quote: Christian Volpi

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a booth manager at a 14-plex should be expected to work about 55-60 a week.

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I run a theater twice that size and I only work that much when I need the money. you would only need to do that if your booth staff can only thread and start, then you would have to do everything yourself.

As far as pay goes, let's just say that I could start as regular staff at home depot for more than I get paid as a manager at the theater.
 

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Posted by Jeremy Fuentes (Member # 2135) on 07-23-2004, 09:37 AM:
 
Yeah, but who wants to work at Home Depot? Or Hollywood Video, or some crappy place like that?
 

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Posted by R. Andrew Diercks (Member # 1725) on 07-23-2004, 10:02 AM:
 
Freemont, NE? I thought that was a 4 screen, not 3. Do you work for Mainstreet Theatres? Also is the fourteen you were offered in Sioux City? Cost of living is a bit elevated there, but still lower than most places in the country.

22k doesn't seem out of line at all in Nebraska. I'm an Iowa boy and started managing a 3 screen and video store for 23k. All you have to do is the booth. Gotta start somewhere. Do a great job and get raises. Aren't we in this for the love anyway.
 

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Posted by Jeremy Fuentes (Member # 2135) on 07-23-2004, 10:07 AM:
 

quote: R. Andrew Diercks

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Aren't we in this for the love anyway.

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Yup!
 

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Posted by John Pytlak (Member # 331) on 07-23-2004, 10:11 AM:
 
For LOVE or MONEY?:

http://www.imdb.com/title/tt0106941/

Nice to have both!
 

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Posted by William T. Parr (Member # 677) on 07-23-2004, 10:19 AM:
 
I was making $9.50/hr as the booth lead at the Highland up until my departure last week. I left because I was basically being an in house technician for them on top of helping them out by taking care of re racking and installing new booth equipment during their remodel which the company taking care of it would easily of billed $50.00 to $75.00/hr for the service I was doing most of it between breaks during my shift saving the company even more money. What was I getting in return? Well initially I was allowed to bring 5 to 10 guest that worked at the Outback Steakhouse across the parking lot from the theatre, in return Outback was employee comping my meals for me. What happened? A new manager took over half way through the project, immediately told everyone including myself that we could only have 1 guest and that was it. This in turn ended my comped meals at the Outback, but yet I was still expected to do everything I was doing up to that point with no increase in pay. When I talked to the new manager about the benefits I was getting out of it, his remark to me was "Well I not directly getting anything out of you getting free meals at the Outback". I let it slide for 2 months like that, took a Vacation on which I was called by him on more than one occasion about where we were at on the project of remodeling and bothering me about the time table being pushed up on one of the big Auditoriums reopening schedule. Needless to say I did not get to enjoy my vacation at all. That was the final straw.

[ 07-23-2004, 11:47 AM: Message edited by: William T. Parr ]
 

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Posted by Thomas Procyk (Member # 1170) on 07-23-2004, 11:24 AM:
 
To be continued?



=TMP=
 

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Posted by Scott Norwood (Member # 30) on 07-23-2004, 11:41 AM:
 
Raise? Ha! I've heard of exactly _one_ time when a projectionist was given a raise. The rest of the time, the pay and benefits (if any) go down.
 

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Posted by Jeremy Fuentes (Member # 2135) on 07-23-2004, 11:59 AM:
 
Nice signature Todd!! Its too bad that most of my posts are me joking around, and not really contributing any technical help, but oh well.
 

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Posted by Bill Gabel (Member # 1105) on 07-23-2004, 12:21 PM:
 
Every year I've gotten a raise here and they give a year end bonus.

In the theatres in Los Angeles, your base pay was based on how many screens at the theatre. So if the base pay for a single was $10.50 an hour, you add .50 for every screen after that. If your theatre was under a limited service contract. Your pay got raised but your contract hours was lower to around 25 hours.
So a projectionist could make 40k plus a year at one time. If your were in a first run theatre that did studio preview screenings. You could add another 15-20k to the 40k a year.

[ 07-24-2004, 09:15 AM: Message edited by: Bill Gabel ]
 

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Posted by Bryan Fournier (Member # 264) on 07-24-2004, 01:41 AM:
 
Studio Projectionists Rule!!!
 

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Posted by Steve Guttag (Member # 268) on 07-24-2004, 07:43 AM:
 
I dunno...I've seen projectionist pay raises thoughout my near 1/4-century of running films. I know that at some places, like the Uptown...the pay has gone up but the buying power has gone down. Since the contract is of public record....the current pay is $12.00/hour. That is just shy of $25K/year. In the DC area...you are in poverty at that rate. My only reason for working there is enjoyment.

Steve
 

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Posted by Chris Hipp (Member # 1788) on 07-24-2004, 12:35 PM:
 

quote: Jeremy Fuentes

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Yeah, but who wants to work at Home Depot? Or Hollywood Video, or some crappy place like that?

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My point exactly, I would rather make less doing something that you enjoy than making more and hate going in everyday.
 

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Posted by Steven Jantzen (Member # 2575) on 07-28-2004, 03:27 PM:
 
you guys are gonna love this. I'm about to take over and 8 plex as head projectionist and i was told that I could expect ABSOLUTLY no more than 6.50 an hour. My assistant manager makes 7.00/hr. you guys want appaling, there it is. Also, most of the projecing staff here only know how to thread and start.
 

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Posted by Daryl C. W. O'Shea (Member # 1303) on 07-28-2004, 05:41 PM:
 
I can get you a job at a 10 or 12 plex with or without a DLP screen for less! Just let me know.
 

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Posted by Steve Kraus (Member # 476) on 07-28-2004, 05:54 PM:
 
Would that be real money or that funny stuff you have up there?
 

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Posted by Christian Volpi (Member # 2370) on 08-04-2004, 06:09 PM:
 
Just to let you guys know, I accepted the job and I got what I was expecting, a cooooool $30k.
 

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Posted by Bill Gabel (Member # 1105) on 08-04-2004, 06:42 PM:
 
cool

That's 85k under what I hit a year.

[ 08-05-2004, 12:40 PM: Message edited by: Bill Gabel ]
 

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Posted by Wolff King Morrow (Member # 2226) on 08-05-2004, 02:24 AM:
 
Congrats! Nearly triple what I make as booth manager.
 

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Posted by Steven Jantzen (Member # 2575) on 08-07-2004, 07:57 PM:
 
congrats, ever need a projectionest in about a year, let me know!!


