Elise Rethore: Projectionist, BFI IMAX, London |
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| Interview via e-mail by: Thomas Hauerslev, in70mm.com | Date: 16.05.2026 |
 Elise
Rethore, BFI IMAX, London. Picture: Thomas HauerslevYour background - where and when did your interest for film projection come from? A summary of your career as a projectionist so far? Surprisingly, film projection was not on my radar until very recently. My parents are not avid movie watchers. Growing up, we would maybe go to the cinema once a year, and were allowed very little TV, so projection was the kind of job that never crossed my mind. It was only when I joined the BFI IMAX, initially as a cinema host, that I discovered the profession and was curious to learn more. I moved to London from France as an engineer, having studied in a school that taught us manual work (like welding, machining, casting) in between the more typical engineering classes. When I saw the GT for the first time, my first impulse was to try to understand how it worked, and the manual aspect of projection was very appealing to me. How did you become interested in BFI IMAX and when did you start your employment at the BFI IMAX? After 2 years feeling unfulfilled in my engineering job, and at the peak of covid, I impulsively quit with no plan B, with only a hobby of makeup artistry & social media content creation holding me afloat financially. In an acting course, I met Lorena who was working as a cinema host at the BFI IMAX and told me they were hiring. I bit the bullet and took the job in late 2021, in time for the release of "No Time to Die", as a way to survive in London while I figured out my next step. Little did I know that after 2 years there, I would crave more mental stimulation and start sneaking up to the booth to ask how things worked. Those small moments then became longer sessions on my days off where the team would train me on the basics of digital projection! Then in May 2024, I officially joined the projection team. Lorena and I still work together; she is now mainly a manager, but also helps cover projection when needed, and became in early 2026 our newest signed off member in IMAX 70mm projection! How is the training organized, and how long does it take until you are ready (70mm and digital)? My few training sessions prior to getting the job had allowed me to learn the basics and start a digital show on my own, luckily enough. When I officially joined to team, it went very quick, and I was asked to be on my own on shift by my 4th day (which was convenient, as throwing me in the deep end is a good way for me to learn fast!) Three weeks into the job, I learned to lace up a print for the first time for a “Dune: Part Two” screening. But it took five and a half months before I was signed off to run my first 70mm screening on my own. The training in IMAX 70MM was a mix of public screenings and early mornings spent running an old 3D educational print, "Under the Sea". My colleagues would be there for every step and slowly started checking my work at fewer intervals, until we got to the point where they were just doing a final check before the film started. “Joker: Folie à Deux” was my first true print run, still my most intense run as I was lacing up every show I was working for regardless of the projection staff on shift; but the constant repeated practice was perfect to grow in confidence. The first film I ran on my own ended up being "Interstellar" for the 10yr anniversary; a truly nerve-wracking experience despite my team trusting me to manage it alone. I still remember standing frozen in the middle of the booth for 5min after the film had safely started, waiting for the adrenaline to drop! A lot of the learning comes from making mistakes. I once made a wrong turn and laced up "Under the Sea" upside down, and we ran the film so I could see the impact a twist in the wrong direction could make. Needless to say, it’s the step in the lacing up process I double check without fail now. |
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 BFI IMAX
cinema at 1 Charlie Chaplin Walk, London,
UK. Picture: Thomas HauerslevDoes it require any special skills or knowledge to run 70mm IMAX at the BFI? Since all the training is done in house, you don’t need to start with any particular skills or knowledge. I would personally say that the best skills to run IMAX 70mm is being very attentive and curious; the process is quite unforgiving of any mistakes so being able to easily notice if something is out of place is a big asset. People visiting our booth will often be impressed by the complexity of the twists and turns while lacing up, and will overlook what in my opinion is the hardest part of the job: dealing with the constant stress. You must be alert throughout the film, even it has started smoothly. We keep the door between our office and the booth propped open when running film, so while I may be working at my desk, I always have part of my brain focused on the sound of the projector, ready to check the film if I hear a slight variation that sounds off. I have run to the platter system more times than I can count, only to find everything running smoothly, but always better safe than sorry! Even if you’ve done a perfect job, things can fail for a multitude of reasons independently of the work you’ve done. And even though the stakes can be high given the how valuable the prints are (and how heart breaking it can be to lose a screening and disappoint the crowd), being able to react calmly and efficiently when it does it a must. Panic slows you down and results in more mistakes. How long does it take to make up a new 70mm IMAX print? How is it shipped and how do you move the heavy prints around? Films used to be shipped out to us in individual reels (often being over 45 reels each time) before I joined the projection team. My colleagues had to rewind each reel to then be able to splice them together. "Dune Part Two" was the last film that was sent to us in this manner. Since then, we’ve been very lucky to get them pre-assembled in 3 separate reels – therefore reducing the number of splices needed! They come in big metal crates that we bring up via lift to the projection floor. Then the reels are taken out of the boxes and rolled on their side to the booth to be lifted onto the make-up table. The entire process can take 8hrs if no interruptions…and of course that does not include the multitude of runs needed to check the sound sync and to clean the print of any residual dust before it gets shown to the public. |
