Film-Tech Forum ARCHIVE: Payment for screenings

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Posted by James R. Hammonds, Jr (Member # 673) on 03-13-2003, 10:26 PM:

Does anyone NOT pay employees who screen their films before being shown to the public?
The management at my theatre (actually one in particular and most likely others that will agree) wants to stop this practice.
The main arguments are that it eats into payroll and none of the other theatres in our chain do it in our market.

I need to get back to work so I can't get into my thoughts or concerns on this, but what is everyone else's policies and procedures on payment (or nonpayment) for screenings?

Posted by Paul G. Thompson (Member # 655) on 03-13-2003, 10:46 PM:

As far as I know, we still do. But, the person who is paid is the one who is running the show.

Posted by Steven Pickles (Member # 785) on 03-13-2003, 10:57 PM:

James,

Usually this is done for insurance reasons. Being if there is an employee in the building outside of normal operating hours and not on the clock... should anything happen the theatre could possibly be liable. That's what I've been told, anyways.

Posted by Paul G. Thompson (Member # 655) on 03-13-2003, 11:06 PM:

Steven is correct. I think you will find that to be true in most states.

Posted by Daryl C. W. O'Shea (Member # 1303) on 03-13-2003, 11:09 PM:

I've worked for four seperate companies and lots of theatres, none of which paid me to screen shows.

Posted by Scott Norwood (Member # 30) on 03-14-2003, 12:26 AM:

I've never heard of anyone being paid to screen anything. Normally, prints only get screened if someone wants to watch them.

If I were a theatre owner, I'd have a hard time justifying paying someone to watch every film, although I could see doing it under bizarre circumstances (e.g. print arrives without head or tail leaders and with reels unnumbered and someone wants to make sure that the film will be shown in the proper order).

Obviously, if the employees are being required to screen prints as a condition of employment, then they should be compensated for their time.

Posted by Tim Turner (Member # 1109) on 03-14-2003, 01:46 AM:

We rarley screen our movies at all. Its very seldom, and the person to do it usually is the head projectionist whoes on Salary, I've ran films for Managers and friends after closing hours, like Blade 2 but that wasn't a quality assurance run, it was just because it was popular movie and my Manager was really hyped to see it. But I wasn't paid to do so.

And then with a movie called "II Tu Mama Tambian" (forgive me on the spelling). We didn't get any info on the movie, and it didn't come with a rating, and I remember we were selling tickets to kids for about a week. We had heard from a few of our Spanish speaking employees who had seen the film months ago in Mexico, that joked about the movie being a porno and was not for kids. So one night I ran the movie for the general manager so he could decide what its supposed to be rated. But even then I wasn't on the clock.

I guess the fact that I got to watch a free movie was my payment.

Posted by Brad Miller (Member # 2) on 03-14-2003, 02:14 AM:

I strongly feel that all movies (no matter how bad they are...yes, even that stupid "Piglet Movie" opening next week) should be prescreened by someone who knows what to look and listen for. It is all part of putting on a quality presentation to make sure that the print you are given has no defects in it's presentation. If the theater waits until a customer complains, it is almost always too late to order a replacement reel for a lab defect.

The other half of that stance is that if someone is in the building screening a movie, they should be paid for it. No ifs, ands or buts! However only one person per print should be on the clock. If there are 3 projectionists who want to watch a certain movie, only one of them should officially be in charge of it and on the clock. Preferably whoever physically assembled the print should be that person.

After hours screenings should also be strictly limited to projectionists and members of management. Steven's insurance point above is all too true.

Posted by Michael Rourke (Member # 1142) on 03-14-2003, 03:29 AM:

To that effect; don't fall for the stranger offering you 50 dollars to watch a movie after hours. He/she will most likely hurt themselves on purpose and sue.

Posted by Daryl C. W. O'Shea (Member # 1303) on 03-14-2003, 03:36 AM:

I should note that even though I don't get paid to screen each print I try to watch them all -- of course walking out of the theatre at 7:00am after getting to the third bill, [puke]

Master of Disguise, left me wanting to kill myself. [Eek!]

I try to make sure none of the staff knows about the screening... before you know it they'll be out of room and asking if you can interlock it.

Posted by John Pytlak (Member # 331) on 03-14-2003, 06:56 AM:

I agree with Brad: "Film Done Right" includes pre-screening to look for defects that may have been missed during normal inspection done during make-up. For example, a sync issue or a digital track defect that causes repeated default to analog should be found well before a busy Friday night.

Certainly any work done as a condition of employment must be done "on the clock".