 

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Posted by JC Cowles (Member # 914) on 08-20-2004, 06:41 PM:
 
When I was an hourly assistant Mgr at Regal, I was both manager/projectionist and I made $7.75/hr for a 16-plex.

When I was a General Cinema union projectionist, I made $16.00/hr and time & 1/2 on holidays for a 14-plex.

When I was a slaried H.R. manager (who helped out in the projection booth) at General Cinema, I made just over $28,000 + bonuses + medical + vacation for a two-building 11-plex.

When AMC bought out General Cinema, I kept my salary and made almost as much as some of their G.M.'s. I didn't get a raise that year.
 

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Posted by Zach McQuaid (Member # 613) on 08-21-2004, 10:15 AM:
 
It's clear that not many, (if any of you from what I read based on location) is working for Cinemark. There are GM's at some 14+ screens that are NO WHERE NEAR $30K /YR, much less, any assistants or booth leads. I recently left the company, and the industry for that matter after 8 long years, simply because it is IMPOSSIBLE to support (or even start) a family based on their pathetic wages. In that amount of time, I gained two promotions and my entire pay had increased $4.20/hr over that span. Since I'm not in a position to chase money all over the country in search for that one theatre job that will just *barely* cut it. I left.
 

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Posted by Mike Spaeth (Member # 524) on 08-22-2004, 11:31 AM:
 
That's funny ... I was making $30,000+ as a GM at my first theatre, an 8-screen, back in 2000 for Cinemark.
 

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Posted by Zach McQuaid (Member # 613) on 09-18-2004, 03:21 AM:
 
Honestly, it does depend on location as well. I was a bit upset when I typed that last response, but none-the-less, most of it is true. There is no one in a non union booth Cinemark theatre making over $20K. Except for the GM. That's it. To them, everyone is expendable. I am currently watching presentation quality go down the tube where I used to work. NOT because I was all that and a bag of chips, but because no one in that booth is getting paid worth a crud. I was the highest paid projectionist when I was there, and now highest paid is just over $8.00/hr. Like the old saying, you get what ya pay for. I would have stayed on with Cinemark had they been willing to pay even $3 / Hr more. Oh well, judging by the scratched prints now from neglect, I hope it was worth it to them.
 

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Posted by Jesse Skeen (Member # 586) on 09-18-2004, 03:26 AM:
 
"Like the old saying, you get what ya pay for."

While in the meantime the customers are probably paying a premium price for that substandard presentation
 

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Posted by Tony Ortiz (Member # 2697) on 09-18-2004, 04:17 AM:
 
Yes, unfortunately all the projectionists I know dont make anything over $8/hr in a nonunion booth including myself. Its Unfortunate.
 

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Posted by Greg Davis (Member # 2687) on 09-18-2004, 02:31 PM:
 
Head of maintenance (or more like ONLY maintenance), sole ground supervisor, assistant head projectionist and been there for 19 months - $6.75. No I dont work there for the money.
 

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Posted by Ramin Hashemi (Member # 2694) on 09-18-2004, 04:49 PM:
 
I do have a manager position open for a triplex at our Blythe Ca. location for higher figures than these... plus performance based bonus. Anyone interested, send your resume to allstarcinemas@yahoo.com

Ramin
 

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Posted by R. Andrew Diercks (Member # 1725) on 09-19-2004, 01:48 PM:
 

quote: Bill Gabel

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That's 85k under what I hit a year.

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Was this a joke? Also, what is your position? I hope this is just reasonable compensation for where you live. I would guess that your cost of living in Manhatten is over double the national average. Speaking only from speculation of course. If that isn't so, when can I start?
 

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Posted by Greg Davis (Member # 2687) on 09-19-2004, 02:47 PM:
 
Is there a Union on the east coast? I read in "fight club" that they had a union, and although the book is fiction, do they really fly people over to run the shows when someone calls in sick? or did they ever... and if the wages i hear are right, im seriously rethinking my coastal climate for something more Virginian.
 

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Posted by Zach McQuaid (Member # 613) on 09-20-2004, 08:37 AM:
 
There is Most definitely a Union over here on the east coast. In fact, Cleveland, Columbus, Toledo... these areas are pretty hardcore. Also, Buffalo, Rochester NY, Syracuse... these are strong union areas. Here in Erie, the Union actually disappeared after Cinemark moved into town and bought out the local GC. It seems however, the furthewr south you go, the less prominent it is though. I lived in Greensboro for a while and it seemed relatively "unionless" down south of the Mason Dixon line. Union booths are what separate the $16.00/hr projectionists from the $6.00/hr "usher-b's"
 

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Posted by Wolff King Morrow (Member # 2226) on 09-20-2004, 09:50 AM:
 

quote: Zach McQuaid

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Union booths are what separate the $16.00/hr projectionists from the $6.00/hr "usher-b's"

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quote: R. Andrew Diercks

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Was this a joke?

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No, I'm a Studio Post-Production Projectionist. I handle Post-Production projection services for films from Miramax, Paramount, New Line, Fox Searchlight, Focus, HBO Films and some Independents. The compensation is very rewarding at over 100k a year in the booth plus bonuses and medical & vacation. And yes , I do live in Manhattan in the Times Square Theatre District.
 

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Posted by Scott Norwood (Member # 30) on 09-24-2004, 05:27 PM:
 
Bill must have the best job in the world.

For those who do one-off shows (at colleges, etc.), how much do you normally charge per show? The work would normally include arriving about an hour before the start of the show, inspecting and repairing the film (usually older 35mm prints in less-than-pristine condition; sometimes gorgeous prints, sometimes 16mm, etc.), and then running it (usually taking up onto shipping reels). For most films, that's a three-hour time commitment, plus it takes away an entire evening's worth of potential work. The booths that I have run have usually been well equipped (thus, I don't need to supply any equipment), although I sometimes have to arrive >1 hour before showtime if I've never run the booth before or haven't run it for a while.

When asked at venues which don't have a standard pay schedule for this, I've responded that my "usual" rate for this is about $50 per show, flat rate. No one complains about it, but I don't want to over- or under-charge anyone. What is a "fair" charge for this? Keep in mind that theatres in this area typically pay projectionists upwards of $11-12/hour.
 

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Posted by Bill Gabel (Member # 1105) on 09-26-2004, 08:31 AM:
 
Scott, Yes it's a very nice job. I get to work with editors and directors and other post-production staff. And I handle many of the major New York market critic screenings. Today I'm doing the International Press Junket for "Shark Tale".

