If The Film Breaks, A Terrible Projection Results

What you expect to happen depends largely on what you are about to see.

Despite the rush, the film was still not ready on December 21. The director Sergei Eisenstein was still editing the last reels when the presentation of the film "Potemkin's Crusader" had begun at the "Mare Theater". The coils, as they were finished, were taken by Alexandrov's motorcycle. But even now, under these conditions, the search continued. The squadron rendezvous is made up of very short pieces of footage. Eisenstein tried, one by one, several editing options. In order not to waste time, in these tests the film was not missing with the classic acetone, but with his own saliva. One variant after another is unfolded.

Only after he finalizes them, he hands them over to the assistants to be glued. But, having reached the last coil, in a hurry, he forgets to give it. The dozens of pieces of film, glued together with nothing but saliva, are placed in the box and Eisenstein climbs into Alexandrov's motorcycle with the box. I hiss with desperation. In Red Square the motorcycle stumbles. A feather. The two run half a kilometer to Balsoi. I arrive on time.

Is the ultimate joy that validates your leadership in the ability to transmute effort and fear into a thrilling triumph of art?

At that time there was a pause between each reel, the light was turned on in the hall. The last break lasted 20 minutes. Finally, the reel is loaded and the projection of the last part of the film begins. Eisenstein does not enter the hall. He has no patience. He walked restlessly through the corridors. They are empty. The guards must have entered the hall as well. He hears the sequence of applause. Stormy. Like explosions. Guided by them, he watches the film unfold in his mind.

And suddenly a cold sweat floods him. He remembers that the sequence that is now being projected is the one that he forgot to paste. Horror grips him. The film will break, the pieces of film will scatter. Everything will end horribly in this solemn hall, which hosts a cinematographic show for the first time. Overwhelmed by a terrible despair, he runs aimlessly through the corridors. But a miracle happens. The film ends well (later at the editing table, he will once again look in horror at the pieces of film that were no longer held together). The standing ovation. Eisenstein is persistently called to the stage. Appears with Tisse and Alexandrov. The audience rises to its feet, the orchestra also rises and strikes the instruments with bows. A triumph.

Does the creation you give authenticity to have the strength to face moments of fear and despair so that the ultimate triumph is all the more glorious?

The process of screening a film is central to the presentation of a cinematic work and involves several distinct stages. At the beginning, there is a pause between each reel, during which the lights in the hall are turned on, and the film is ready to continue. This pause is followed by the loading of the reel, the actual projection and viewing of the sequences. During these stages, film sequences line up, roll and are continuously presented to the audience.

If errors occur, such as missing a sequence, the film can break, resulting in a terrible projection. Each stage of the projection is crucial to ensure a correct presentation of the cinematic material. At the end of the process, applause from the audience confirms the success of the projection, similar to how cytokinesis completes cell division successfully. Eisenstein, persistently called to the stage, enjoys a triumph with his team, just as proper cell division ensures the health and proper functioning of the body.

Leadership is manifested through the presentation of a creation whose artistic projection takes place in the direction of cultural transformation and innovation.

If the film breaks, it results in a terrible projection because the director could not fulfill his artistic vision. Moreover, this interruption undermines the viewers' experience, shattering the illusion created and destroying the intended emotional impact. But we always have to keep one rule in mind:

"What you expect to happen depends a lot on what you're about to see."

* Note: Ion Barna - Eisenstein, Tineretului Publishing House, 1966.