe rabidly so... but there are usually good points in the topics that really fire them up.

Makes this place a pretty good hang-out. [thumbsup]

Posted by Barry Martin (Member # 1376) on 12-26-2002, 04:00 AM:

Jack said:

quote:
What's unfortunate to me is that too many exhibitors have taken advantage of technology in order to economize even further in exactly the wrong area. As others here have said, the customer doesn't drive to your theatre to buy your popcorn (well, most of them, maybe)... yet a lot of theatres are dishing out some pretty sad presentations.

I think one good example of the "popcorn over presentation" belief is that while working for a chain I started out doing what everyone else did. There were actually classes on top of booklets instructing these people on how to work box office, concession, ticket taker, usher, etc. and especially on selling strategies in the concession stand. Yet, when I took interest in projection all I got was a tour of the booth and shown how to thread a couple times. After that I ran 8 of the 20 screens myself for a couple months before I felt I could work without having my threading checked. When Star Wars: Episode 1 came out I wouldn't even touch it because I didn't feel confident enough to be trusted with such a busy film.

There were never (and still weren't last I was there) any manuals or videos on "film done right" or even safety issues. Sure there are common sense things like not dragging film across the floor or opening the lamphouse door while in operation, but there are a lot of things I learned and am still learning that can only be taught by someone who has worked a booth before. The only "role model" the other projectionists in my booth had were the technicians. Certainly none of the managers knew more than threading, if that much, so if there was a problem we couldn't solve on our own we had to wait for a tech to come around.

I guess my point is you are only as good as your teachers were. You consider yourself a professional because you do things the way you have always been taught and constantly try to improve how things are done at your workplace. Sure, you might have been taught that masking tape is used in breakdowns instead of splicing tape, but how should you know (unless you come here) which is better? Sometimes I think it comes down to CAN you be a professional with the deadlines and expectations your management puts on you and still keep your job. Then it becomes a choice of stay on and do as they ask or quit and try to find a theater close to you that DOES give a damn about that silly movie on the screen which brings so little profit compared to the popcorn that brings so much.

I don't have two cents, anyone have change for a nickel? [Big Grin]

Posted by Sean McKinnon (Member # 612) on 12-26-2002, 04:40 AM:

Heres my quarter...

In order to be a true proffesional you have to have the ability to take constructive critisism and to learn from others. If you have a closed mind and refuse to improve then you should stay in your house all day and never leave. People with attitudes that nothing is thier fault and that they know everything hurts our industry more than greedy theatre chains that want to make a profit (god forbid). Ive dealt with people who REFUSE to learn, or try new things is that a proffesional? I think not. My point? you have to be open minded, willing to learn from others, have the drive to better yourself and be able admit a mistake and correct the problem in order to be a true proffesional.

Now let me pose a question...

You have two people one is a concession worker and one is an operator.
The Concession worker always does his best to upsell and suggestive sell. He always shows up on time and in proper uniform. He attends all the training classes offered by his company. He accepts suggestions from his managers and is willing to admit it if he gives someone incorrect change by mistake.

The operator comes to work 45 mins late at least once a month. He wears whatever he pleases even though he is required to wear a uniform. He blames everyone else for everything that goes wrong. He refuses to accept constructive criticism and claims that he knows everything. He allows an inferior presentation due to his arrogance.

Now is the operator a proffesional just because he is a "Projectionist" and is the Concession worker not because it is a "service" job?

Posted by Jim Alexander (Member # 226) on 12-26-2002, 01:58 PM:

-------------------------------------------------------------------------
Quote Sean McKinnon:

Now is the operator a proffesional just because he is a "Projectionist" and is the Concession worker not because it is a "service" job?
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For a retorical question, it brings my point across quite well. Professionalism is a mind set. It is the desire to do your job as best as can be; to look for improvement and incorporate it; to not except a job half done just because you think you are better than the rest.

For five years, now, I've run my own theatre and everytime I hire a new staff member (Projectionist or Consession worker) I ask the same question; What is the purpose of a theatre? The answer is a suprise to most in that it is to sell pop and popcorn. We all know that the movie makes us nothing, but it is the movie that attracts the customers into our establishments. If the presentation is poor, they are hesitant to return, hence a loss at the consession. If the effort is put into the presentation and the consession, than it is a win-win situation.

To say that, as a result of poor wages and greeding chain owners or late nights, it is ok to cut corners, is nothing but a cop out. It comes down to a choice of professionalism.

Posted by Jack Ondracek (Member # 1466) on 12-26-2002, 07:44 PM:

quote:
from Sean:
The operator comes to work 45 mins late... wears whatever he pleases... blames everyone else for everything that goes wrong.... refuses to accept constructive criticism and claims that he knows everything. He allows an inferior presentation due to his arrogance.

Now is the operator a proffesional just because he is a "Projectionist" and is the Concession worker not because it is a "service" job?

I don't think you can make a case for "stature due to training", and you bring up a good example. I wouldn't consider the person running your machines a "projectionist"... for that matter, probably not even much of an "operator". Based on your description, your concession worker takes his job more seriously than that guy upstairs in your booth. I'd vote for the higher level of professionalism being with the concession worker. Teach him to run the machines & get rid of the louse in the loft. You'll probably get a better show & a much more pleasant working environment. Send the arrogant operatorn to the competition [evil]

Posted by Gordon McLeod (Member # 33) on 12-26-2002, 09:45 PM:

Well the person calling themselves a projectionist is subject to displine from his employer if tyhe collective agreement says a uniform is manditory ( I am persuming a union bias in the post)
Also why was the person late may also be relative but still inexcusable if repeated and again the owners of the company who freeley sign collective agreements may have causes included for that