The Cine Technician (1935-1937)

May, 1935 The Journal of the Association of Cine-Technicians 5 Otto Kanturek Through the Ground Glass It gives me great pleasure to respond to the invitation to write for the first number of The Journal of The Association of Cine-Technicians. My association with the British P'ilm Industry has been an extraordinarily pleasant one. British Films have a big future before them and I will always be pleased to do anything within my power to forward their interest and that of the technicians responsible for their production. May I take this opportunity to wish every success to British Film Technicians, their Association and particularly their Journal. Many technicians — and Executives — fail to realise the link between newsreel and studio work which are now regarded as distinct professions. This is a pity, as the man who has learnt to get a picture under any conditions and to catch the atmosphere of anything from a race meeting to a state funeral is likely to do better film work than one who has never set foot outside a studio. In my own case, as one who has been active in both spheres, it is surprising to find how often in studio and location work one is repeating shots similar to actual newsreel shots — but under far less exacting conditions. The present popularity of the historical film emphasises this fact. "Abdul Hamid" is an example. Both on location in Tinkey and on sets built in the studio I was often reminded of the times when I actually photographed the Sultan of Turkey himself. Newsreel work calls for quick action and success at the first "take" is imperative, as a wouldbe assassin or "Derby" winner seldom has an opportunity to repeat his effort, however desirous he may be of publicity. "Forgotten Men," with its impressive and authentic shot of a battleship turning turtle, i)rought to mind the sinking of an Austrian dreadnought with the loss of 2000 lives. I was on another boat when tlie hit was heard ; we set up a camera in record time and secured an historical record of the whole disaster. Some of my earlier photography used in the same picture emphasises the advantages of air photography as a good training ground. During the War I gained a great deal of experience in this type of work, which will be ever present in my memory, as on the last day of the War I crashed — due, however, to a mechanical defect, but none the less alarming. There was many an exciting timeand the film always seemed to run out at the wrong moment. But, for the newsreel man peace time is equally exciting and provides as good experience. His calling otto Kanturek, the cameraman of "Blossom Time" and "Abdul Hamid," who is now directing his first British film, "I lost mv heart in Heidelberg," for E.I. P. enables him to witness many a scene denied to the ordinary individual. For example, I have been private cameraman to the Austrian Emperor, was the only newsreel man present at the Peace Treaties of Brest-Litovsk and Bucharest, got to know personally Lenin, Trotsky and Chicherin, and have travelled as far as few are able. I photographed one of the earlier of sound films — twenty-two years ago when we took Caruso singing — using discs for sound, of course. Even before then I was in the industry and will always remember the occasion when I beheaded an archduke. It was when I was a laboratory assistant in Austria. Archduke Ferdinand was to attend a review nearby and the cameraman could not be found. Brimming with self-confidence I volunteered for the job, got my way, and turned the handle to perfection — so I thought. The developed film showed fine shots of massed troops, officers, band and everything else, except the Archduke, who persisted in appearing headless. The film was wasted and I was told that I would never make a cameraman. Sound films have robbed the cameraman of some of his thunder, although producers have realised that the early talkies which indulged in long dialogue between people sitting rigidly on chairs are things of the past. Moving pictures must still provide something to look at. Often the right shot of an empty chair, an open window, or a glowing fire tells far more than words. Suggestion rather than reproduction should be the aim of the cameraman. How often a long shot of a magnificent ballroom leaves one unimpressed. Whereas an audience might gain a far better impression of a wonderful party by shots of a glittering chandelier, two footmen, a pile of hats and cloaks, and the heads of half-a-dozen dancing couples. Atmosphere, too, is important. The reaction of the audience should never be "Are these people enjoying themselves ? " but "What a wonderful time they are having ! " Careful selection is essential. One of the most touching film death scenes I remember showed nothing but two pairs of hands, those of the dying man and his friend. Other essentials are timing and choice of stories. For the former, a cameraman must be able to photograph a man walking down a corridor in such a way so as to impress upon the audience, if necessary, that' he has been walking for liours. Choice of stories is always hard. It is almost [Continued on page 6