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 Elise
Rethore, BFI IMAX, London. Picture: Thomas HauerslevHow long time does it take to prepare a typical 70mm IMAX performance (QTRU, cleaning GT machine etc.), and anything that need special attention? If it’s our first show of the day, we start with a sound sync check by running the projector empty to see if the playlist on the sound system (the DTAC) will properly sync up. If there are any issues, a reboot of the DTAC can be necessary. There is a lot of conflicting information online on how long lacing up a film can take. Those discussions unfortunately rarely consider that is it is a human process; you would not want to rush it and not leave time for the technician to double (or triple) check their work. As the system is very unforgiving and a small error could lead to a lost show, it is not a risk we are willing to take. Having even 5min in leeway in case something goes wrong while preparing the film can make all the difference. The beauty of human work in a sense! In between shows, we also need to unlace the previous show and clean both the now empty platter and the GT projector, including rotor and the field flattener. In my experience, this is what takes up the bulk of my time in between shows, taking roughly 20min, the time varying depending for example on the type of platter clamps being used. The platter clamps need to be moved from the empty platter to the new platter now holding the film, and the ones for "Interstellar" take much longer to move than the ones for "Dunkirk" due to the difference in design! In total we usually get on average 45min in between shows. What are the pros and cons of IMAX film projecting vs. digital Despite my job, I wouldn’t consider myself a purist that would argue in favour of film projection for everything. I think some films suit digital projection more, depending on the genre of the movie, its aesthetic, and of course the cameras used in production. Digital projection has the benefit of a cleaner image, and sometimes a brighter one. Film on the other hand can have richer colours and a higher quality image. Film print don’t have pixels so it is difficult to speak of “resolution”, but depending on camera used and transfer techniques, you can achieve much higher quality than the current 4K limit of digital projectors. Of course, then we can get into the subject of aspect ratios: IMAX print achieving the coveted 1.43:1 ratio that would require a dual laser system to get digitally. At the BFI IMAX, due to space constraints, we were only able to fit a single laser projector, capable of 1.90:1, so having certain films on prints is a great advantage for us to get a bigger more immersive picture. On a personal level, I do think that the imperfections of print add a charm to certain films. Even getting to hear the muffled sound of the projector in quiet scenes feels very magical. |
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 Elise
Rethore, BFI IMAX, London. Picture: Thomas HauerslevWhat are the favorite aspects for you (pleases you most) being an IMAX projectionist? I have found being a projectionist to be the most fulfilling job I have had. It’s a miracle films even get made, and going to the cinema is such a special experience. I get to be a tiny little cog at the end of the massive movie-making machine, that gets a film from an idea to being projected on a screen. It’s an honour I’m still not used to, to be able to be a part of that and give access to films to our enthusiastic crowds and make their day a little brighter or more interesting. The mix of digital and film is the perfect balance for me, as I need the manual work to interrupt the more admin side of the job. The variety of screenings we get (public screenings, corporate events, Q&As, premieres) makes it so we never get complacent. And as someone who is eternally curious, there’s never been a moment I’ve run out of things to discover. This past year, I got to do a lamp change and observe a GT service, which only made me want to learn more about the insides of the projector. I’d love to do a IMAX 70mm run abroad as well someday. I spent 7 years of my childhood growing up next to Rochester in the US, where they’ve started doing IMAX 70mm shows again recently; it would feel like a full circle moment for me if I ever got to chance to visit their booth. Still clearly lots to look forward to in this job! Are there any specific challenges for you (as a woman) projecting 70mm IMAX (we live in a world generally designed by men for men) The biggest challenge would be due to my height as I am quite short! We find workarounds but it is something I must keep in mind. I also do not want to default the heavy lifting to my male colleagues, so fitness is an important part of my routine. Being able to lift prints, change components in the projector, etc is part of being a projectionist, and I would be saddened to miss out on it. Sometime being a female projectionist can colour certain interactions with people from outside of the field that might expect a man in this position, but I try to not take it personally, having already had experience working in a male dominated field. The interactions I’ve had with other projectionists have been incredibly positive and welcoming. They’ve always ready to answer any questions I have or just chat about the job, even when they are from opposites end of the world! Are there other female projectionists in London, and do you have a network where you exchange ideas and projection experiences? At the BFI IMAX, we have more women qualified than men! Half of our core team of 4 are women, with others being to help for digital or IMAX 70mm projection. I have met a few women working at BFI Southbank but unfortunately not many more beyond that. Building a connection with other projectionists I something I have been working on over the last year, mostly through Instagram. But I do hope I get to interact with more female projectionists in the future, especially if I meet one working with the rare IMAX0 70MM format! |
