Boxoffice-July.1995

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tions to show the many films that Hollywood was producing at the time. Upon entering the Anny he was sent to Newfoundland, Canada. Within a matter ofhours after his arrival on base, he approached the special services officer in charge of the installation's theatre and secured a position operating the theatre's 35mm Cenmry projection equipment. Base theatres, he says, were very basic with no frills. "Very elementary. Wooden benches. The projection booth was lined with asbestos—you had to go up a ladder and tlirough a trap door to enter the booth. He adds that tlie films were carried from one theatre to another, starting on Newfoundland's west coast. Once the film had been shown in all four of the Amiy's tlieatres, it would be shipped back to Boston. The Army usually knew in advance what films were going to be exhibited and would post onesheets outside their theatres. B eing a projectionist during war time was more adventurous than one might presume. George not only manned the bootii at the base theatre but also took entertainment and training films to the troops who were stationed in remote locations. He remembers taking a 16mm projector, a small speaker, and the film "Star Spangled Rhytlim" to one remote island by boat. "I can remember climbing up a ladder at the wharf at the island, a gosh-awfiil place. The island wasn't very long, maybe a half mile at the most from end to end, but they had outposts there." George recalls that he and the boat operator had to climb up the ice-coated ladder with the equipment and walk through knee-deep snow to get to the other side of the island to put on the show. After two and a half years in Newfoundland he returned to the United States and went back to work as an operator at the Academy of Music. hi 19,52 he began working ftiU-time for a local industrial concern after area theati'es scaled back their operations to include only one operator in the booth. However, he continued to work part-time at the Maryland, Colonial, and Academy of Music, which at the time were all part of the Warner Bros, chain. His nontheatre job lasted seven years prior to his being laid oHin 1959. He later went to woik for a truc;k manuthcturer from which he retired in 1979, all the while continuing to work as a substilute prqjec- rionist in the booflis of local motion picture houses as the need arose. Wagner also served for a time as the business agent for the local operators union, the International Association of Theatrical Stage Employees (I.A.T.S.E.). Wagner likes to recall the important but often unrecognized role that moviehouse projectionists played in putting on a good show. "No one knew you were around until something happened. They'd hoot and holler and stomp tlieir feet. You'd go up before anyone came into the theatre. You were the last one to leave." He is quick to point out that there have The Maryland Theatre today At age 81, Wagner volunteers his time and efforts to help with whatever needs to be done to keep the nonprofit Maryland Theatre running, whether it's taking tickets for a live performance or helping with maintenance around the building. been many changes in motion picture projection since he got started. While theati'es formerly had two projectionists working together to operate two machines, modem projection systems permit one operator to run several machines. And although he rarely goes to modem movie theatres today, he admits that when he does, it is due to a motivation other than to just see the film. He goes to critique the performance of the projectionist. "I'm lookingto findsotnediing wrong," he says somewhat sheepislily. "I'm not going to see the movie, I want to see someone goof up." It is hard to imagine George Wagner making a mistake. His work is meticulous, and he still brings the s;ime dedication to his an as he must have when it was his profession. He admits to a fc^w "goof ups" of his own during his long career, though. One of die most embarrassing was a time when he accidentally changed over to a reel containing a cartoon in the middle of a western feature. "You can imagine that it's bad enough to put the wrong reel on. That's a distinct possibiliti,'. But to put a cartoon on in the middle of a western— I don't even want to think about it." years in the exhibition busi- Sixty-two ness gives one an opportuniti,' to be a part of the industrj''s histor\' and vxitness its change. Wagner recalls the early part of his career when shows ran almost continuously from about 1:00 p.m. to 11:00 p.m. on most days and features would normally change twice per ^^^ week. A weU-trained and ornately unifonned usher ^^^1 ^)^H corps was common in '^^M many theatres. And al- ^B though he respects the changes in exliibition that have been brought about by time, he longs to return to those days when grand movie palaces were a place \\here everyone gathered to see newsreels, short subjects, and of course die feature films. The Academy of Music is long gone, and the Colonial now fimctions as a church. The Maryland Theatre has been restored and serves the citizens of Hagerstown as a performing arts center Though films are shown only occasionally, when they are, you can bet that it's George Wagner in the Mar\'land's bootii. Even after all these years, film projection, along with his wfe Ginny, is still his greatest love. At age 81 , Wagner volunteers his time and efforts to help with whatever needs to be done to keep die nonprofit Mar\'land Theati'e running, whedier it's taking tickets for a live performance or helping with maintenance around the building. He was also instrumental in s('eing the "Miglitv' Wurlitzer" organ make its recent triumphant return to the Maryland. Althotigh the Maryland's original organ was donated to a local churcli many \'cars ago, another was located and has been beautiftilly restored and instalkxi Wagner hopes to soon be nmning silent films to die oi"gan's accompaniment. H(' states that happiness for him is opiTating th(^ Mar>'land's du;il c.irlion arc Super Simplex pn)jectors. "It makes you feel important wlien you look out the booth door at th(^ Maryland, for instance, and you siu^ diat tht" whole darn balcony is illuminated. You know it You've got a good show." is filled. M) llOXOI'I'ICE
\ Communication Is "Kvcrything, . If'you Can 't Htar Tke "Words, Thtxj "Don 'i fit CinemMcoustics T/te (Picture. The award-winning Peavey engineering staff, along witii some of ttie most respected names in ttie cinema industry, analyzed ttie movie ttieater audio system as a wfiole. tearing it apart and putting it back togettier again. Out of this project evolved CinemAcoustics . the most innovative and complete cinema sound package on the market today Regardless of your existing setup. CinemAcoustics offers a cost-effective approach to an all-digital theater sound svstem. Beginning with the audio output of the projector CinemAcoustics provides complete audio with your choice of analog and/or digital monitors, processors, amplifiers, and speakers. From a single screen to a cineplex. CinemAcoustics breathes life into every movie soundtrack. Peavey Electronics Corporation 711 A Street • IVIeridian, MS 39301 Plione 601 .483.5365 Fax 601.486.1278 • ©1995
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