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              <text>Germany 2018&lt;br /&gt;&lt;br /&gt;In 2016 and 2017 our team member Michael Pigott (as Michael Lightborne) recorded and documented the shifting sonic texture of the cinema projection box. Few cinemas retained the capacity to project 35mm film alongside digital, and it was in some of these remaining boxes that Lightborne captured the persistent sounds of analogue projection.&lt;br /&gt;&lt;br /&gt;The album was developed as part of The Projection Project. A special issue of the &lt;em&gt;Journal of British Cinema and Television&lt;/em&gt; (Vol 15, No 1, 2018), edited by members of The Projection Project includes an article entitled &lt;a href="https://doi.org/10.3366/jbctv.2018.0400" target="_blank" rel="noreferrer noopener"&gt;Sounds of the Projection Box: Liner Notes for a Phonographic Method &lt;/a&gt;, which augments this album, and elaborates upon the theoretical and methodological rationale for the use of sonic field recording as a mode of enquiry.&lt;br /&gt;&lt;br /&gt;To order a vinyl or digital copy of &lt;em&gt;Sounds of the Projection Box&lt;/em&gt; or to read reviews, visit &lt;a href="http://www.gruenrekorder.de/?page_id=16703"&gt;Gruenrekorder's website&lt;/a&gt;. &lt;br /&gt;&lt;br /&gt;Sounds of the Projection Box&lt;br /&gt;&lt;br /&gt;&lt;b&gt;Side A&lt;/b&gt; &lt;br /&gt;&lt;br /&gt; 1. The thing&lt;br /&gt; 2. Making up the thing&lt;br /&gt; 3. Breaking down the thing&lt;br /&gt;4. Lacing and Rolling Rear Window (error correction)&lt;br /&gt;&lt;br /&gt;&lt;b&gt;Side B&lt;/b&gt;&lt;br /&gt;&lt;br /&gt; 1. Hyde Park electromagnetic&lt;br /&gt;2. The noise&lt;br /&gt;3. Manual rewind&lt;br /&gt;4. The Electric&lt;br /&gt;5. The tower (death rattle)&lt;br /&gt;6. Digital light
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              <text>&lt;p&gt;Vivid Projects&lt;/p&gt;
&lt;p&gt;Saturday 24 February 2018&lt;/p&gt;
&lt;p&gt;This event was a collaboration between us and Lighttouch Festival. It consisted of panel talks and performances about VJing, live cinema and audio-visual performance. The symposium brought together academics, artists and VJs to discuss the role of projection in their work, and the current state of AV performance in the UK. A number of thematically focussed panel talks were followed by an evening of AV performances and ending with a VJ Jam until late. Running in parallel at Vivid Projects were a number of projection-based installations.&lt;/p&gt;
&lt;p&gt;Speakers/artists included: Holotronica (Stuart Warren-Hill of Hexstatic) Toby Harris (*spark), Rebecca Smith (Urbanprojections), Miri Kat, Antonio Roberts, Raquel Meyers, Rod Maclachlan, Guy Edmonds, Blanca Regina, Richard Wallace, Flatpack Film Festival, Sean Clarke (Test Card Manchester).&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;</text>
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              <text>&lt;p&gt;SCMS 2017 Chicago, 22-26 March 2017&lt;/p&gt;
&lt;p&gt;Saturday 25 March 2017&lt;/p&gt;
&lt;p&gt;Members of the Project team convened a panel with international scholars Haidee Wasson and Lucie Cesalkova at this academic conference. The panel included the following papers.&lt;/p&gt;
&lt;p&gt;Jon Burrows: Film Mutilation: Reading the Material Traces of the Projectionist’s Labor.&lt;/p&gt;
&lt;p&gt;Lucie Cesalkova: Feel the Film: Materiality of Film Screening in Projectionists’ Memories.&lt;/p&gt;
&lt;p&gt;Michael Pigott: Sounds of the Projection Box.&lt;/p&gt;
&lt;p&gt;Haidee Wasson: Portability and Projectability: Notes Towards Cinema’s Expanded Apparatus.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;</text>
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              <text>&lt;p&gt;The 10th NECS conference Potsdam, 28–30 July 2016&lt;/p&gt;
&lt;p&gt;Friday 29 July 2016&lt;/p&gt;
&lt;p&gt;Members of the Project team convened a panel at this academic conference including the following papers.&lt;/p&gt;
&lt;p&gt;Richard Wallace: ‘I thought digital was a load of bunkum, but it’s not just good, it’s better’: The Introduction of UK Digital Cinema projection.&lt;/p&gt;
&lt;p&gt;Claire Jesson: The Mediations of the Projectionist.&lt;/p&gt;
&lt;p&gt;Michael Pigott: The Angel and the Baguette: Projection Mapping and Advertising in Britain.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;</text>
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              <text>&lt;p&gt;Gas Hall: Birmingham Museum and Art Gallery&lt;/p&gt;
&lt;p&gt;Wednesday 20-Sunday 24 April 2016&lt;/p&gt;