On the Bel-Air circuit in Hollywood. We would charge $200-$250 a show to studio executives and talent. And you would get many perks for those types of jobs besides your pay.
 

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Posted by Scott T Hill (Member # 2716) on 09-27-2004, 01:20 AM:
 
I am making around $8.50 an hour, so far I have finished off the installation of the 6 machines at the 6 plex in Desoto that the initial installation company didnt finish. and I expect that since the owner is from Ohio he is not yet used to non-union wages. I am asst mgr head projection. We did call in a tech to finish off our automation problems the machines have to shut down when fire alarms are tripped. they all work fine now. since we open 1 oct I will let everyone know how it goes, we are second run btw.
 

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Posted by Dustin Mitchell (Member # 372) on 09-27-2004, 01:48 AM:
 
You got paid $8.50 an hour to finish an install?! That's ridiculous. What exactly did you have to finish?
 

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Posted by Brent Neal Jones (Member # 1048) on 09-27-2004, 04:04 AM:
 
A friend of mine helped to break the union up in the southeast. My opinion is that there is no place for a union and that it's the union that has ruined cinema for us all today. A true projectionist loves what he does and not just for the money. He will also not let a presentation suffer (which I've seen done by union and ex-union projectionists) just because it isn't his job to do something.

I also disagree with union projectionist refusing to cary heavy film upstairs simply because it isn't their job and instead letting female employees handle the job.

I could rant on this one for hours but, you get my point...
 

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Posted by William Hooper (Member # 71) on 09-27-2004, 04:36 AM:
 

quote: Scott Norwood

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For those who do one-off shows (at colleges, etc.), how much do you normally charge per show?

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quote:

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I also disagree with union projectionist refusing to carry heavy film upstairs simply because it isn't their job and instead letting female employees handle the job.

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quote: Brent Neal Jones

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A friend of mine helped to break the union up in the southeast. My opinion is that there is no place for a union and that it's the union that has ruined cinema for us all today.

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quote:

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They told me the salary and I was apalled!

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quote: Bill Gabel

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That's 85k under what I hit a year

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quote: Richard B. Perrine

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But to the guy who's mad because his operator made the girl carry the film up....it's part of the job. The operator can do and the girl can do it too.

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Great attitude!! I follow this same rule in all aspects of life. If my wife wants to drive the car, let her change the oil herself. If she has a flat, tough. Get down there and change it. Its part of life.
 

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Posted by Scott Norwood (Member # 30) on 10-14-2004, 09:29 AM:
 
I think that the point was that the employer and employee had already agreed that carrying film cans was not part of the operator's job. In that case, someone strong enough to do this should be scheduled to work whenever films need to be moved.

Personally, I have no problem with carrying film cans _if_ I'm not busy doing something else. In a busy multiplex on a Thursday night where there are 5-10 film changes, it makes perfect sense to have a member of the floor staff deliver films to the booth, so that the operator can spend his time on film work.
 

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Posted by William Leland III (Member # 1400) on 10-14-2004, 01:55 PM:
 
on Thursdays i would get ushers or concessionist to help me carry up cans, they loved it, they got to see the booth and the movies.

like most i hated carrying the cans also, but looking back on it it wasn't that bad, compared to carrying furniture up 3 flights of stairs,the cans are a cake walk.
 

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Posted by Darren Solomon (Member # 1120) on 10-17-2004, 03:56 AM:
 
I've been a Service Supervisor/Head projectionist for 6 1/2 years now. I currently get paid $9.75 per hour, no benefits except for 10-days paid vacation per year. I'm still waiting for my .25 cent raise. This is the 2nd time that I've had to wait for my raise to show up on my paycheck. I have to tell management several times, that the raise didn’t go through. The first time this happened it took 6 months to get my raise to come through on my paycheck and thus get back pay for the many missed months of my raise. I'm not a union projectionist; Loews doesn’t like them, and am not called a projectionist at my theatre. I'm floor staff service supervisor, wearing a vest and tie! But being the most knowledgeable person in the booth with lots of years of trouble shooting experience and with knowing many of the common problems that the other booth personal do to the film and equipment, I've become the so-called favored "Mr. Fix It" guy. Of coarse, I kind of cursed myself for being this type of person who goes out of the way to learn something that the Technician does or the many things that no one else will teach themselves in this job with the rest of the younger staff who don't care much about their job. Of the new things I do, is install Xenon Bulbs and change out the slide projector's ads. I think I should be properly compensated for any new skills and things I do at my job. Its a job, the job could always pay better, but I was told I'm at the top of my pay, close to one of the managers at $10.25 per hour and I would not get more than $10 per hour this year.
 

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Posted by Jim Ziegler (Member # 86) on 10-17-2004, 04:18 AM:
 

quote: Richard B. Perrine

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But to the guy who's mad because his operator made the girl carry the film up....it's part of the job. The operator can do and the girl can do it too. IF this get's him mad....manage his business properly...by not scheduling the girl to work on show change days.

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Actually - I think to manage his buisness properly, he should toss out the prima donna operator...
 

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Posted by Gordon McLeod (Member # 33) on 10-17-2004, 01:21 PM:
 
"Actually - I think to manage his buisness properly, he should toss out the prima donna operator... "
If there is a collective agreement signed between the owners and operatorsthat specifies that operators don't carry the film to the booth then that manager would be in contravence of the agreement and could be subject to dismissal or disipline Just as a union memeber must liveup to the terms of an agreement so must management and others governed by it
 

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Posted by Barry Martin (Member # 1376) on 10-17-2004, 09:44 PM:
 
Darren, either I have multiple personality syndrome and am blacking out posting under another name or we are very alike in our experiences. I think I can safely say I understand more than anyone here what you are going through as you have described the exact problems I had encountered with the same company in the past. From running after managers to get my raise put through to being "Mr. Fix-it" and not thanked either in words (more important) or money/benefits (pretty important).

As far as my salary I worked 20 screens in a suburb 30 miles from Boston called Danvers. When I started it was at 6.75/hour, promoted to Service Supervisor 2 weeks later at 9.00/hour and when I passed kithen certification I got .50 more. Once in the booth I got another 1.00 raise in combination with my two year anniversary. My pay was frozen shortly after (now at $10.50/hour) when we tried to join the union (plenty in other posts about all that fun) but before we joined our regional offered our "head" $13/hour to stay on. He actually wasn't even a supervisor so, you can see why we (including the one who was offered that amount) got upset.

