Page 25 - RD_2015_12

popular film might require a branch Projectionists dreaded the thought
office to call up the print controller at of damaging a print. With the b&w
head office to see if he could get them negative on hand in Sydney, it was
an extra print from interstate. possible to replace a badly damaged
Hoyts domination in exhibition, reel, but the exhibitor paid, unless an
(and GU to a lesser extent), meant that alternative print was available. At every
they could negotiate contracts which exchange the print examiners, always
gave them exclusive use for the women, wound through every reel on
suburban release. The 12 prints may its return, checking for scratches and
have been required to service Sydney cue-mark mutilations. On the suburban
and Melbourne in the first three weeks release there wasn't always time to
or so. Then it was the turn of the check every print after it left one
independents. After them, nearly all the theatre before it went into the next, and
prints would go back to Sydney for the report of damage might come from
their suburban release. Eventually all of the next projectionist.
Australia was covered.
Sometimes a film at a city theatre
would do better than expected. An
unanticipated success could be an
inconvenience: the start date for the
next film from another company would
have been known for a long time, and
Top: The former Paramount exchange,
popularity could clog a pipeline which
King Street, Melbourne.
relied on meticulous timing. There were
Above: ‘Universal Chambers’ recalls the
three options: negotiate a revised start
history of this building in Lonsdale Street. A print checker at her bench at the
date for the next film, move the film exchange of 20th Century Fox, Sydney in
across to another city theatre, or pull it the 1950s.
Film contracts had a rejection as planned from the city and let
Projectionists in the first-release
clause which could only be exercised audiences find it in the suburbs.
theatres were superbly trained to handle
after the city run. If the film was a flop Sometimes an understanding executive
and maintain prints. Hoyts and GU
in the city it might get a limited at an exchange would allow the start of
issued Film Report pads to their
suburban release. his next film to be postponed, or be
projectionists as a means to track where
The practice of switching prints shifted to another theatre, but this was
print damage had occurred. The Film
between suburban theatres multiplied rare because of the juggling of prints.
Renters Association specified that
the coverage possible from three or The opposite situation, in which a projectionists must wind the prints off
four prints. One theatre would run the film failed to take off as predicted, was the exchange spools and put them on
main feature first and after two or three easier to manage. The Regent Collins their own projection room spools. This
spools were run, a film carrier, often a Street never showed revivals (at least rule also protected the projectionist
motor-bike rider with sidecar, would not until the end of its Hoyts days), so a watching for damage as he made up the
pick up the reels and take them to dud show might have to limp on. If a reels for the show.
another theatre. Occasionally an film was failing in a lesser city theatre,
accident messed things up, and there a revival from the same exchange was
were many close calls. (Fred Page an option.
discusses the details of switching in
CinemaRecord number 31).
With the release underway in
Victoria, Sydney would be next.
Distances between country centres in
NSW made it a trickier job to arrange
play dates to satisfy everybody. This
detail was in the hands of a controller
at the Sydney head office who worked
closely with the film bookers.
Scrupulous accuracy with dates and co-
operation in fulfilling the agreement
was everything. Exhibitors were
responsible for taking their print to the
train station or airport as soon as they
had finished with it. After a release had
run its course, each State branch CATHS’ member Jim White wrote this report when he was assistant projectionist at the
retained two prints for the possibility of Barkly Footscray. The film was a lame 1943 follow-up to Olsen and Johnson's frenetic
extra screenings. Occasionally, the Hellzapoppin'. A six-year old print in this condition was not a rarity, especially if it was
number of requests for re-booking a booked for a Saturday matinee.

CINEMARECORD 2005 25