&lt;p&gt;This exhibition, which opened 2016’s Flatpack Festival, was the culmination of photographer Richard Nicholson’s travelling the country and gaining privileged access to the projection box and was work we commissioned as part of the Project. Richard’s beautifully detailed images capture the pivotal moment of film making way for digital and the fundamental changes to both the projectionist’s job and work-place.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;</text>
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              <text>&lt;p&gt;MAC (Midlands Arts Centre) Birmingham&lt;/p&gt;
&lt;p&gt;Saturday 21-Sunday 22 November 2015&lt;/p&gt;
&lt;p&gt;We took part in the Flatpack Festival’s ongoing ‘Celluloid City’ season including talks, activities and screenings at the MAC in Birmingham. Jon Burrows presented material on the origins of cinematic projection with fairground showmen and those who established cinemas in Britain up to the First World War. Skipping most of the intervening century, Michael Pigott’s talk drew parallels between these showmen and today’s VJs (video jockeys), and looked at how present-day digital projection is used in all manner of indoor and outdoor public spaces. Claire Jesson introduced a screening of Wim Wenders’ Kings of the Road (1976).  Drawing on research done as part of her thesis on the representation of the projectionist in film, Claire briefly highlighted how the film references contemporary crises around cinema attendance and questions about film culture that are repeated in many of the projectionist movies her thesis considers.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;</text>
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              <text>&lt;p&gt;Flatpack Hub, Birmingham&lt;/p&gt;
&lt;p&gt;Sunday 9 April 2017, 2-3.30pm&lt;/p&gt;
&lt;p&gt;From the ‘projectionettes’ of the two world wars right up to the present day, this audio-visual talk by Rebecca Harrison (University of Glasgow) and Richard Wallace was part of 2017’s Flatpack Festival and revealed the hidden history of the women who have worked in this typically masculine space.&lt;/p&gt;
&lt;p&gt; &lt;/p&gt;</text>
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              <text>I must add there were no favours. You came into the projection room, you did exactly the same work as a man.  Exactly the same.  The one day the chief came down and he said, "Right, we're on the roof today". "What roof?" "The canopy, we're cleaning all the fittings".  Got the double extension ladder climbing up onto this canopy. This was Bristol Cinema. But you weren’t, honest to god you weren’t exempt from anything. Cleaning filters, and the fibreglass oh, we were like this all day, you know.  Erm, banging them and then vacuuming them and blowing them out and everything. And oh, god the boilers. If there was an air bubble in the oil, you could forget it. You’ve got to get that air bubble out.  And it was the old diesel to start with. I mean you were open to dermatitis with that stuff, you know, 'cause it was just like treacle. And you take it all apart and keep bleeding it until you think you’ve got the bubble out, reassemble it again with all the firing unit. Anyway, one time at the Orient we had a delivery of oil in the winter. Snowing like made but it wasn’t settling.  And the manager said, "Whatever he's got on take it, because we don't know when we’re gonna get another lot, you know". Well I couldn’t see the gauge, couldn’t see it at all. So I said to him, "If I shout you stop pumping". He said, "Yes, okay".  Well he was about 500 yards away and he was pumping away and my eyes, you know, glued to this thing. And I shouted "Stop! Stop!" Well, of course he couldn’t hear it because of the engine, and whoosh just like a gusher came straight over the top, I thought, "Oh no".  So anyway he saw me waving me hand and he stopped it, but by then I mean we were up to our ankles in it.  You know, and the smell in the theatre, of diesel oil.  Thought, "What the hell can I do?"  So right, the local butcher was two doors away from the cinema.  And I said, "I’m in a bit of a dilemma here," I said, "can you help me out?" I said, "We’ve just had a delivery of oil and it's come over the top and it's all over the floor". He said, "Well how can I help you?"  I said, "Have you got any sawdust?"  And he said, "Have you got a box?" And I said, "Yes, a great big Butterkist box". He filled it up he did.  Down I went and shovelling it all over the floor but of course as fast as I was putting it down it was just soaking it up.  Then I’d got to get it out.  So I went back again for another box.  And he said, "I can't give you anymore after this, you know?" And I said, "Well I'll try. I’ll try it anyway".  So I got out as much as I could but people were complaining about their eyes smarting, you see with the heat as well. I just didn’t know what to do.  Hadn’t got a clue.  And I thought well I can't do anything else.  Nobody else was interested, management didn’t want to know, you know, "Oh it's your problem, you sort it out", like.  Anyway, we eventually ... it did peter out, the smell but it took a while.&#13;