As for nowadays, I work for a twin in a small town that is struggling to bring it's audience back after some bad former owner choices. I run the booth and theater (tickets/community relations) and I book the films. For this I asked for $450/week with increases after I help the business build. I work about 30-35 hours/week tops.

I'll admit I made more money at the 20 screen, but I worked about 45-50 hours/week and like I said, got very little thanks. Now, my owners talk to me daily and thank me for all the ideas/efforts I put through. Actually, even though I say thanks alot when people respond to me I have to throw out another general thanks to EVERYONE because so many of my ideas/suggestions have roots here. THANK YOU FILM TECH AND IT'S MEMBERS! I'm even helping them with their other businesses.

I can't complain about the pay here at the twin either because it is what I asked for, not what they offered me. With the cost of living up here I can get away with less money, and I know if I asked for more I'd only be hurting the business while it's growing whereas when we do start drawing big crowds and profits I know they'll share with me.

Bottom line is you should love your work and always seek employment from someone who shows appreciation for your every effort with words AND by helping you to pay your bills with a living wage. A "cap" for pay always make me laugh because it's another way of saying you are just another *insert title* and are no different or any better at what you do than anyone else. Best of luck, and if you run into Paul Wehrle give him a big from me and my family. Hope things improve for you, one way or the other.
 

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Posted by Darren Solomon (Member # 1120) on 10-20-2004, 11:26 PM:
 
Thanks for the info and kind words Barry Martin. I don't post often, last time, I think I recall it was a problem with another Booth personel. Its really funny to see another person to give the finger to Paul W. HA HA.. ROTFLMA! I started out as floor staff, and 2 weeks later was split Booth and floor, then 6 months later full time projectionist. So Im crossed trained, except for being certified in the kitchen. This is not my only skill, as I am a Digital DJ Consultant, beta tester and DJ. Maybe down the line, I will free up things..work less at Loews.. and do some Djing. One manager said, if there's money left in the end of Decembers budget, then maybe I would get another .25 cent raise. YEAH RIGHT! There are still many other problems in and around my work, that I have to put up with, that would be too much to discuss here and probably wouldnt change by my hands.
Loews is saving money for having me do thier Screenvisions ad placement and Slide projector care, and I don't like doing it for free! Not to mention free Xenon Bulb change out, when a film techniction used to get paid $150 just to drive out to change a Xenon Bulb. Pass the savings on to the valued employee! I tried not to make a big fuss of things at my job, I want good pay, pay off many bills once and for all, and possibly move on out of the film buisness. I would say, Loews has ruined it for me.
If by Oct. 28th I don't see my pay rate on my paycheck showing
$10.00, then I will be very mad and let them know about it. I feel this is not the right way to treat a loyal employee who puts up with alot of things at work snd bend in many ways for the management and company.
 

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Posted by Jim Ziegler (Member # 86) on 10-20-2004, 11:58 PM:
 

quote: Darren Solomon

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Not to mention free Xenon Bulb change out, when a film techniction used to get paid $150 just to drive out to change a Xenon Bulb.

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quote: Gordon McLeod

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If there is a collective agreement signed between the owners and operatorsthat specifies that operators don't carry the film to the booth then that manager would be in contravence of the agreement and could be subject to dismissal or disipline Just as a union memeber must liveup to the terms of an agreement so must management and others governed by it

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The way I see it, it is the operator/projectionist/booth personell/what-the-hell-ever-the-company-wants-to-call-them 's JOB to handle FILM. Film comes in CANS. Said individuals should handle the CANS of FILM, contracts be damned.

I agree with the whole prima donna *insert title* here comment above...
 

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Posted by Gordon McLeod (Member # 33) on 10-21-2004, 08:34 PM:
 
"contracts be damned"
The last manager that actually said that at a grievance found his district manager escorted him out of the building faster than greased lightning
a manager is an employee just like everyone else and has to carry out there dutys under the guidlines of what there supervisors have agreed to
 

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Posted by Jason Black (Member # 684) on 10-21-2004, 09:39 PM:
 
Gordon,

While I understand the brevity and candor in your statements, I simply can not empathize with anyone who calls themselves and OPERATOR or PROJECTIONIST when they will not carry films cans up the stairs.

Contract negotiations carried on and set forth that outline such a ludicrous policy make me wonder not only about union management, but upper level theatre management as well.

Then again, as you all may have deduced, I often wonder about upper level management anyway...
 

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Posted by Dustin Mitchell (Member # 372) on 10-22-2004, 12:50 AM:
 
The problem with the union/management relationship is that it was/is a confrontational one. Things like who carries the film to the booth should not have to be written into a contract, that is just silly. The environment that led to such things being legally codified in a contract is what is responsible for the antagonistic atmosphere between the union/management.
 

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Posted by Jeremy Fuentes (Member # 2135) on 10-22-2004, 12:41 PM:
 
Thanks for the advice Paul.

quote: Paul Mayer

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make sure it's something that you truly truly love

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Well, its definitely something that I love. I wouldnt have stuck around as long as I have. I've already made alot of sacrifices to stay in this field. I quit a better paying job to get back into the business, and I turned down a better paying job to stay in the business. I just hope it all pays off, and I'm not just wasting my time.
 

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Posted by Bill Gabel (Member # 1105) on 10-22-2004, 02:50 PM:
 
Theatre chains are never going to pay their employees their true worth. They are just going to give you more work and special job titles and a few more pennies an hour. And the truth is you can't make a real living on what they really pay without working a few extra jobs to make ends meet.
 

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Posted by John Pytlak (Member # 331) on 10-22-2004, 03:10 PM:
 
Unfortunately, the job market in the USA today is . My younger daughter just received her Masters in Italian after spending a year in Florence Italy, and has a Bachelors in Italian and French. Very high GPA and great references. Yet, her likely job in the near term will be working part time (without benefits) at a travel agency, AFTER taking needed 12 additional credit hours of travel-industry courses at a community college. Engineers in my neighborhood who got downsized from various companies have been looking for career employment and a living wage for over a year.
 

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Posted by Steve Guttag (Member # 268) on 10-22-2004, 09:13 PM:
 
John, I'm curious...is part of the employment problem an unwillingness to relocated or just that there are no jobs anywhere in the US for those engineers or language specialists?

Steve
 

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Posted by John Pytlak (Member # 331) on 10-22-2004, 10:28 PM:
 

quote: Steve Guttag

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is part of the employment problem an unwillingness to relocated or just that there are no jobs anywhere in the US for those engineers or language specialists?

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quote: John P.

