Your Projectionist and You

Witney Seibold explains how a film is actually projected onto the screen, what can go wrong, and what you can do about it.

A director is working hard on her film. She is not only working slavishly to achieve the right look, tone and thematic throughline for her drama, but she is also embroiled in a bitter battle with the financiers of her film. The financiers, having provided a substantial amount of the film’s financing, are making demands about the film’s content. The studio doesn’t like a particular scene, and they want it cut from the film. The director will have nothing of this, and feels the scene in question is the crux of the drama. This back-and-forth will continue for months. Eventually, there will be a compromise, and small cuts will be made. Test audiences will dictate further cuts. The final editing of the film is in a state of flux.

Directors are always fighting to have final cut of their films; that is to say, they want the last word on how the film is edited for content and pacing. Certain very influential or successful directors are given final cut, but the vast bulk of films you see will have been dictated by moneymen and producers. Some directors allow their editors great leeway to get final cut, and in those cases the editors themselves dictate the pace of the film. A film is typically passed around a lot before its distributed into theaters.

There is, however, one person in the film industry who always, without exception, has final cut: The projectionist at the movie theater. It is they, after all, who are exhibiting the film on a ground level. It is the theater projectionist who is the final arbiter on how a film looks, how much lighting it has, how well displayed it is. The chef may have made a great meal, but it’s the polite waitress that you’ll remember.

Crave Online | Read the Full Article

Your Projectionist and You

Crave Online | Read the Full Article

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