Broadway and Hollywood "Movies" (Jan - Aug 1934)

“ MOVIES ” 45 This Directing Business ( Continued from page 15) writer had in mind. Therefore very impoi tant decisions of this nature must be made by the director — decisions that may radically change the story later. Then, there is the problem of scene grouping. Where should certain players be at certain times to obtain the most effective “shots?” How and when should they move about? The director must answer these important questions. Although this point is rarely taken into consideration a director must see that his players act natural — not act. Directors, and audiences demand that players enact a situation just as human beings in real life would under similar circumstances. Artificiality is a cardinal sin. Sincerity is the keynote in the making of a picture. Neither is in the script. However, many artists and technicians combine their talents in "breaking down a script.” Just mention the term inside a movie studio and the entire personnel will be seized with buck ague. For it means increased activity and new responsibilities for nearly every person on the lot. It means that all department heads must make important decisions regarding a new and costly film production. It means that the execution of these tasks has a direct bearing on future film careers. “Breaking down a script,” to studioites, is no laughing matter. Each movie script comprising, around 50,000 words, is sent to the stenographic department where 165 copies of each are mimeographed and distributed. Here is where “breaking down the script" begins. Scripts go a-calling. The cameraman reads and visualizes only set-ups and angles. He determines the number of long, medium and closeup “shots, and whether perambulating, panoramic, crane or dolly “shots” are needed. At the electrical department the head juicer “sees” special lighting effects. He spots electric signs that are a part of the story, looks for day and night sequences (for these make a vast difference in light requisitions). He determines the number and kinds of lights needed and the number of electricians and operators essential to “carry on. ’ The property department in “breaking down the script” checks the story closely for “key” props; that is, articles appearing in the picture that play an important part in the plot, such as pistols, bibles, jewels, etc. Woe unto the property man if these “props” are missing when needed! The set dresser chooses furniture, drapes, rugs, etc. In short, he’s an interior decoiator. He senses the story period and the social standing of the occupants of an interior, and is guided accordingly. As the casting director reads the script, hordes of characters, great and small, pass in review before his mind’s eye. He visualizes old men, flappers, crooks, mobs, business types, bankers, society dames — extras, bits and supporting players. Only the outdoor scenes interest the Location Department. Transportation and feeding of extras must be arranged. Owners of deserts, woodlands, mountains, seashores, etc., must be contacted. Songs and orchestral music interest the director of the Music Department. He also arranges to heighten dramatic effects by supplying incidental scores to scenes that suggest it. As the sound man reads, he hears the train whistles, the shriek of police sirens, cow bells, wild animal growls, and the scream of the mother-in-law as site perishes from the effects of poison. He also prepares a microphone plot by a study of the set diagram and the players’ action and dialogue The special sound effects department works in conjunction with the sound department. The art department supervises the work of set dressers and wardrobe workers. The business department head “sees,” as he “breaks down the script," the salaries and pay items from star to the rent of the yellow canary. Readers, assistant directors, script giris. grips, estimators, carpenters, laborers, research experts, plasterers, cutters, laboratory workers and hundreds of others are drawn into the huge production swirl as the script goes into the filming stage. * * * Editor’s Note: Mr. McLeod the author of the above article, is now directing Charlotte Henry in “Alice in Wonderland,” having previously done that screamingly funny comedy “Mama Loves Papa,” and the dramatic picture “A Lady’s Profession.” This is the seventh of a series of articles by and of the well known directors in the Hollywood studios. PHILATELISTS :{« varieties, used U. 8. stamps for collectors, good condition. no duplicates $.25. — unused stamps or coins accepted. Write today to GEORGE ABBOTT. Suite 2010. Continental Bldg., -list and Broadway, New York, N. Y. (Postage paid.) me Here is An Easy Way to Reduce Heavy , Sagging Tissues ARE you self-conscious about your figure? 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