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My younger daughter just received her Masters in Italian after spending a year in Florence Italy, and has a Bachelors in Italian and French. Very high GPA and great references. Yet, her likely job in the near term will be working part time (without benefits) at a travel agency, AFTER taking needed 12 additional credit hours of travel-industry courses at a community college.

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Assuming that your daughter knew that was the exact type of education she wanted to persue a known goal in life, after she had gotten it was she not able to see that through to an end for some reason? What prevented her fomr doing so....

With that type of education I would think that she would have wanted to be a language translator or a foreign language teacher.... or something down that line of work.....

While we all want to accomplish great things and be able do what we want one has to realize there is the real world out there that one has to fit into somehow, someplace... within reason.

I think that engineering types need to be able to be flexible in where they can re-locate to for the best opportunitities available. Sure, thats a grim fact(sometimes) but its more realistic to live some place else carry on your career and be employed. If they are indebeted to stay "family flexible" then they may have to flip burgers for a living till something else comes up.

Mark
 

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Posted by Darren Solomon (Member # 1120) on 10-28-2004, 11:17 PM:
 
An update to my pay rate, today is payday at Loews, and my pay rate is STILL at $9.75 per hour..I'm supposed to be $10.00 per hour because I was reviewed and aproved for my raise on Sept 13th. So, I'm missing the correct pay rate and about $37.00 from my paycheck. Does anyone know the next logical step to possibly resolve this with management and corporate? Thanks..
 

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Posted by David Yauch (Member # 2754) on 10-29-2004, 04:48 PM:
 
Have a chat with whomever is designated as an HR rep. If they don't know what's going on then talk to the highest manager in the building. If you still don't get an answer, there should definately be an HR person at your corporate office who can give you answers. Just keep climbing the chain until you find something.

I know with some companies it takes a while for raises to go through(a month or more), but you will receive retro-active payment for all the hours worked at your former rate which should've been paid at your current rate. This is how it was with my first pay raise as theatre floorstaff, but not when I was actually promoted.
 

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Posted by Rick Raskin (Member # 1561) on 10-29-2004, 05:12 PM:
 
To quote Dustin M.:

"Things like who carries the film to the booth should not have to be written into a contract, that is just silly."

In the days when theatres were huge and programs changed several times a week, most operators were really old men. They couldn't physically carry multiple cans up through several balconies to the booth. The film carry clause was added for them.

Is it silly? Today, yes. Like anything in a contract, it could be bargained out.
 

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Posted by Joe Redifer (Member # 3) on 10-29-2004, 05:40 PM:
 
The most I ever got as a projectionist was $11.25 an hour (non-union). You can kind of live on that, but not well. Hell, I get that much to sit on my fat, hairy, itchy, pimply, stinky, unwiped ass and beta-test videogames all day, and I get $25 per hour for video editing. The theater industry really kind of sucks and I have lost my zest for it. It literally has nothing going for it. I don't care about theaters any more and I only go to theaters when Dolby pays me to. Otherwise I just don't care. I hang out here because there are still good folk here.
 

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Posted by Greg Davis (Member # 2687) on 10-29-2004, 06:04 PM:
 
What do you mean? are you saying $6.75 for an assistant head projectionist isnt good enough? there is more out there for me? Sweet jesus!
 

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Posted by Jason Black (Member # 684) on 10-29-2004, 09:26 PM:
 
Mr. Davis..

This will be your only warning regarding the use of the term Sweet Jesus whilst I am an active member of the FT community.

Do not ask questions as to why it is this way, just accept that it will be this way...

If you are so daring as to ask any questions, please consult Mr. Phil Hill. He will be glad to explain...


 

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Posted by Brad Miller (Member # 2) on 10-29-2004, 09:43 PM:
 
Jason Black has been banned.

Sweet Jesus!

Jason Black has been unbanned.

(It's true, even I have to abide by it. )
 

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Posted by Steve Kraus (Member # 476) on 10-29-2004, 09:56 PM:
 
my fat, hairy, itchy, pimply, stinky, unwiped ass

Is that from your Hot or Not - Meet Me listing, Joe?
 

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Posted by Jason Black (Member # 684) on 10-30-2004, 12:10 AM:
 
Brad..

Thanks for having my back...



And I rec'd a fax from Technicolor today with recognition given to you and Jhawk...

:Mental note to self:
*don't tell Brad you didn't read it....(yet)*
 

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Posted by Wolff King Morrow (Member # 2226) on 10-30-2004, 03:07 AM:
 

quote: Joe Redifer

---

The most I ever got as a projectionist was $11.25 an hour (non-union).

---

I salivate at the thought of making even close to that much... Yet I live on my own, pay my own bills, and pay my own rent.

It's funny how everyone talks about such wages as not being enough to live on, but I'd feel like I had it made if that were my pay rate.
 

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Posted by Greg Davis (Member # 2687) on 10-30-2004, 03:19 AM:
 
I shall try to improve the many erronious scruptulations of my ways.

As a side note, I did not take a starting projectionist job for the money, as I hope would anyone for minimum wage. It is just a very (very) flexible job and worth the pay in SOME retrospect. When my job is confined to all things projections, it is pretty sweet. However when we cut staff hours and I spend 1/4 of my time in the booth and the rest acting as concessionist/usher, it seems as though I should at LEAST get paid double salary for tripe work!

Nothing beats building and previewing LoTR though.
 

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Posted by Matt Kerekes (Member # 2777) on 10-31-2004, 01:09 AM:
 
I knew a projection manager in El Paso, TX that made $450/wk, one in Houston, TX. that only made $9.50/hr, and heard of one in Houston at another company making $800/wk!!! I don't know how true that is, but as for a regular projectionist I have not heard of any of them making much more than minimum wage unless they are a manager also.
 

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Posted by Bill Gabel (Member # 1105) on 11-01-2004, 10:02 AM:
 
That's how the movie theatre world works.
MORE WORK , LESS PAY

If you work as a Manager/Projectionist, then you stand to make some money, but not a lot.
 

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Posted by Jason Black (Member # 684) on 11-01-2004, 11:01 AM:
 
The only folks making any 'real' money in this business are the upper level executives and division level managers. Something is incredibly wrong when the persons responsible for ground level satisfaction make less than 1/3 what their division level managers make.

Something is really wrong with the fact that the person who holds responsibilty for getting the image on screen and who yields a good presentation makes the same amount as the person who pops the popcorn and picks up the trash between shows.


