International photographer (Jan-Dec 1941)

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England taught me tolerance and patience — that the other guy often has an angle and often is right. And that being right or wrong is in many cases just a matter of the point of view. "You see, there are not the number of skilled studio mechanics and expert studio technicians in the English studios as compared with Hollywood. But they are eager. They work their heads off to get a thing done. They are enthusiastic and they put everything they've got into helping you. Of course, there is afternoon tea and other old British customs and the weather often drives you nuts. When you pray for an hour of sunshine and all you get is rain, rain, rain, or days of fog and skies of heavy, gloomy clouds. "The machine shops at Denham were swell. Those chaps were fine craftsmen and wonderful machinists. In converting optical printers, used for black and white work, to color, we had to develop a lot of gadgets and many problems had to be overcome. "I think the most difficult re-adjustment to be made while working in England is to realize that you are in a different country, yes, in a foreign country, where customs and manners and ideas are different than your own. "Because the language presents no difference, you are inclined to expect the same reactions as you would get at home or in Hollywood. And you get a lot of disappointments. So there has to be give and take, adaptability all around, and you have just got to be patient and tolerant. There are two men I think the world of, Vincent Korda and Bill Menzies. They are wonderful, tops to work with. And I could never have a better boss than Alexander Korda. They made my job at Denham smoother. Alex Korda has a complete understanding and appreciation of the problems of special effects. His encouragement means everything in getting a job successfully completed." Larry is very emphatic that no trick department is better than the art director who conceives the ideas. Special effects can take those ideas and get them on the screen. If the art director is "trick minded," has imagination and vision, the job of the special effects department is so much easier. Vincent Korda, Larry maintains, has that kind of mind. Nothing is impossible, if you have the time, the men, and the machines to do the job. Machines and machine shops have always been important to Larry Butler. Coming to Burbank as a kid from Ohio, he went to Burbank High and was flunked out because he spent all his time at the school machine shop instead of at his studies. His teacher at this shop was one Ernzer, a man who loved his work, and tried to teach young Larry everything he knew. He had a lot to do with his pupils viewpoints. He gave the young hopeful every encouragement with the result that Larry got his first job with DeMille, casting dishes for the Last Supper in C. B.'s "King of Kings." While working on "Hell's Angels," he got his first training on miniatures with Roy Davidson. Then on Frank Capra's "Dirigible," he learned his job thoroughly from Ned Mann. From each expert, he added to his knowledge of his job. He joined Ned Mann as first assistant when Ned went to London, and their first challenge was "Things to Come," one of the biggest jobs ever tackled by special effects and trick departments. When Ned Mann returned to Hollywood two years ago, Larry stayed on to head the department until last June. This young wizard has a simple philosophy regarding his job. "Once in a while you can pull a shot out of the bag, for buttons. Generally every shot has its price tag." He insists that the use of traveling mattes must be developed. "The Thief of Bagdad" proves their practicability. A differently designed printer and more control in developing are needed. Processing and developing of film have not kept pace with the industry's needs, he feels. Each optical department should have its own developing and printing lab. Too much experimental work has to be done right on the job. Were there an experimental or research lab available to the industry's special effects workers, time and money could be saved. Ideas could be pooled for the good of the business. There are few trade secrets today. More important is cooperation. A new technique of developing is needed, Larry thinks. "I am not criticizing the lab work. It is excellent. But for traveling mattes, there have to be improvements. Perhaps by using a new type of developing machine whereby the developer, fixer and washer are applied to the film instead of the film to them. Perhaps loop machines may go into disuse. A system of constant and controlled agitation in a drum type of machine may solve the problem. "Image size and position can be changed in development. Film, as you know, can be exposed more accurately than you can develop it. Then the improvements must come in the technique of development." The problems he has encountered in "Lady Hamilton" confirm this. . . . Someday there will be that experimental and research lab and then we shall see. Views of optical and projection printer.