I've already suggested enlisting technically-saavy customers willing to evaluate presentation quality in exchange for a free admission during normal shows. In effect, a theatre-run Theatre Alignment Program (TAP), or like the SMPTE Theatre Quality Evaluation Program in 1983:

SMPTE Theatre Quality Evaluation Program

[ 03-14-2003, 08:05 AM: Message edited by: John Pytlak ]

Posted by Rick Stowell (Member # 1624) on 03-14-2003, 08:32 AM:

I previously allowed any of our staff plus one guest each to preview any movie after hours. We had rules: had to start within 5 minutes of closing, could preview two simulateously, but not back-to-back, free pop and popcorn, had to fill out a rating sheet for the trailers and feature. Our goals were: running time, familiarize staff, "running" properly. However; some policies were being violated, and most of our very few problems stemmed from preview nights.

Now, all previews are during the day. With most of our staff in school, yesterday two of us plus a friend of mine previewed "The Hunted", and in a few minutes (8:30 am CST), I have the privilege of previewing "Agent Cody Banks" alone.

We never paid an employee to preview because it was optional. If it became mandatory, we would definitely pay them (at least one).

Posted by Tim Turner (Member # 1109) on 03-14-2003, 09:47 AM:

What do you guys do about the nights you recieve like 4-6 new movies? Do you watch all of them? at night? What about the issue of the projectionist whoes on the clock, getting too much over time?

Posted by Brad Miller (Member # 2) on 03-14-2003, 11:58 AM:

Being in the entertainment industry (not sure if this varies from state to state), employers do NOT have to pay overtime rate when you go over 40 hours. At that point, who cares if you work 40 hours or 90? They are paying the same amount per hour.

And yes, ALL of them get screened one way or another.

Posted by Scott Norwood (Member # 30) on 03-14-2003, 01:28 PM:

Since it's extremely rare (in my experience) to see "major" print problems (sound out of sync, wrong soundtrack, etc.) that wouldn't be caught during inspection, I would think that the $20 per feature that would be spent in payroll to have someone pre-screen every print would be more effective at improving presentation quality if it were put into Filmguard and cleaning media, more hours for projectionists in booths which are manager-operated for part of the week, improved equipment maintenance, fewer slide/film ads, etc.

Sure, the ideal situation would be to do all of the above anyway and to have someone pre-screen every print, but we all know that theatre owners tend to be cheap and I, for one, think that they should be encouraged to spend their limited funds on whatever is most likely to improve presentation quality. Pre-screenings are good, but the return on investment is very low in my opinion.

Posted by Brad Miller (Member # 2) on 03-14-2003, 02:28 PM:

I find there is a lab defect in about 1 reel out of every dozen-ish prints. To me, the screenings are worth it to catch those problems and get them replaced. Things have improved at the labs over the last 2-3 years, but they are still cranking out defective reels too often to ignore a full on-screen check IMHO.

Then there are the times when a new print should have arrived (first run on the break), but a used one is sent instead (from a trade or press screening). Most of the time, these have unacceptable damage when viewed on screen and the entire print must be replaced, even if they have only played one time at some uncaring theater. I haven't received a used print in some time now though, so perhaps the depots are wising up to the fact that I am not going to sit happily by and run a used print when there are thousands of brand new ones. My prints always go back to the depots flawless. I think that definitely gives me the right to expect a new print to start with (on a major release of a first run movie, of course). Send the used prints to the shitty theaters that damage everything they touch.

Still though, I do feel pre-screenings are very much needed.

Posted by Lance C. McFetridge (Member # 95) on 03-14-2003, 04:50 PM:

I pay to have the projectionist watch each movie prior to public viewing. Sometimes it takes two projectioinst to get through prior to show time, but I feel it is well worth the money spent. That is not to say that the staff doesn't show up, but they do not get paid.
lance

Posted by Darren Crimmins (Member # 1116) on 03-14-2003, 05:44 PM:

It amazes me how many projectionists are willing to do screenings without being on the clock. When you screen a movie, you are checking the lab quality of the film as well as the sound quality, not just "watching the movie" like alot of managers think. You are at work, checking quality, so you should be on the clock, no exceptions.

If management was not going to pay me to do my job of checking the presentation before it goes to the public, they can deal with any complaints that come from then on out (rainchecks for bad sound from lab defects, poor picture quality from the lab, ect.)because they won't get screened then. I had one theater that did not want to pay the projectionist for screenings, so we didn't screen them for a couple of weeks. Once he found all the lab problems with the reels were not able to be replaced and customers were complaining on Friday and Saturday, managements attitude changed quick. We were then allowed to screen on the clock from then on out.

