A Cinema Programmer in Notts

I actually started out in music, and ended up running the events for a couple of venues – one in Sheffield and one in Leeds. My partner at the time had moved to Sheffield, but wanted to move back to Nottingham, so I ended up applying for a few jobs, and somehow I got the job I’m in now. I think in part because I had a degree in Film & American Studies. I’m not too far away from what I thought I’d end up doing, but I never envisaged my career involving film, if I’m honest. I think I had a naïve view of what a film degree could lead to - now there are so many more opportunities!

I’m not sure what I expected when I signed on. I came on board in a rather small role, but it’s grown and my responsibilities have increased. I think at the start I expected it might be a stepping stone to something else, but I realised pretty quickly that I really enjoyed my job.

A typical day involves the usual checking of emails, opening up the theatre and bar area and then setting up the film to be screened. These days it’s a fairly simple process of pressing play on a laptop (no loading of reels, thankfully!). The day will also usually involve running the box office or working on the bar, with some design work in between. My role has changed a huge amount since I joined. I didn’t start off doing design work or programming but those are two of my main responsibilities now. We’ve increased the number of screenings year-on-year, and overall, the venue’s offer is much stronger than it used to be.

As we’re a mixed arts venue, though, we don’t have the same amount of time dedicated to film that most cinemas do. We only have one screen, so this makes the programming quite complicated. I plan very far ahead, as when you screen one film informs the decision as to when you screen other films and so on. I tend to choose the big titles, as I don’t like to miss big films coming out, but it’s also about knowing what works and what doesn’t. Knowing your audience is really important, and there’s no harm in challenging them with more obscure or interesting titles if you think they’ll work.

Having events such as Screening Days – where exhibitors are able to see a handful of films before their release – or the BFI London Film Festival helps with programming too, and sometimes distributors will send what’s called a ‘screener’ for you to view. But more often than not, it’s a case of perusing the release calendar and picking what you hope will do well!

It’s always a challenge, as you can’t take every film, and there’s a bit more consideration involved than there would be working for a chain. I also enjoy doing the design work for the venue, as that can help soothe any creative itches I have. On the other hand, sweeping up after showing a children’s film is easily the worst part of the job!

It sounds a bit cliche, but you meet all sorts of people in this role. We have a really diverse audience that naturally skews a bit older, given there’s not too many people who can go to a lunchtime screening on a weekday. Everyone is always nice and friendly, and enjoys chatting. It’s a lovely atmosphere almost every day!

I think the film that sold the most tickets was probably Mamma Mia! Here We Go Again or the first Peter Rabbit (which we took on-date). Post-pandemic, No Time To Die did great, but I think Belfast, Elvis, Top Gun: Maverick and The Duke did very well too.

If people are looking for recommendations, my favourite film from last year was Aftersun. It’s such a beautiful, sad film that’s also really stylistically interesting. Plus any film with Catatonia and Bran Van 3000 in the soundtrack is always a winner! Some other films I’ve loved recently are Titane, Drive My Car, The Tragedy of Macbeth, Annette, Nomadland, Another Round, After Yang and my ultimate guilty pleasure... the new Mortal Kombat film!