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              <text>They didn't have women until after the November blitz and then they started calling the men up. They asked some of us women whether we would like to try it and see if we liked it and much to their surprise or disgust, they never did tell me which, I turned out to be very good at it. You couldn't take it up you had to be picked. If you'd got nothing between your two ears like some of the usherettes hadn't I mean to say they wouldn't have been able to do anything. I was shown how to do it and within twelve months I had to be sent out on relief to help out because they were so short of staff, well I was doing chief's job but I wasn't getting chief's wages for it. Within six months I had second's wages because I turned out to be very successful. And then within the twelve months that I had done all this relief work I got the Manager to make an appointment with him and he said he would be along to see me, and he came and he asked me what I wanted and I said "Let's put it this way, for the last five years I've been doing chief's work for second's pay and I've done it all successfully haven't I?" and he said "Yes, what do you want?" I said "Don't you think I should have chief's wages?" He said, "But aren't you getting them?" I said "No I'm not!" he said "Well you are from now on my dear" and that's how I got the rise. Well of course it made a heck of a difference to my wages naturally. I was the only one that stayed all the time with them.</text>
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&lt;p style="text-align: right;"&gt;Just discovered &lt;a href="https://twitter.com/ProjProject"&gt;@ProjProject&lt;/a&gt; virtual projection room tour - it's great! Excellent for teaching. Check it out &lt;a href="https://t.co/S8i81Ub1A4"&gt;https://t.co/S8i81Ub1A4&lt;/a&gt;&lt;/p&gt;&#13;
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              <text>&lt;p&gt;Location: Gas Hall: Birmingham Museum and Art Gallery&lt;/p&gt;
&lt;p&gt;Time: Sunday 24 April 2016, 3.45pm&lt;/p&gt;&lt;p&gt;Link: &lt;a href="https://flatpackfestival.org.uk/event/secrets-of-the-projection-box/"&gt;Flatpack Website&lt;/a&gt;
&lt;/p&gt;&lt;p&gt;Hair in the gate. Cigarette burns. The Maltese Cross. Projectionists inhabit a parallel universe with its own lexicon and rituals. At this event, which was part of 2016’s Flatpack Festival, we shared some of the stories, sights and sounds discovered in our research. Claire Jesson was interested in the projectionist as represented onscreen and showed a selection of clips from different movies. Richard Wallace shared material from his interviews with film technicians about their work, while Michael Pigott played excerpts capturing the unique auditory environment of the box. Finally, projectionist and artist Alexa Raisbeck talked about how her work is informed by analogue film technologies.&lt;/p&gt;
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              <text>&lt;p&gt;Lifting the veil on cinema’s secrets&lt;/p&gt;
&lt;p&gt;Location: Warwick Arts Centre Cinema&lt;/p&gt;
&lt;p&gt;Time: Saturday 7 May 2016, 11am-3pm&lt;/p&gt;
&lt;p&gt;Web link: &lt;a href="https://www.warwickartscentre.co.uk/whats-on/2016/film-talk-inside-the-projection-box-lifting-the-veil-on-cinemas-secrets/"&gt;Warwick Arts Centre&lt;/a&gt;
&lt;/p&gt;&lt;p&gt;This event included an illustrated talk by Claire Jesson who looked at how the movies imagine the projectionist, and Richard Wallace talked about the projectionists’ memories spanning over 50 years of cinema history he recorded and the transformation from celluloid to digital exhibition. Event included a screening of Cinema Paradiso (1988) and a chance for the audience to glimpse inside Warwick Arts Centre’s own projection box.&lt;/p&gt;
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              <text>We started using polyester, and polyester was sometimes problematic because, as I say, it had static problems. And sometimes you would see the film feeding through the feeder unit, and maybe instead of taking one loop out, it would take two or three and it would go round like that and you’d think, “Ah god! That’s gonna pull or snap or do something.” We used to have a solution of stuff, we used to work with, we used to use at the Gate called Film Guard I think it was called. And we used to put this Film Guard on, when we knew it was a polyester copy we used to cover it with this Film Guard and it used to keep the static down but it didn’t eliminate it. But used to reduce it by about 30%. And