The box office check-up of 1935 (1936)

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EWING SCOTT DIRECTOR UNDER CONTRACT TO PARAMOUNT LITTLE AMERICA NOW DIRECTING BORDER FLIGHT Front His Own Original Story SIDNEY BUCHMAN WRITER Box Office Champions : SHE MARRIED HER BOSS LOVE ME FOREVER (In Collaboration) WHOM THE CODS DESTROY SIGN OF THE CROSS ( In Collaboration ) I'LL LOVE YOU ALWAYS IF I HAD A MILLION COLUMBIA PICTURES MUSIC HELPS STORY TELLING AND SELLING [Continued from page 89] tional requirement — had to stay right on the job. In large metropolitan productions plays were quite thoroughly scored, of course, and the music set to cues. In lesser houses the pianist "ad libbed." In sad scenes he drifted into the tear-jerking "Hearts and Flowers," and ominous situations were accompanied by eerie chords of musical menace. The logical successor to this emotionaugmenting pianist was the organist of the still-picture days who, either from scored music or using his own melodic judgment, played music to fit the mood of the flickering dramas or comedies. Scoring a modern talking picture, of course, is by no means so simple. Instead of working with cues, as with stage productions, we have to work with definite timing. The recording has to be accurately timed and fitted. But the same old technique holds as to moods. Sad scenes are generally backgrounded by music conveying pathos, even though we’re a bit beyond the mawkish "Hearts and Flowers" era. Tramping of soldiers, and the stirring events of conflict, are colored by harmonies tinged tonefully with the blare of brassy trumpets and the roll of drums. Atmosphere is still atmosphere. DOWN to the SEA IN TANKS William Darling adds a marine novelty to production technique SET designing and construction is one of the modern miracles of presentday motion picture production. So important has the art become that in every studio under the guidance of one accomplished chief, hundreds of technicians, artisans, draftsmen, painters, electricians, sculptors and laborers, are regularly employed in the mechanics of set construction. To them, as much as to producer, director, star and cameraman, is due great credit for the elaborate and authentic backgrounds of all pictures made. To appreciate the work of these men, let us examine the efforts of one of them. William Darling, 20th Century-Fox art director, is peculiarly representative of those Aladdin's, the art directors, who can [TURN TO PAGE 1 561 152 THE BOX OFFICE CHECK-UP OF 1935