THE TALKIE OPERATOR

Hokitika Guardian, 14 June 1930, Page 8

THE TALKIE OPERATOR

Hidden from the crowd to whom he i. master of ceremonies, tile “talkie’ operator, with his assistant, stands ii the little projection room at the real of the theatre, surrounded by his in strumeiits of modern entertainment, peering furtively through one of tin three peepholes to content linnseh that the film is neither flickering noi fading; and cocking a sensitive eai to determine if the dialogue, the music, or the incidental sound is .p.' the desired clarity and volume. On him saws a writer in the Auckland ‘7tar, does his vast audience depend ''or its amusement, provided the producer has played his part properly In the first place. When the film found its tongue, and silence no longer was golden, the ’ndnstry was thrown into a panic. Un employment faced not only the actors whose twang threatened to wreck the microphone, or the caption writers whose scratching pens were thrust in,to fast-emptying pockets when Hie avalanche of sound descended upon the entertainment world, but also the projectionist. In the days of scieen isilcnce the projectionist need not have been a craftsman. Very early in film ii. story he turned a handle arid changed a real occasionally. And the speed a which the handle revolved was dependent not upon artistic results but ;pon the time at which it had previously been decided the programme would end. How often twenty yeans ago was the effect of a fine picture destroy •d through the eagerness of the proInniul f n hnat the clock!

The application of electricity to film apparatus demand for a man who was no mere labourer. But 'he advent of the “talkies” insisted that the prnieetiorvst be a scientist, “nless ho had a keen ear, knew all the intricacies of his delicate machinery, and showed a sensibility to both sight and sound, he was useless as a “ta’kie” operator. Triumphing over adversity, most of the band adapted themselves to the new sphere until today much of the credit for the quality of “talkies” must go to them. Sound that been badly recorded in the studios can undergo no improveinen in reproduction at the hands of •he most export operator; but if unskilled he can drag a good talkie down to mediocrity. When the cackling of chorus girls or the rendering of the heme song of the* week sounds "tinny” or fogged the fault lies either with the producing company or the projectionist (disregarding the acoustic properties of the theatre or the effectiveness of the reproducing apparatus). But here the insignificance of the operator in the eyes of the film "arts stands him in good stead; so seldom is he considered that the blame s always thrust upon the unfortunate producing company. Responsibility, nevertheless, must weigh heavily on the shoulders of the operator. His duties are hundredfold offline is left to his discretion; ancT here lies the greatest difficulties in ’ e reproduction of sound. A sudden

vi-st of unrestrained laughter or applause sends him dashing to his oon••ol boards and frantically he will increase the volume in order that the screen voices may be heard above the 'inmlt. Sudden changes of temper-

tore or irregular variations of atmosohoric density affect the volume, which is also dependent upon the of the audience. Then audiences vary in intelligence—if any audience can be intelligent. Saturday night’s gatherng is composed usually of regular fi mi fans—shrewd critics and keen indents of film production—who of"n- little trouble. But on Monday evening, say, when a casual audience >s “dropped in just to while away 'he evening,” he will have to he on his mettle for expressions of appreciation or disapproval. And an audience of ‘'-ildren is the projectionist’s nightmare. Is it any wonder, then, that, •hen Victorian (Australia) operators recently threatened to strike unless 1 1,n ir wages were increased, they pleaded nervous complaints arising from their trying duties ?