what they fitted, once we started using static… the polyester prints, there was a device that fitted to the platters. And what happened was if it jammed up due to the polyester, if it sort of tightened itself around the feeder unit, there used to be a cut off system. You see it wouldn’t snap. Polyester was very hard to snap. It would pull all your rollers off and cause a lot of damage. And we used to use one of these, it was an anti-tension unit, and you had to lace the film through this tension unit, it was just a roller. And if the film pulled the roller went down and shut everything off. ‘Cause if it didn’t shut everything off, if you’re using polyester and it jams somewhere and it pulls, it would pull all your rollers right off the wall. It would, it would cause an awful lot of damage. It could be a headache sometimes. If you saw a problem starting like that, you’d say to whoever came on at four o’clock or five you’d say, “Oh, keep an eye on screen six because, you know, it’s polyester and I nearly had a snap with it or nearly had a stop. Because it pulled too much film out at the same time. It wrapped itself round, you know.” And of course, with polyester as well when you lifted it off you would get a crack on your hands because it was static. So you’d be pulling it off and your hand would touch the metal plate and boom! You know.</text>
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              <text>When you first went in about ten o’clock you would open all the arc lamps and you would clean them out ‘cause obviously with using carbon arcs they used to get all like carbon dust and of course the mirror at the back used to get covered. And we used to hoover them out every morning, got rid of all the dust and makes them lovely and clean. Make sure that the reflector at the back of the lamp house was clean. Used to clean that with a special solvent. Then once you’d finished them, you dismantled all the projector, used to take all the, the gate out and all the sprocket jockeys that kept the film on top of the sprocket, used to take all them out and clean them with methylated spirits. But yeah, used to dismantle all the bits and pieces and clean them. Make sure… I used to get the little toothbrush out and make sure that the intermittent sprocket was clean and the top sprocket and the bottom sprocket. Check the magnetic heads if you are using magnetic film, you had to make sure they were clean. And then you just left the projector ready to lace up. You didn’t lace it up, you used to leave it until five minutes before you were ready to go on. Because what we used to do at The Queen’s, again, we used to run the machines for five minutes just to warm them up. ‘Cause obviously starting a machine from cold you might get speed issues. And then once you’d done the projection issues you used to go up and check the lamps in the theatre. Used to go up and make sure, see if there was any lights off anywhere. And then make sure the heat came on if it was required, because you were responsible for heating and ventilation. And you were also responsible for the emergency lighting, ‘cause as you appreciate, when you’re in a public area you must have emergency lighting in case the main lighting goes off. So we were responsible for looking after the batteries so you went and checked them and made sure they were on. And anything else that needed looking after, because you were the sole technical guy in the cinema. So if, say, somebody like one of  the cleaners came up to you and said, “Well, oh, there's something wrong with one of the hoovers, can you look at that?”  You got the job of that as well. Or maybe downstairs, maybe one of  the staff would come up and say there’s something wrong with the kettle. Anything like that. Or if the management wanted you. So it was quite a busy period.</text>
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              <text>Obviously making up a show you had to make sure that each part was like, you know, in line, say, one, two, three and four, five and six. Because if you mixed them up, you know, which it has been done, I didn’t do it, but I have known where it’s gone to one, two, four and then three, five and six, you know, it has happened, but it didn’t happen at The Queen’s. Again it was down to you to make sure that these parts were made in the right order. ‘Cause what you used to have to do when you actually made a film up, if it was a brand new film the leaders were attached to the parts, what you had to do is when you cut the leaders off to join up each part, so you didn’t see anything in between, you used to leave a frame of film on the end so you had the leader and a frame of film so you knew when you put them back in the tins that that was the right leader, it