Posted by Chris Markiewicz (Member # 1415) on 03-14-2003, 06:18 PM:

I am on salary so I don't get extra for doing screenings; my other projectionist is part-time, so she clocks in to build-up and screen. We get used prints 99.99999% of the time; the only new one I remember was "Bowling for Columbine"; so there is ALWAYS damage to correct. Old foil and tape cues [Mad]

, sticky splices, lab splices and masking tape goo [Mad]

. Let's not even talk about dirty prints. Thank you Film-Guard! Without screenings our presentation would be much worse.

Posted by Jack Ondracek (Member # 1466) on 03-14-2003, 08:23 PM:

quote:
from Scott N.:
Pre-screenings are good, but the return on investment is very low in my opinion.

The backlash caused by presentation problems can take several forms, with varying degrees of importance given them by a theatre's ownership.

We feel a strong personal connection between the quality of our presentations and us as the exhibitors. As our clientele becomes more regular and begins to recognize faces on our staff, we're more likely to become the focal point for how our customers view our business, good or bad.

In order to keep our customers happy, and so they recognize we're serious about putting on the best show we can, it's not unheard of for us to pass out an auditorium when problems arise. As an owner, it's definitely in my best interest to minimize these occurrences!

Personally, I HATE to have to fix problems during a show. Some issues have little excuse, like finding your presentation is a little out of focus... and it's 20 minutes into the show. Other issues are less predictable, but can be traced to your maintenance program if they occur too often. We had a dirty pot in one of our QSC 1500A amps drop a center channel a couple of days ago. It was a quick fix, but someone had to come out of the auditorium to tell us it had been going on for a little while. It's the 3rd time I've had that happen in the building (not on the same amp) since last August, so it appears I have something I need to pay more attention to.

We're a family operation, and I'm fortunate to have a good manager/operator in my oldest daughter. Being a 4-plex, it's not a huge issue to screen our shows, and we do. Brad's comments about reel problems are valid. We had to replace 3 reels over two shows in a 2-week period. By screening, we had those reels by Friday afternoon.

Oh... we also use the Film Guard system... an excellent investment even IF John has fixed the static problem! [Big Grin]

Posted by John Pytlak (Member # 331) on 03-14-2003, 09:38 PM:

quote:
... an excellent investment even IF John has fixed the static problem!

The Kodak VISION Color Print Film team fixed the "static cling" problem, not me alone. [Smile]

My report to ShoWest in 1993 on the Warner Bros. picture "Mr. Wonderful" identified static and projector abrasion to be issues on the polyester print films of that time. Kodak built a totally new base-making machine, and has spent over $250 Million making VISION Color Print film as good as it is today, and the improvements continue.

Posted by Jack Ondracek (Member # 1466) on 03-14-2003, 10:26 PM:

Another topic, but I think that's evident. Even withouth the Film Guard, I've noticed much less trouble with static, as have other operators in my area & here on this board.

Your team did a good job with that, John!

Now... maybe all the theatres without Film Guard can think about putting away their WD40! [Eek!]

Posted by Paul G. Thompson (Member # 655) on 03-15-2003, 12:22 AM:

Yeah, Jack! Waltz that can of WD-40 to the trash masher just like I did to that case Roger sent to me at Southsound. [Big Grin]

By the way, I don't think Roger believes in that stuff anymore, thank God. [beer]

Posted by Jack Ondracek (Member # 1466) on 03-15-2003, 01:50 AM:

quote:
from Paul...
at Southsound.

Unfortunately, that's not the worst of it at that place. [puke]

Posted by Rick Stowell (Member # 1624) on 03-15-2003, 01:14 PM:

"But we all know that theater owners tend to be cheap"!?!?!?!

I've read many of your prior posts, and thankfully have never seen any other generalized/stereotyped remarks. As a theater owner, I take exception.

Theater owners are no different than projectionists or anybody else. Some are outstanding, some are terrible, and the rest fall everywhere in between.

I've invited our projectionists and managers to join this wonderful site, and they can comment if they wish.

We pay fair wages, hourly increases every 250 hours worked, bonuses (just paid a few thousand dollars last month), medical insurance, retirement plan, paid vacations, and I earlier mentioned free popcorn and pop for staff and guests at previews. We had over 400 people apply for 25 positions when we remodeled an existing building in 1994, and not one (including myself) had one minute experience in a theater. We now are a very successful 6 screen theater (started with 4) and each member of our staff shares in the success.

Posted by Paul Goulet (Member # 297) on 03-15-2003, 01:24 PM:

Welcome Rick Stowell!!

How about posting in "Who the HECK are you??" in the Film-Yak Forum so we will all know who the heck you are!

Posted by Daryl C. W. O'Shea (Member # 1303) on 03-15-2003, 01:46 PM:

quote:
We pay fair wages, hourly increases every 250 hours worked, bonuses (just paid a few thousand dollars last month), medical insurance, retirement plan, paid vacations, and I earlier mentioned free popcorn and pop for staff and guests at previews.

