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Hosted mainly in fairgrounds and amusement parks, cinema was the exhibition of the latest invention in the field of photography, and films simply functioned as a demonstration of the cinématographe’s capabilities. This is the main reason why in cinema’s early days, film screenings took place in full light: the eyes of the audience used to continuously move back and forth, from the screen to the projectionist operating his wondrous machine, which was located in the very center of the screening venue.
As a result, film content (such as plot and characters) became more and more the point of the show, and a series of dramatic changes took place in the realm of film production, distribution and exhibition. Both the projector and the projectionist had to disappear from the audience’s consciousness in order to make the immersion into a fictional world easier for the spectator. Projectionists were relocated behind the last row of seats and the screenings began to take place in complete darkness with live or recorded music to cover the noise made by the projector.
As Jean-Michel and Marc, two film projectionists hired by Locarno Film Festival 2014 for screening 35 mm prints at Ex Rex Cinema, told Indiewire recently, “as film projectionists, we work in the shadows, locked in our booth: we are not the stars.”
“We are always so busy we never get bored, even when the movie is a bad one,” said Raphael, the projectionist at Cinema Rialto, “Even if it sure is a solitary work, we don’t really have time to feel lonely in our booth.”
Film projectionists generally consider themselves as the last link in the filmmaking chain: providing a good screening for the public is a way of exalting the work of all those who contributed their creative effort in the filmmaking process – not only the director and the actors, but also the director of photography, the camera operator, the soundman, the composer, the make-up artists, the costume designers and the rest of the team.
But occasionally, they appreciate it when their work is acknowledged. Jean-Michel recalled a private screening of “The Outlaw Josey Wales” organized in Cannes by Clint Eastwood: “Mr. Eastwood wanted to show ‘The Outlaw Josey Wales’ to a bunch of close friends of his during Cannes Film Festival. It was a beautiful print he personally owned, and I was in charge of the projection. After the screening, Mr. Eastwood – the film’s director and star – came to my booth to shake my hand and thank me for the show. It was really amazing, extremely gratifying,” said Jean-Michel.
“I think this is why most of us film projectionists here are retired or took on other jobs outside cinema: we don’t put our hands in the machine anymore, we have no clue about what’s going on in the big server. For most of us, DCP is just not fascinating enough. DCP is easy. It is too easy. But I guess this is the so-called ‘march of the progress.’ Making things easier is what technological progress and the whole digital revolution aim to do, so there’s nothing we can do about it, right?”
[Editors’ Note: With the exception of Jean-Michel, the names of the projectionists have been changed because they didn’t want to be identified.]
This article is part of a series written by members of the 2014 Locarno Critics Academy, organized by Indiewire, the Film Society of Lincoln Center and the Locarno Film Festival.
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