Programmer
The Programmer is responsible for choosing the films that will screen in the cinema. Knowing who their audience is, what they will like and how to develop new audiences are key to a Programmer's success. The Programmer should have a clear cultural objective and identity for their venue. Often they will be expected to work within a budget for targeted admissions. Programmers need to have a very good knowledge of film history, new and forthcoming films. Occasionally they will attend preview screenings of films months before they are released and travel to key international film festivals. It is often the responsibility of the Programmer to write film copy for any printed media and to liaise with the Cinema/Operations Manager on the scheduling of the film screenings. Not every venue has a Programmer as sometimes the programming is done centrally, normally in London where there is direct access to preview screenings of films, and sometimes venues work with organisations such as the ICO who advise cinemas on their programme having seen all the forthcoming releases. There is often a similar scenario with booking films – sometimes the Programmer will do this directly with sales agents in distribution companies or this will be done centrally or by an organisation such as the ICO. Developing good relations with distributors and the ability to negotiate are essential skills. Programmers booking films directly, not through a booking agent, also need to take responsibility for the accuracy of contracts and terms agreed with Distributors. The leading industry training course for Programmers is the ICO's Cultural Cinema Exhibition course. Most Programmers will be required to have an in depth knowledge of film history, usually from a degree course or have gained film knowledge through working in other areas of the exhibition sector.
These days it is rare to find jobs that solely concentrate on Programming, usually the function is combined with marketing or venue management.
Back to the top
Cinema/Operations/General Manager
Responsibilities in this post vary from venue to venue but generally the Cinema Manager will take overall responsibility for all the front of house areas such as Box Office, Café, Bar and quite often have to work to budgets and deliver business plans and reporting for the financial side of the business. More often than not, they also need to ensure that the cinema complies with all licensing and health and safety regulations. Usually the Cinema Manager will also be responsible for managing and recruiting front of house staff and projectionists, stock control and cash handling. If the venue is very small the Cinema Manager may also be the Programmer. In larger venues the Cinema Manager may be supported by a team of Assistant or Duty Managers. Where the cinema is also a mixed arts venue the Cinema Manager may also be overseeing theatre and music events so may need to liaise with incoming organisations and work in conjunction with any technical theatre staff. Many Cinema Managers have worked in other front of house areas and, although there is no formal training, this experience plus management training courses and some experience of financial management can be very useful.
Back to the top
Projectionist
Crucial to any cinema is the Projectionist. The Projectionist is responsible for receiving film canisters; making the film up (which often involves ‘splicing’ - basically sticking together - the different film reels and doing any minor repair work on the print so it is in optimum playable condition); or, where the cinema has digital equipment, downloading or uploading the film onto the projector servers; attaching any ads reels and trailers to the front of the film; and running the films for all screenings. In large projection boxes there is very often a Chief Projectionist who will have management responsibility for the projectionist team and who will liaise with the Cinema Manager and/or Programmer about the delivery of films and the format of the film. Once a film has finished its run, the print needs to be 'broken down' again - taken apart or unstuck - into individual reels for collection so they can be sent back to the storage depot or the next venue. Projectionists are also responsible for cinema sound, ensuring that the speakers are in optimum working order and for special events such as speaker introductions they may need to co-ordinate the use of microphones and lighting. Projectionists often produce condition reports for films screened - these are useful for both the Cinema Manager in case they receive any customer feedback, but also for the distributors who like to track the quality of prints as they travel around the country. Projectionist training tends to be taught in house, particularly by the big cinema chains, so it's mainly on-the-job training. The BKSTS (Cinema Technology) hold seminars and have produced a projectionist manual in conjunction with the CEA - see their website for more details.
Back to the top
Finance
The Head of Finance or Finance Manager is responsible for all financial planning, forecasting and reporting; setting audience and sales targets; writing business plans and ensuring a variety of funding streams. This post can fall to the CEO or overall Manager of a cinema depending on the cinema's size and structure and is likely to be supported by a team who looks after raising invoices, collation of figures, paying invoices from distributors and other suppliers, banking, payment of salaries and reporting income streams from various different areas of the cinema. Financial astuteness is essential for this post and previous accountancy experience will be very useful!
Back to the top
Marketing
Often responsible for managing a tight budget that encompasses the production and design of the cinema's monthly or seasonal brochure and any advertising spend, Marketing also manage the cinema's customer database which is normally captured on the Box Office's computerised booking system. Depending on the booking system, it is possible to target specific audience groups according to the ‘product’ or film, enabling the marketing to be more direct and relevant. Skills required include copy writing, proof reading, knowledge of design computer programmes, knowledge of e-marketing and social media. Film posters, trailers and other display material tends to be ordered centrally from companies that deal with several film distributors' marketing materials although some of the smaller distributors will distribute marketing materials directly themselves. Routes into jobs in Marketing include marketing degrees and journalism experience but, often bigger marketing and publicity departments have more junior positions and you can't beat on the job training.
Back to the top
Press and Publicity
Not always a separate department or post to that of Marketing, this role ensures that all cinema content is publicised locally or, where relevant, nationally and internationally. This will usually be in the form of newspaper advertising for which you are likely to have a budget. Free advertising comes in the form of editorial coverage in newspapers and publications and is just as important as placing traditional adverts. To get editorial coverage you will need to have contact, often in the form of a press release but not necessarily, with journalists writing for publications and entice them with potential stories related to your cinema. You may be able to organise a press show with one of the film distributors which means that they agree to send you a copy of the film prior to its release for local journalists to see. Often reviews have to be embargoed, which means that they can't be printed until a certain date, which tends to be the week of the film's release. Journalists are also always interested in interviewing people who worked on films screening at your cinema – most of a film's ‘talent’ (generic industry term for the actors and directors) give interviews at press junkets in London although you may be able to arrange with the film's distributor for a local journalist to interview someone from the film if they are willing to travel to London, but availability is normally very restricted. Think of local events or organised photo shoots that may make a good story in the local press – newspapers are more often than not looking for content. The ability to write well will come in handy for composing press releases, as will an eye for a good story, and great tact is essential for dealing with any negative publicity. Routes into a Press and Publicity role are very similar to those for Marketing and include a relevant degree, journalism experience, and often bigger marketing and publicity departments have more junior positions and you can't beat on the job training.
Back to the top
Education
Usually a dedicated Education post is normally only found in larger venues but an Education department however big or small can be a great way to establish a very positive relationship with your audience and, particularly for venues focusing on cultural exhibition, can really add context to your cinema programme. For example a re-release of a Jean-Luc Godard film may be supported by an evening course in New Wave Cinema etc. Often handouts at screenings that give a bit more information about a film and put it in context can go down very well with audiences. It is easy to think of Education as aimed specifically at children or families and this is a very important group – they'll be your future audience and school screenings or a young persons advisory group on programming or events can be a great addition to any venue. However, adult education is equally important – older generations particularly are often able to make commitments to events or courses and enjoy the social element of such events. Some educators have previous teaching experience and a passion for film has led them to work in the cinema. It will be useful to have knowledge of the school curriculum, be used to speaking in front of groups of people and of course have a good knowledge of film history.
Back to the top
Box Office and Front of House – concession sales/bar/café/usher
A role like this is an ideal starting point for anyone looking to work in Cinema Exhibition because you have invaluable direct contact with your audience. You need to be personable, patient and friendly.
Back to the top