would match up. Some projectionists used to just cut the blinking thing off and they never left a frame so you didn’t know whether that was the leader that went… “I mean if that's part four, is that part four because there's nothing to match it?” And a lot of projectionists used to just put the part in the tin and wrap anything round. And, of course, the next person to get it didn’t know where he was because he thought, “Hang on, is that part four or is it not?” Because there was nothing to identify that leader with that. And before you knew where you were you put the show on and you’d get a call from somebody saying, “Well hang on, that part there, there's a guy been killed and he’s shown up again in the film so there’s obviously something not right.”   </text>
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 Queens Theatre, Northumberland Place, Newcastle upon Tyne</text>
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 Empire Cinema, The Gate, Newgate Street, Newcastle upon Tyne</text>
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              <text>I liked the machines down at The Queens. They were real workhouses. You know, you had a massive lamp house. We used to use these carbon arcs which were high intensity and the light from them was fantastic. I mean when we used to strike them, we used to put the carbons in and tie them and shut the door, then we used to press the button, you'd hear the contactor come in and then when you joined the two together it used to make a hell of a sound you know. And then you had a little eye piece where you could look to see how far they were. And, of course, carbon arcs had a tendency to wander away from each other. And there was a little motor on the side that used to keep them, or try to keep them, at a certain distance because if they went too far the picture would go blue, if they went too close the picture would go brown. They had to be about an inch apart. So you had to keep going and checking them, making sure ‘cause it had a guide at the top of the lamp house. You know, that was fascinating. Of course you daresn't open the door because the light was just intense, you know it could blind you. Of course that's what they used to use in search lights during the war. And I think that light, meself, from them was better than xenon bulbs will ever be. I mean it’s...with carbons you had fumes as well, they weren't good for your health. Whereas xenon bulbs, it's more temperature controlled, you don't have any fumes and they're simpler to use, you just put them in and that's it and once they're set up that's it, you don't touch them. Whereas carbons, you had to put a carbon in every time this one burnt right down and you had to set them up and you had to keep an eye on them, well that's all done away and finished with. But at the time, I mean they were good, they were really smashing, you know, fantastic. Because I mean when I first kicked off, I mean like a lot of people you would think that there was a high voltage bulb that was in there that used to provide the illumination. And I had that at The Odeon in Gateshead in 1970 when I was there, it was one of the first things I remember asking, you know, “What kind of a bulb are you use in these things?” And he says, “Oh it's not a bulb, we're using carbon arcs”.  And I thought, “What's carbon arcs then?” And they explained it to us. It's just an empty lamppost with these two rods in and a reflector at the back. Fascinating, absolutely fascinating. They pushed me over to the Odeon in ’75 and when I went across to the Odeon I had to learn about xenon bulbs.  Because we were working with with what they call platters, or cake stands as they used to call them which held four foot horizontal plates and on those you had, I think it ran about three and a half, three and three-quarter hours. And, of course, carbon arcs would be no good then, and so we all went with xenon bulbs. They were in their infancy then, they had just came out. To me the light was terrible. The light was cream, it wasn’t white it was awful yellowy cream colour. Of course later on they converted them to three phase and they were much steadier and they were whiter. And they were blinking dangerous because one went off on me one day when I was on with the Chief there. He’d just changed the lamp in number one and he’d just left it on for five minutes and oh, all of a sudden I can remember standing right next to it and there’s this almighty bang and the glass went all over the floor. It didn’t seem to affect him, he just come round and he says, “Oh, my bloody lamp’s blown.”  And I was standing there and I thought my nerves were nearly shattered. I thought, “I was standing next to the damned thing!” I remember walking to the lamp house, everything was just broken. There was glass all over the place, the reflector, the back was all in bits because of the bang it just took it and there wasn’t extensive damage but it made a bit of a mess. So they were really dangerous. You had to be careful but, as I say, they were in their infancy then, they just came out.</text>
