Business screen magazine (1946)

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I.ast month I allendeil the 1971 Con■ess ot American Writers at Town lall. Believe me, the audience could ave been almost any kind of group . . professors, executives, salesmen. .Mailers. But as a group they could i)t have been filmmakers, although lere were many film writers in the udience. Film people simply are disincti\e, and they live differently. ImmediateU after the Writers Confess I went to Seattle for the Fourth .lotion Picture Seminar of the Northvest. I he group was distinctive . . . hey were tilm people. They also hap)ened to be writers and directors. ':anieramen. business executives, teach•rs. brokers, retailers, mechanics, and salesmen, but if you had picked them jp en-masse and transported them to lOallas or Miami or New York. you"d ^ave identified them as filmmakers of Dallas or Miami or New York. Making films was their way of life, which they jhappcned to conduct in the Pacifc 'Northwest. ' One night we looked at three solid thours of experimental films produced (by Seattle filmmakers. Some were 'great and some were mundane, but 'none of them were specifically Sealftle . . . they were all specifically mo'tion pictures made by people to whom making films is a way of life . . although it may also be a living . . . (better for some than for others no doubt. Here are the things they talked 1 1 about . . . I' Bob Primes on the independent ''cameraman. John Korty on the au teur. Sylvia Spring on low budget fea ' lures. John Lrie on commercials. Tom ! Beemer on location shooting. Dick ' Koler on computerized animation and I half a dozen other people on every >' aspect of hardware, sound, opticals. you name it. . ' I talked about scriptwriting. and alI though I've spoken from a great many f platforms about movies and writing. I I never had a more knowledgeable I audience. ' Every speaker will tell you that a ' good audience is a participant in the ' event, not a passive listener. But the response in discussions outside the [ actual hall revealed even more clearly the nature of the people who are ' moved to make films as their profes '' sion. People like Marvin Albert and Laszlo Pal. David Mann and Tom t Kirkman. Bob Nunley and Les Davis, I and no column would be long enough to list them all. I They're all film people because that's ' what they have to be .. . they have ,' to do what their nature requires of ! their talents. For them, as for many of us. they are makers of film in the 1 world of film . . . It's a way of life. 1 1 1 OPTICALS ARE AN ART 1 1 AT CFI 1 1 II II TITLES 1 1 11 !■ OPTICAL ■ I 1 EFFECTS ■J, 1 ■ _IJ 1 ■ 1 1 ■ ■J 1 ^H H^H P ■DIl'.IUMIM ■^^" _■,! ■ PHOTOGRAPHY ■ 1 1 ■ ■J 1 ■J, !■ INSERT FACILITIES ■ 1 1 ART DEPARTMENT ■ II J. 1 II 1 J. 1 1^ 1 1 CONSOLIDATED FILM INDUSTRIES HO 2-0S81 HO 9-1441 J 1 959 SEWARO HOLLYWOOO CAIIF. 90038 1 July/August, 1971 13