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 Elise
Rethore, BFI IMAX, London. Picture: Thomas HauerslevWho are the most interesting movie people you have met in your career? Funnily enough, I feel very anxious and awkward meeting or interacting directly with anyone in the film industry, so it’s something I generally try to avoid, even if I would love to pick their brains. I’ve had short interactions with a couple of cinematographers online, but I try to keep the dynamic professional (regardless of how much I may or may not be fangirling internally). I think that even if I can be social and chatty, I still very much fit into the stereotype of projectionists being introverts. Would you recommend young people on the floor to become a projectionist? Absolutely! As someone who loves learning, I can only encourage others to do the same. Surprisingly, we are now witnessing a shortage of projectionists worldwide, with more films getting prints struck in 70mm and IMAX 70mm, and some cinemas who have had to get rid of their technical teams when digital projection came into play, now are looking for staff. What are your favorite films and cinemas, and why? A few of my favourite films, I can attribute to my dad. He was very strict with what was age appropriate, and as the eldest, I had the privilege of having a couple of secret movie nights with him after my sisters had gone to bed, where we would watch films in 30min increments. I was introduced to “Star Wars” this way, and those are still to this day some of my favourite films, and ones I always try to catch in theatres every time I can. I got to watch a beautiful original 35mm 1977 release print of it at BFI Southbank in 2024, and I’d be lying if I said I didn’t get emotional getting to experience it the way my dad did when it first came out. "2OO1: A Space Odyssey" is of course one the best films ever made. Again, another one I originally watched with my dad as a teen, where we spent a long time talking about the technical aspects of each shot, which really enhanced the viewing experience. Being able to run the Nolan 70mm print over a decade later was truly special. As I reached adulthood having watched very few films, it has been great fun trying to catch up, and discovering different genres, though I need to start venturing more into films from before this century. Some of all my time favourites include "Top Gun: Maverick" (that I watched over 20 times as a cinema host but never got tired of), "Past Lives" (that made me ugly cry, but aren’t the best films the ones that break you?), "Wall-E" (which has a permanent spot in my top 4), and "The Wizard of Oz". |
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 The
largest screen in the UK: BFI IMAX, London. Picture: Thomas HauerslevHow do you imagine the future of cinema? It’s been fascinating seeing the rise in popularity of IMAX 70mm in particular. We went from having one film every 2 years to three new releases in 2026 slated in that format. Through social media, people have shown more interest in learning about film formats and projectors. I’m curious to see where digital projection goes and how those projectors will evolve as well. With the very real threat of AI in this industry, it becomes reassuring seeing new films such as “Project Hail Mary” and “The Odyssey” prioritize practical effects and physical film formats. Art as a whole is a very human process, so I try to remain optimistic we will keep the human touch that gives these films soul. Working at the BFI IMAX can definitely skew my perception of where the industry is going, as we are a big reputable cinema not as aggressively impacted, but there is a very valid fear that slowly smaller independent cinemas will disappear. I’m hoping that as crowds are coming back to cinema post-pandemic, their enthusiasm will extend to supporting their local cinemas as well. Supplementary information: Describe your normal day projecting 70mm IMAX at the BFI IMAX - working hours, shifts, lunch/dinner (half or full days) - projecting 70mm, maintenance, cleaning machine Our working days follow a shift pattern so no two weeks are the same, and shifts can vary from 6 to over 10hrs. In between screenings, we get to the opportunity to spot check content for future screenings or events; or we can help the team cleaning the screen. When showing IMAX 70mm however, that time is used to unlace the previous screening, clean the projector, and lace up the following one. When a film is running, we have time to prepare the following week (making playlists, setting up preshows, updating marketing assets, etc) and keeping up with general maintenance and cleaning tasks. Our head projectionist, Michael Ford, has set up a big tracker in our office to easily know what tasks are due. I usually tend to have evening shifts, so a typical day will start end of afternoon and I will get to work while a film is running and have time to catch up with my colleague before it ends. Then it’s a cycle of lacing up the film and doing more admin/maintenance work during the screening. If the film has really bright scenes, like Miller’s planet in "Interstellar", I’ll go to the porthole to keep an eye out for dust and manually engage the field flattener when needed. Lunch or dinner happens during a screening, though I cannot leave the booth or the building unless someone else signed off in print projection is able to cover me. When the last screening is done, I clean the projector fully one last time; it’s usually quite nice as everyone including the staff has left, so I get to go through the closing routine in a more peaceful environment. |
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