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              <text>As a rewind boy my job, it was very easy, basically as stated by NATKE, the union, my job as a rewind boy was to start work at ten o’clock in the morning, rewind all the film that had been left over from the night before because projectionists didn’t rewind their own film. It was a rewind boy’s job. So from 7:30 onwards in the evenings the projectionist didn’t rewind his own film, it was left for the rewind boy. So that was my first job in the mornings when I went in at ten o’clock. Then I would have to sweep the box out. Top to bottom, end to end, I would have to sweep that out, this, this meant removing all the heavy rubber mats. My chief had a theory about keeping dust down, you had to soak wads of newspaper in water, wring it out, throw all the wads, pieces of newspaper all around the box, all over the floor, right out as far as the rewind room and then sweep it all up. Being as it was wet newspaper it would keep the dust down. Once you got all that collected and put the mats back down again then it was time to clean the machines. By the time you’d cleaned the machines, set up the arc lamps ready for the show, it would be time for the projectionist to lace the machines up and on with the show. Then I would be a general dog’s body from the time the show started until it was time to go home at eight o’clock at night. I would rewind every reel, as it came off the machine, I’d be taking it out to the rewind room, rewind it, bring the next reel out for the projectionist to lace up. That went on right up until eight o’clock at night. But, now we’ll come to the truth. In actual fact because I loved the cinema so much, I used to go in at eight o’clock in the morning and I used to do everything I was supposed to do by the time the projectionist come in at half past nine. So they would come into a pristine box and pristine machines and I could get on with doing whatever the projectionists were doing be it washing fittings down, rewiring, cleaning fittings wherever, I was one of the team. And my rewind jobs had been … and this was recognised because eventually I’d have no film to rewind when I come in in the morning they would all do their share and rewind the film at night because I suppose Micky, as I was called then, was a nice guy and they done it to help me out, you know. It was that sort of job, I didn’t care what time I went in in the morning, I didn’t care what time I finished at night. Sometimes the chief would say to me at four o’clock, “Go home, Mike, you've done enough for today”. And I’d have an early night. Other times I’d stay there ‘til midnight while they had a press show on ‘cause we used to run press shows in those days. After the show closed you’d show a film for the press. That would go on ‘til one o’clock in the morning. Quite illegally, I wasn’t allowed to be in the theatre at that time of night according to government rules. But I would help them out with the press show. It didn’t matter, the building was more of my life than being at home.  </text>
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              <text>There was no formal training at all. Not at all. I literally learned lacing up by standing behind projectionists and watching them. And then I was allowed to do it myself. But where we extolled in my opinion was, we were taught showmanship. How to put a film on the screen. One of Frank Saunders’s … one of the things he drummed into me from the very first day I met him, I think maybe the second day, we stood at the back of the auditorium in the morning and the screen was open. The tabs were open, the skirtings were open. And he said, “Mike,” he said, “you see that down there? It’s the screen,” he said, “and I never want to see that again.” And I sort of looked at him, gone off, and I said, “What do you mean?” He said, “That screen there,” he said, “when the tabs open it’s the punters’ window on the world. They don’t want to see a screen, they want to see a picture on the screen and lose themselves in their imagination.” He said, “That's the job that we do. If you show them the screen, they lose the imagination, it becomes a picture on a screen instead of a picture in its own right.” He said, “I never, ever want to see you open those curtains on a blank screen.” And I only ever done it once and he sent me home. Literally, I thought I’d had the sack. Said, “You don’t