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Manager/Operator-<br />

Continued from pai^e 25<br />

and the first hundred feet of the incoming<br />

reel to make sure they match.<br />

If you get a bad print, complain ... If<br />

you never have read a film contract, it<br />

would be wise to do so. Most contracts state<br />

that if a defective print is received at your<br />

theatre, the exchange must be advised on<br />

opening day, or you may be held responsible<br />

for print damage that you did not do.<br />

If the print is bad, complain to the exchange.<br />

This does not mean that three splices<br />

per reel constitute a bad print; but, heavy<br />

scratches, paint spilled on sound tracks,<br />

prints run out-of-sprocket and scorched<br />

prints should be reported. You even may<br />

be lucky enough to get a<br />

better print.<br />

If you damage a print . . . Report it to<br />

your home office. Every operator has at<br />

one time or another inadvertently damaged<br />

film, so go on and report it. It is then up to<br />

the home office.<br />

Remember the other guy Today, a vast<br />

number of prints are not inspected completely<br />

prior to shipment. If you worked<br />

a print into good shape, be proud of it.<br />

return it in good condition, and perhaps<br />

your next print will be in good shape too.<br />

(This no doubt is wishful thinking.)<br />

The patron comes first . . . With saturation<br />

bookings today, a record number of theatres<br />

and vast differences in admission prices,<br />

there must be reasons why patrons attend<br />

your theatre, rather than the one down the<br />

street.<br />

One of these reasons is screen quality.<br />

Remember, you may have a million-dollar<br />

lobby, carpet that is twelve inches deep,<br />

concession girls who look like Claudia<br />

Cardinale, and lO-cent popcorn, but if you<br />

don't have screen quality, they won't he<br />

back. Keep on schedule, on the screen, infocus,<br />

in-frame, and the sound at a comfortable<br />

level. If the patrons become aware<br />

that there is someone running the sho\^<br />

then you are a failure. The movies ha\c<br />

magic. Patrons couldn't care less about prini<br />

problems, bad splices, late-arriving prinis<br />

and equipment problems. They came lo<br />

your theatre to be entertained; and, brother,<br />

you had better entertain them. If you give<br />

them a sloppy show, they will reward you<br />

by staying away in droves.<br />

Sounds like it isn't a bed-of- roses? If it<br />

were easy, you wouldn't have the job as a<br />

m.anager/ operator. The home office of<br />

your circuit feels that you must be above<br />

average, or you shouldn't have been given<br />

the opportunity.<br />

Who knows, you might get bitten by the<br />

"movie bug" so badly that you'll stay in the<br />

business long enough to join the Motion<br />

Picture Pioneers.<br />

acousti-virall<br />

Acoustical Fabric Wall Covering<br />

Economy—Service—Satisfaction<br />

Send for free brochure<br />

2010 Somado Av., Columbus, Ohio 43085<br />

BOXOFFICE ::<br />

August 2, 1976

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