The Cine Technician (1935-1937)

The Journal of the Association of Cine-Technicians Editorial and Publishing Office : 30 PICCADILLY MANSIONS, 17 SHAFTESBURY AVENUE, LONDON, W.1. Telephone GERRARD 2366. Advertisement Office : 5 and 6 RED LION SQUARE, LONDON, W.C.I. Telephone; HOLBORN 4972. Volume One: Number Three. NOVEMBER, 1935. Price Ninepence. Lawrence P. Williams A.R.I.B.A., A.A.Dip. The Art Director Te.\ years ago there were still Studios in this countrv which boasted they could produce films without an Art Director at all, relying entirely on the inventive genius of the Master Carpenter to juggle the stock "Panelled Room" set and the twenty-five stock flats into as many different sets as their films might require. Since then we have progressed through the era of the scenic artist, who worked on the principle that to show the Master Carpenter a photograph or rough sketch of what he required completed his duties, to that of the stage designer who thought it rather fun to do a film now and again. He really despised everything connected with them hut the money, and even then, when the Pantomime season came round again, he was not quite sure that films were worth it. Nowadays, we have a department organised on the lines of an architect's office, numbering amongst its permanent staff, Sculptors, Architectural Draughtsmen and Quantity Surveyors, and including a comprehensive reference and periodical library, architectural modelmaking department and blueprinting plant. The introduction, in the near future, of colour and stereoscopy will, indubitably, tend to increase the staff of an Art Department by such additioris as colour experts ; though it is to be hoped that colour will be used sparingly for the backgrounds and concentrated in the costumes of the artistes. The Art Director's duties .should begin directly the purchase of a story has been completed and the adaptation LAWRENCE P. WILLIAMS for the screen begun. It lias always been my experience that much money can be saved and fewer hearts broken in the long run, if the practical possibihties in reference to what can or cannot be erected within the shooting schedule, or the amount of stage space available and the financial budget, arc discussed between the script writer, the Director and the Art Director before the script is finally written. Upon the delivery of the script to the Art Department, the procedure must vary according to its composition, but will be roughly that the Supervising Art Director, if not personallj' designing the film, will hand the script to a Unit Art Director who will read it tlu-ough with the Director, meanwhile making niarginal notes and rough sketch plans of the action and particular re(]uirements of the Director regarding special action and at the same time discussing fully the characters in the story, in order that they may eventually seem to inhabit naturally the surroundings the Art Director will create for them. He will then produce a series of Esquisse to show to the Director as a guide to the layout and atmosphere he proposes. The number of sketches prepared will vary with the type of picture in preparation, from one for each set for the ordinary programme picture, to one for each master scene in the carefully prepared super. The medium in which these sketches may be prepared extends to any known method, but the most economical for the quick and broad effects required by the Art Director is uncloubtedly Fusains Comprimes on tracing paper which may eventually be mounted on mill