do that in my theatre, you go home now and think about it”. Remember in those days visiting the cinema was a night out. So if you could extend the night out for the enjoyment of the audience, that's what showmanship is all about. If people can come out and they’ve been to Brazil and they’ve been to London and they’ve been to Rome and they’ve enjoyed the experience you feel good. You really do feel good. It’s a strange thing. When I … for a short time I was trainee manager, assistant manager, and I used to stand at the back of the audience at night when they were coming out, as the cur… the tabs closed, and stand at the back of the audience and it was good to feel how they felt. ‘Cause it would emanate from them. And you could tell that an audience had been entertained, you could feel it. And at that … it made you feel good, that you knew the performance had been a success. It’s a little like … and it comes from the stage days, you know, you’re only happy with a stage production if the whole production has gone right. We used to feel the same about the cinema. It had to run right, it had to give people entertainment. It had to feel as though they moved into a magic kingdom. That’s what cinema was all about. It should still be all about but it’s not unfortunately. But that's the showmanship, you just felt satisfaction with the job. A lot of cinemas didn’t bother, you had no showmanship in a lot of the suburban cinemas, would be lights out, screen open. And that was it. And there was an awful lot of that going on. An awful lot. They used to make us feel a little sick, you know, seeing the way we projected film and seeing the way somebody else, oh, dear me. Really terrible, really terrible and I mean, I, I went not long, not long before I got married, I went as a chief operator to the Capital Cinema in Blackwood. And it was run on a shoestring, literally, absolutely literally. Only two operators there</text>
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              <text> one working, one not working. Simple as that. So you had to do everything including cleaning the toilets, literally. And it was awful, awful. If you film, with the footlights on, the guy that ran the place used to play hell with us. “Do you think I can afford to pay for electricity to have lights on here?” you know, and that's how suburban cinemas were run. It was scandalous really.  </text>
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              <text>We used to … you’ll like this, we used to rehearse gramophone music. Note the gramophone, that’s all we had in those days was the non-sync, you know, and on Sunday afternoon we’d go in and Frank Saunders would run through the records we could use that week. We couldn’t use any records that weren’t sympathetic towards the film we were showing. And I brought in a rock n roll because it was rock n roll records in those days, I brought a rock n roll record in one day because we were showing The Tommy Steel Story and I suggested that we play this record and he went absolutely bananas with me. “We don’t play music like that in cinemas! We don’t play vocals in the intermission. Vocals are not on.” And, of course, I don’t know whether it applied to the rest of the country but we weren’t allowed to play music before 5:30 on a Sunday. We used to open the cinema at five o’clock, and had complete silence until 5:30 and then you could put a record on and play. A legal obligation in those days, yeah. Sunday cinema had only just come in, you know, and they’re very chapel around here, you see. And a lot of the chapels came out at 5:30 so it was all right to play music after 5:30 but not before chapel come out. So Sunday afternoons we used to go in, play the music that Frank Saunders thought was applicable and in all fairness it used to work.</text>
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              <text>Normal procedure: our films used to arrive mainly on a Thursday morning, right? They could arrive, if you had a Monday start, they could arrive on a Monday morning, if they were crossed over from another cinema. They could arrive on a Sunday or a Saturday depending how FTS, Film Transport Services, delivered them. But mainly they came up on a Thursday. So Friday morning they would then be carried upstairs. Now, we were lucky, we only had a projection suite on the first floor. Some cinemas had to carry these damned heavy boxes right up to god. We were lucky, unless we were showing Todd-AO because they were very heavy, and a lot of them. But then you feel sorry for the guys that had Cinerama, who had three times as many. But anyway, that was Thursday morning they’d arrive. Friday morning would be make up day. Chief would come in and out to the rewind room and he would