Screening documentary films that run 40-45 minutes has long been the norm at giant screen institutional theaters. In addition to technical and projection considerations, that length allowed time to rethread the 15/70 projector and program films on the hour. With the arrival of digital projection, several theaters are now experimenting with including shorter versions of documentary films on their schedule. Marlene Janetos asked theaters, producers, and distributors what they think about this trend.

There is generally a lot of discussion about how giant screen (GS) films can be linked to education or exhibit programming. There has not been as much discussion of how the theater can link to other endeavors of its host institution—specifically with the development (fundraising) and membership units. Members and donors are a strategic stakeholder group, and it is beneficial to the institution as a whole for them to have a special relationship with the GS theater that transcends the transactional act of buying a ticket.

As a filmmaker, I typically spend a few months on the road every year for various productions. Each is divided up between one- and two-week shoots. The rest of the time, I am in McGillivray Freeman’s beautiful offices in Laguna Beach, California—sitting behind a desk working on preproduction, which involves administrative work such as phone calls, scheduling, budgeting, research, and project organization. It’s tedious occasionally (after the 10^th phone call discussing permitting minutia) but rewarding, as I know it’s all working towards the same goal—securing locations that are A+ for the giant screen. We’re always searching for the hidden gems that the audience has yet to see, some place that will rouse audiences to the edge of their seat in excitement when it appears on the biggest screens in the world. We are able to bring these experiences to audiences because of the giant screen cinema industry we are connected to—it’s a one-of-a-kind film experience—and I’m so honored to be a part of it.