 

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Posted by Chris Medley (Member # 2145) on 11-01-2004, 11:33 AM:
 
IMHO...You have to look at who most of the projectionists we hire are. Some are college kids, but most are high school. You can't expect to start out in this business and make big bucks....you can't expect to work in this business and make big bucks anyway. I disagree with the idea that it is wrong for projectionists to make the same as floor staff. Without good customer service, clean theaters, and efficent workers you will not have any customers to worry about the need for a good picture. This idea that some projectionists have, that they are so much better then the other staff members is a bunch of . If you are so full of yourself that you think yourself better than your other crew memmbers then you need to find another industry because the theater industry is just as important as an assembly line in terms of a need for team work. I will pay the most money to the best workers, reagardless of position..period. I agree that salary caps that are put upon us by our upper management suck, but would you rather get a big fat raise and have your paycheck bounce, or the company go under...or would you rather get small raises over time(which shows your dedication to the industry) and get paid.
 

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Posted by Jeremy Fuentes (Member # 2135) on 11-01-2004, 12:14 PM:
 

quote: Chris Medley

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This idea that some projectionists have, that they are so much better then the other staff members is a bunch of .

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quote: Monte L Fullmer

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Eight to Nine bucks to exist in So.Cal? How can one even think on surviving on that wage, if anywhere?

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That's one of the reasons it's extremely difficult to "find good help" for theatres in So Cal (from staff to senior management). The theatre industry, in general, doesn't pay competitive wages for the southern California market. I interview assistant manager candidates, who come from outside the industry, that are accustom to recieving the kind of compensation we pay GMs. I regularly encounter staff applicants that are looking for the kind of rates we pay assistant managers. Throw in our non traditional work hours and you have an even less desirable package. On top of all that, there is practically a theatre on every corner, dividing up the few interested candidates among far too many theatres. It's a problem that has only been growing worse (i.e. the industry hasn't been keeping pace with So Cal's workforce expectations).

When I first entered the industry, management was full of "career people" and there were plenty of staff members that considered the possibilty of making the theatre industry a career, or at least a long term employment option. These days, I'm lucky if I can keep someone around for a year.
 

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Posted by Scott D. Neff (Member # 185) on 11-02-2007, 01:58 PM:
 
But if I've done my internet research, Ramin's theatre isn't located in metropolitan areas of Southern California. Isn't it out in the desert? You'd think that cost of living, while still high, would be enough to let somebody enjoy working $8-$9 as a full time gig.

Though it may just be the marketing of it. Try offering $10 and people think they're being paid in gold sometimes.
 

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Posted by Ramin Hashemi (Member # 2694) on 11-02-2007, 03:10 PM:
 
you are correct Scott. Cost of living is low in our area.

Also, the $8-$9 is what I see people saying they are making (which I mentioned is low). We pay well over the $10 mark you mentioned to start. Once the probation period is over, and we know they can handle the job, I can see the manager making over $30k. Then there is additional bonuses to add to the equation. So if anyone knows someone who is interested, please let me know - allstarcinemas@yahoo.com. thanks

Brad - sorry if this is starting to look like it is in the wrong forum
 

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Posted by John T. Hendrickson, Jr (Member # 849) on 11-02-2007, 07:22 PM:
 
This topic is going nowhere. Why, you ask? Because every area of the country has different cost of living expenses. Hense, wages in higher cost of living areas will be higher, and conversely so.

The bottom line is that the industry no longer pays a "salary" for "projectionist" that is enough to make a decent living. At one time it did. I speak from experience.

In 1970, I was teaching high school and making $7,000 for a ten month job. I had a masters degree and three years of experience. That summer, I worked as a projectionist in a booth where the union contract called for $125 a week (40 hr week with time and a half thereafter). That translates into $6500 a year (without overtime) for a 12 month position.

So, are those two jobs comperable circa 1970? Damn near, if you do the math and figure that there is always overtime in the projectionist's job.

Now go to the present. That same teaching job in my area of the country (comperable with three years of experience) pays about $45,000 a year. Are you going to tell me that a projection position pays anywhere near that? NO WAY!

Bottom line is that a booth position in my area of the country is good for a second job at best. There is no way you could make a career out of it and raise a family.

Aside from the folks on this forum who give a rat's ass about what they do, it is difficult if not impossible to get qualified personnel to work in projection. The industry just will not pay a decent wage, and they wind up getting what they pay for in scratched prints and rotten presentations.

I'm talking about the norm, because there are always exceptions to the rule.
 

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Posted by Monte L Fullmer (Member # 2797) on 11-03-2007, 02:18 AM:
 
At one time in a post here on FT, a FT member, Sam Chavez said it in a nutshell, and I'll paraphrase on what he was coming across since I can't quote on what he said:

Basically, the cinema world is heading towards the "Wal-Mart" kind of work force. And those projectionists with a technical bent (being tekkies..) are the ones who will really succeed in this "Wal-Mart" cinema world.

Thus, the majority of the circuits nowadays don't even have in their job classification being of the "projectionist." You're either a floor-staff employee, "Usher-B's" or just member of management to operate a booth.

Thus, the majority of the projectionists, who wanted to stay in this cinema business advanced themselves into management positions since they knew that their positions were going to be extinct as the dinosaur.
 

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Posted by Ramin Hashemi (Member # 2694) on 11-03-2007, 02:14 PM:
 
ok, lets approach this another way.

Cost of living can usually be judged by housing costs. A nice 3 bedroom condo in our area runs $750 or less. 2 bedroom apartments runs $650 or less, depending on newness. Not as nice places run less.

Given that, what is a fair compensation for a manager of a small theater? Assuming overtime and bonuses are paid.
 

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Posted by David Zylstra (Member # 4230) on 11-03-2007, 03:23 PM:
 
So called "experts" say housing should be 30-35% of your net pay . . . . . based on $650 the take home would need to be just about $1,800 per month, or net of about $22,000/yr - about $27,000-$30,000 gross, based on 40 hrs that's about $13.50-$14.00/hr . . . . . personally I would calculate a living wage based on 40 hrs since overtime would be the first thing cut in a budget crunch . . . . . .

Of course the above hourly wage is ballpark and how far over/under you pay depends on the applicant's qualities . . . . their incentive to stay depends on advancement opportunities and/or benefits offered.

To answer your first question - I may not have always been happy with my salary in the early years of my career, but I never looked for another job because I loved what I did and I had a good chance to advance in the company because we were growing (I went from head proj of one building to doing service/installs to being director of IT over a 10 year period).
 

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Posted by Ramin Hashemi (Member # 2694) on 11-04-2007, 04:34 PM:
 
Thank David - about what I was figuring.
 