make up the programme for the following week. Now, in those days every join in the film had to be checked and because Frank was a bit meticulous most joins would be remade. In those days you had to scrape off the emulsion, scrape off the base and join the film together with film cement. Nowadays they use a form of Sellotape which is very easy and very quick. It wasn’t in our day. You physically had to check that every … that was a long arduous job and he would be doing that probably up until about four o’clock in the afternoon on a Friday. Then they’d be put away in the lower spool racks until Sunday when the feature would be taken out and played through for chief to edit the sound, edit the way it was played and it would be shown on the Sunday usually lunchtime-ish. Then it would come out again and it would be shown through the week as per normal. Then on Saturday the process would be to break it down again. Now what we used to do in those, in our cinemas, on a Saturday night we used to use what they called blind spools, a spool with only one side on it. So you put your film on the top of the projector, put the blind spool on the bottom with a film block in the middle, lace your film on that and when you come to the end of the reel you take your reel of film off and it would be ready to put in the box, in a can and sent away again. That was basically it. The only thing you would have to break down physically is the adverts, the news and the trailers.</text>
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              <text>One of the things I dislike is this modern trend to display projectors, film artefacts, whatever to the public. I don’t think … in the perfect show, in the perfect cinema, they shouldn’t be aware that there's a projectionist showing the film. It’s a magic window on the world and that’s where the picture is, not up there, down there in front of them. So that makes them forget what’s going on behind them, they … one of the greatest things as far as I’m concerned is the stopping of smoking in the cinemas. Because with that beam that you always had, you knew the picture was coming from behind you. Get rid of the smoke, that window on the world is clearer. Really. That’s what it’s all about. Feeding people’s imagination. Not letting them know that you’re feeding them, you think, you let them think that the screen does that for them. No, I think it’s terrible that there’s more and more trend towards showing people what goes on in the box as it were, especially as they’re hell bent on getting rid of these boxes. I think it’s terrible, really awful. You go to cinemas now and the Media Museum have done it, they’ve got a Cinerama projector stood as a, an artefact. I don’t want to see that. I want to walk into a plush cinema, through carpets, through plush walls, into my plush seat and sit and look at a screen. I don’t really want to look at the man behind me otherwise I’m going back to the days when there was a guy turning a handle. Which was most unimaginative. I think we’ve developed far further. No, I don’t think a projectionist should get any applause. He’s doing his job, doing it properly. If he’s doing his job properly they don’t even know he exists. In fact, a little extra on this, when we started showing Todd-AO we were given white dust coats to wear with Todd-AO on the pocket. But Mr Key, the manager, in his wisdom, forbid us from wearing them through the theatre. We had to take them off before leaving the projection suite. And when asked why, he said, “Because I don’t want people to see that we’ve got projectionists.” That’s where it stems from. And it’s right. We don’t want people to know that there are little men winding the handles. We want them to enjoy the film. </text>
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              <text>I don’t think it’s the skill, I think it’s loving what they do. It’s not a skill. It’s something embedded in you. And I think you either have it or you don’t have it. And that's a deep love of providing a competent showing for the public. It doesn’t matter what the show is if the public like it and it’s presented properly that's the projectionist’s job. And that’s about it really. It, it’s not a, I felt I could do it when I walked into the projection suite the first day. I felt I’d come home. Nothing was unfamiliar, it felt right. Everything about it. With no training, and they were the first projectors I’d ever seen. But I felt right with my hand on the projector, I felt I was in the right place. And that basically has what a projectionist must feel.  He must be competent and able to put on a show. Providing, providing that window on the world. That's what it’s all about.</text>
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