You're certainly among the generous few Rick! I hope your staff appreciates your generousity as much as you appreciate them.

Those tri-weekly wage increases sound great. [thumbsup]

Posted by Scott Norwood (Member # 30) on 03-15-2003, 07:15 PM:

Rick--I'm glad to hear that you aren't in the majority. [Wink]

Unfortunately, except for a couple of independents, the theatre owners whom I have dealt with directly (three major chains [one of which is now defunct] and several independents) absolutely refuse to spend money on anything that doesn't immediately threaten their business. They won't upgrade anything that doesn't absolutely need it, nor will they pay their employees any more than absolutely necessary. I've never heard of anyone who has great projection and sound equipment, hires competent operators, keeps their theatres spotlessly clean, doesn't have pre-show slide or film advertising, and pays their employees to pre-screen every print. I don't doubt that such places exist, but I haven't seen one yet.

Posted by Rick Stowell (Member # 1624) on 03-16-2003, 10:14 AM:

Dang! You mean we really aren't perfect? We DO have slide advertising, but only for 5 minutes prior to showtime, and we did poll our customers and they said they'd rather watch slides than a blank screen. We do not play commercials even though we've been offered a large chunk of money to do so.

We also don't pay for screening films because it is optional. If it were mandatory, we would definitely pay at least one projectionist.

And our pay increases every 250 hours? The limit is 40 hours per week, so it does take 6+ weeks.

Thanks for the welcome! Since monitoring this site, we have improved our presentation, and we're at least up to film done righter than before, heading to film done right!

Posted by Patrick McDonough (Member # 1363) on 03-17-2003, 03:33 PM:

The only time we prescreen is when it's one we want to see.

Posted by John Pytlak (Member # 331) on 03-17-2003, 03:47 PM:

Pre-screening is a part of "Film Done Right", unless you want an occasional unpleasant surprise on a busy Friday night. [Roll Eyes]

Posted by Randy Stankey (Member # 64) on 03-17-2003, 04:22 PM:

ALL movies should ALWAYS get prescreened ALL the way through ALL the time! ALL people who don't do this are ALL F-ed up in the head!

I'm ALL done ranting, now! [Big Grin]

(S)He who is in charge of the projector is the one who gets paid. All others who want to watch must have permission from the manager on duty. Typically, no other people except managers should be allowed.

One good exception is when the movie is expected to be a big blockbuster that a lot of employees want to see. Most movies are "blacked-out" for employee's pass privileges the first week of their run. Thus, if great "throngs" of employees will want to watch said movie, it might be advantageous to let employees sit in on the prescreening. This allows the employees to watch the movie and still save seats on opening day(s) for PAYING customers. Besides, it's a great way to motivate employees...

Any employees who work ALL their scheduled shifts the entire week preceeding the screening of <some movie> may ASK for permission. If the manager on duty thinks the person has done all their chores and has exhibited good behavior for the preceeding <designated period of time> (s)he may be allowed.

Even this (proposed) ploicy is pushing it, as far as I'm concerned. But my point is that IF a manager wants to let employees sit in on screenings, there should be a set policy. Otherwise you are begging for trouble on many fronts.

I know of more than one manager who was fired for letting employees and friends come watch movies after hours... They all deserved what they got.

I'm a believer in the saying, "Most people don't just GET fired. They get THEMSELVES fired."

Posted by Patrick McDonough (Member # 1363) on 03-17-2003, 04:51 PM:

we can have private showings but after hours, and as long as the owner knows about it. but thats not usually till saterdays, Kind of defeats the purpose I know. I would love to do prescreenings. but the we don't get the movies till friday afternoon. [Eek!]

Posted by Bill Gabel (Member # 1105) on 03-17-2003, 04:56 PM:

The only time we do a run through of a print. Is for a premiere
or all media screening. I get brand new wetgate/EK prints
direct from the labs. And the times I do get a regular release
(new or used) print, the only thing I can done is inspect and
repair the damage from theatres doing film wrong. During a
normal day we run 5-6 features and video, unless its a special
show. On payment to do a run through and the show, it's
comes out tobe two studio calls. And during the downtime between
screenings it's regular studio rate.

Posted by Richard Miller (Member # 1405) on 03-20-2003, 02:28 PM:

I was paid ONCE when I watched a prescreening. I guess I forgot to clock off so the time was still racking up. Other than that we don't pay anyone so movies that no one wants to see don't get checked for bad splices or reels. If I didn't have to be up so early on Friday morning I would see a lot more of these.

Posted by Patrick McDonough (Member # 1363) on 03-20-2003, 03:20 PM:

The only time I was paid for watching a screening was for Starwars episode II