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Posted by Chad M Calpito (Member # 3736) on 11-05-2007, 09:49 AM:
 
At my theatre, currently, I am making $8.15/hour, which is peanuts. Even though that is low, especially with my many years of experience, I still love what I do. I hope that when the new company officially moves in next month that I will get at least some decent pay raise. But, I won't get my hopes up too much, though.
 

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Posted by Ramin Hashemi (Member # 2694) on 11-05-2007, 10:45 AM:
 
what are your responsibilities Chad?
 

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Posted by Chad M Calpito (Member # 3736) on 11-05-2007, 10:51 AM:
 
My primary responsibility is running the Projection Booth at the Grossmont Center 10 and at the Gaslamp Stadium 15 when needed. Plus, I am the GC 10 main movie builder. On occassion, I'll even change out Xenon Bulbs when they need replacing. Very rarely do I work on the floor (meaning, being scheduled for a floor position).
 

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Posted by Bill Gabel (Member # 1105) on 11-05-2007, 12:56 PM:
 
The only way you're going to make any money in the booth is not working in a regular movie theatre. The chains will not pay what you are worth. You would have to work special venue type theatres to make money.
 

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Posted by Scott Norwood (Member # 30) on 11-05-2007, 01:18 PM:
 
Agreed with Bill. $8.15/hour is pathetic for a single-screen, much less a 10 or 15.

Outside of NYC and LA and maybe a few other places, there's only a very limited amount of this sort of work, however. Lots of venues only run film a couple of times each year, but do pay fairly well when they do.
 

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Posted by Chad M Calpito (Member # 3736) on 11-05-2007, 01:18 PM:
 
I do agree with you, Bill. Just out of curiosity, how much do the special venue type theatres pay their projectionists? Of course, a general ballpark figure since I am sure each company has a slightly different payscale. Would Landmark Theatres be considered a special venue type theatre?
 

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Posted by Bill Gabel (Member # 1105) on 11-05-2007, 01:35 PM:
 
No, Landmark Theatres is a chain, so same stuff different theatre. Regular movie theatres will not pay high rates. Special venue locations can be $25-45 an hour. Special one-off type shows a few hundred. But that's working at a Studio level projectionist or running a screening room or Post-Production operators.

$10.50 was the single screen rate in Los Angeles back in 1994 from Pacific Theatres, when I did a weeks vacation for the operator there. (Vine Theatre)
 

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Posted by Chad M Calpito (Member # 3736) on 11-06-2007, 10:24 AM:
 
Thanks, Bill.
 

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Posted by Jeffry L. Johnson (Member # 453) on 11-08-2007, 09:10 AM:
 
Worst Jobs in America

quote:

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No. 10: Motion Picture Projectionists
Concentration of bad jobs:
78.1 percent

It may be fun to see the newest movies for free, but not dozens of times in a row. The pay and benefits aren't so hot either.

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quote:

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No. 3: Ushers, Lobby Attendants, and Ticket Takers
Concentration of bad jobs:
85.4 percent

The odd hours, low pay, and impatient customers outweigh the meager perks of working in a theater.

---

 

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Posted by Monte L Fullmer (Member # 2797) on 11-08-2007, 11:58 PM:
 
Those are interesting figures and it has to bring one simple question: why is it working in the cinema HAS to be so horrible, especially being in this entertainment field suppposed to be FUN when sharing the magic of this segment of the entertainment world to the movie going public?
 

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Posted by Brian Michael Weidemann (Member # 2243) on 11-09-2007, 03:13 PM:
 
Could be selective reporting here, as in: which jobs are currently held by unsatisfied people most likely to fill-out an on-line survey about having a bad job? Essentially, the results boil down merely to telling us the site's active demographic.

Would projectionists happy with their job, with working with film, etc., answer a survey about which jobs are so bad? And if so, I'd guess it would probably be to talk about the crappy dishwashing job (#9) they had before applying at the local eight-plex.
 

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Posted by Monte L Fullmer (Member # 2797) on 11-09-2007, 06:07 PM:
 
Course, in a way I probably answered my own question above due to the fact that a lot of the cinema businesses these days are operated by either former merchant owners, bankers, lawyers, real estate agents, group of investors and what have you that haven't a clue on how to run the actual cinema business as such.

Thus, with their ignorance of the cinema business, they degrade the operations down to where it's just that .. a "McJob" - just to keep the work requirements at a level that prevents inside competition in as well as possible outside competition to those owners.

..and, along with this, eliminating the fun and magic of working in a specialized area of the entertainment world with this "McJob" attitude.

-Monte
 

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Posted by Jon P. Inghram (Member # 4125) on 11-09-2007, 07:13 PM:
 
Good thing the cost of living in Wichita is lower: I make $7.00/hour, the "head" projectionist makes $7.50/hour. We've got 5 screens plus a sports bar to run, so it's not like it's hard wor... I mean... Yes, we work HARD, it's a terribly difficult job! Actually, it can be stressful putting up with management which seems to have a hard time properly scheduling just 5 screens...
 

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Posted by Martin Brooks (Member # 1269) on 11-15-2007, 10:20 PM:
 
I don't care what part of the country you're living in - I don't see how anyone can live on minimum wage or anything close to it unless you're a student living at home. You simply cannot live in this country on $12,000 - $14,000 a year.

It bugs the hell out of me that management doesn't see a difference between the part-time kid who runs the popcorn machine and a skilled projectionist.

This country is quickly turning into a third-world country - rich, poor, no middle class. Jobs that used to pay enough to support a family no longer exist, replaced by minimum wage jobs without benefits frequently using part-time workers. The minimum wage was $1.25 in 1966. That means it should be at least $8.06 today.
 

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Posted by Jack Ondracek (Member # 1466) on 11-16-2007, 12:28 AM:
 

quote: Martin Brooks

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The minimum wage was $1.25 in 1966. That means it should be at least $8.06 today.

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quote: Jack Ondracek

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In Washington State it will be $8.07, starting Jan 1.

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quote:

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In downtown Chicago back in the late 70's early 80's Loco 110 projectionists used to make 78.60 an hour!

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quote: Mark Gulbrandsen

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In downtown Chicago back in the late 70's early 80's Loco 110 projectionists used to make 78.60 an hour! Ah, the good ole days...

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quote:

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In downtown Chicago back in the late 70's early 80's Loco 110 projectionists used to make 78.60 an hour!

