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Finally the meeting ends, but as an after thought on the way out, the studio manager tells you casually that because of the cancellation of the sequel to “Grandmother of the Bride,” your starl¬ ing date has been moved up 7 weeks, which means you have exactly 8 work¬ ing days left to start the picture.
That night when your wife brings up the subject of Palm Springs again, you barely manage to refrain from beating her to death with a roast leg of lamb.
Well — if rubber stamps were accurate, your next script covers should read
FINAL — COMPLETE — REVISED — FINAL, but you still might be kid¬ ding yourself. For example, as you’re coming into the studio the next morn¬ ing, you might bump into somebody like the dramatics coach who will greet you by saying, “Have you heard the news? It’s simply wonderful, Lana’s going to have a baby — she’s been keeping it a secret,” and leaving you standing strick¬ en on the sidewalk while she hurries on to the commissary for her morning coffee. Lana, it so happens, is your dra¬ matic lead. Her impending maternity means, at the very least, that you will have to revise her wardrobe, at the most you might have to have her part re¬ written at the last moment for somebody else.
(Continued on Next Page)
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To All My Fellow Members
of
The American Society Of Cinematographers
Sitvcenedt (Zneetwyd, fan 'Tteou
Leon Shamroy
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January, 1952
American Cinematographer
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