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I don't believe that. Variety did several articles about the Chicago projectionist rules around that time period and while I don't remember the exact rate, it was more like in the $20 range. Where Variety said the expenses got high was in the requirement to use two projectionists per shift, per screen. Add to that the high fuel costs due to weather, and this essentially kept smaller screen multiplexes out of town (typical triplexes might feature a 1500 screen and the smallest screens usually wouldn't be under 500). Varioety article did point out that a special waiver was made for an AMC 6 in the suburb, which had three booths (two screens per) and were allowed to have one projectionist per automated booth per shift (so three at a time).
 

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Posted by Bill Gabel (Member # 1105) on 11-19-2007, 12:21 PM:
 
Here is what a Bid Sheet from Local 150 (Los Angeles) would say back from May 30th, 1972. It shows what the Union operators were making at that time.

Dear Sir and Brother:

The following jobs are open for bid in accordance with the Seniority Clause in the Collective Bargaining Agreement.

The bid for the jobs listed below must be made by REGISTERED MAIL to the office of the Local within 14 days of this notice. Please be sure to wrire the word "BID" in the lower left hand corner of the envelope.

NOTE: You may bid on only one job, if you bid on more than one job your bid will be disqualified.

THEATRE---------------------JOB DESCRIPTION-----------HOUR RATE

PANTAGES (Hollywood)---------Full Job------------------$6.25
ACADEMY (Inglewood)----------Full Job------------------$5.02
WARREN (Downtown LA)---------Full Job------------------$5.42
LOEWS (Beverly Hills)--------Full Job------------------$5.07
MARINA #3 (Redondo Beach)----Full Job------------------$4.51
EMBASSY (Los Angeles)--------Full Job------------------$*Neg
UA DEL AMO 4-PLEX (Torrance)-4 day relief--------------$7.53
MERALTA (Culver City)--------Full Job------------------$4.40

SWING #10-Consisting of the following theatres.
EL REY (Los Angeles)---------3 Days--------------------$5.07
KOKUSAI (Los Angeles)--------1 Day---------------------$3.80
LOS FELIZ (Los Angeles)------1 Day---------------------$4.45
SHO TOKYO (Los Angeles)------1 Day---------------------$3.50

SWING #26-Consisting of the following theatres.
EDGEWOOD DRIVE/IN (Baldwin Park)--1 Shift--------------$5.47
SAN GABRIEL DRIVE/IN (Alhambra)---1 Shift--------------$5.17
EL MONTE DRIVE/IN (El Monte)------1 Shift--------------$5.47
BIG SKY DRIVE/IN (Duarte)---------2 Shifts-------------$5.47

SWING #3-Consisting of the following theatres.
FINE ARTS (Beverly Hills)--===--3 Shifts---------------$5.07
BRUIN (Westwood)----------------1 Shift----------------$5.02
VICTORY DRIVE/IN (N. Hollywood)-1 Shift----------------$5.47

The Executive Board suggests that you visit the job you wish to bid on before you place your bid.

Men working on GRIND HOUSES are advised that there will by only an opening and closing shift. No man to work more that one of these shifts per day, 6 (six) days per week. All extra work to be reported to the Business Agent's office for assignment.

Everything in the above BID sheet were large single screen theatres except the Marina 3 and UA Del Amo 4 houses. A Full job would be a full 40 hour job plus day time and night time overtime. A Swing job you would be the relief operator for a day or a shift at that theatre.
 

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Posted by Monte L Fullmer (Member # 2797) on 11-19-2007, 01:23 PM:
 
..and none listed for the Sid Graumann's "Chinese" and the "Egyptian" Theatres?
 

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Posted by Bill Gabel (Member # 1105) on 11-19-2007, 01:56 PM:
 
Those were for the jobs that were available for that month's Bid sheet. The Chinese and Egyptian did not have jobs available at that time, there was already two operators working per theatre.
 

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Posted by Jerry D. Cox (Member # 701) on 11-29-2007, 09:10 PM:
 
I have worked as UNION Proj.& Stage hand I am retired now,And I can say That I no of no Theatre In the 54yrs. That I have been in this Buss.that Paid $78.60 hr un less it was on A movie set and he was in overtime of overtime as a Proj.
 

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Posted by Paul Van Dusen (Member # 3640) on 11-30-2007, 01:02 AM:
 
Well with my 4-screen discount house now closed, i'm looking at a booth manager job with Consolidated Theatres. If I were to get 40 hours a week I would get $24,960 a year, which is $260 more than I was making managing for Carmike.
 

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Posted by Brian Guckian (Member # 1678) on 11-30-2007, 12:59 PM:
 
LOL...I recall a thread I started a while back about "re-defining" the profession of Projectionist with the idea that a change in perceptions about what is in actuality a highly skilled job could significantly increase remuneration

So how about:

"Screening Executive"

"VP, Presentation"

"Presentation Executive"

"VP, Technical Operations"

"Technical Operations Executive"


 

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Posted by Monte L Fullmer (Member # 2797) on 11-30-2007, 02:58 PM:
 
..mine was "Manager of Presentation/Circuit Engineer"
 

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Posted by Paul Van Dusen (Member # 3640) on 11-30-2007, 11:44 PM:
 
Opto-mechanical Technical Engineer
 

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Posted by Brian Guckian (Member # 1678) on 12-02-2007, 10:30 AM:
 
Did that position Monte deliver a decent level of pay?

(NB - no need to go into specifics re. what you were actually paid)
 

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Posted by Ed Alvarado (Member # 2760) on 01-10-2008, 03:08 AM:
 
well atleast your getting paid good im 27yrs old with 5yrs of booth management and 3rd level certified film tech training and im getting payed below $8 an hour. but then again ive been gone for 2yrs and now im back Im happy to touch film again I love this work.
 

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Posted by Monte L Fullmer (Member # 2797) on 01-10-2008, 03:25 AM:
 

quote: Brian Guckian

---

Did that position, Monte, deliver a decent level of pay?

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...was making great house payments with it, and bought a motorbike with it as well ... Now, with a different company and still not complaning but now Company Engineer.

quote: Ed Alvarado

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5yrs of booth management and 3rd level certified film tech training

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quote:

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the old man is one MEAN **** well thats how that guy was and after knowing him he was an awsome Master of projection art. I MISS HIM that guy was hard core

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quote: Jerry Cox

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That I have been in this Buss.that Paid $78.60 hr un less it was on A movie set and he was in overtime of overtime as a Proj.

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quote: Todd Shelskt

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I read an article about the modern-day projectionist being one of the lowest paying jobs around.

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