Motion Picture Classic (Jan-Dec 1920)

Never Forget How folks love Bubble Grains The finest breakfast you can serve lacks its greatest charm without them. There are three of them — PuflFed Wheat, Puffed Rice and Puffed Corn — and each has its own delights. You can serve them in a dozen ways. So tlicy bring to breakfasts endless fascinations. What other cereal is half so enticing as these flimsy, flavory grains? At other hours Remember what Puffed Grains are. Two are whole grains steam-e.\ploded, one is corn heart> puffed. Kvery food cell is blasted for easy, complete digestion. rhe grains are puffed to bubbles, eight times normal size. They are tlavorv. flaky tid-hits, yet they arc ideal scientific foods. Use in home candy making or as garnish on ice cream, or as wafers in your soup.s. Mix in every dish of fruit. Salt or butter, as with peanuts, for hungry children after school. The night dish the .At supper or bedtime float Puffed Wheat in milk. Then you h supreme food made delightful and easy to digest. Think of whole wheat with every food cell blasted — made into food con fections. Do your folks get these ideal foods as ()ften as they should? Puffed Wheat Puffed Rice Also Puffed Rice Pancake Flour Puffed Corn The finest pancakes ever tasted Now we mi\ ground Puffed Rice in an ideal piancake flour. Your grocer has it — Puffed Rice Pancake Klour. It is self-raising — batter is made in a moment. The Puffed Rice flour makes the pancakes fluffy and gives a nut-like flavor. You have never served a pancake so delicious. Try T^e Quaker Qats (pmpany Sole MaherM MOTION PICTURE CLASSIC How "Earthbound" Was Made (Coiitiiincd from payc 44) bit of action of our scene. I first 'shol' the material portion. That is, after the actor playing the living man had rehearsed his part alone, I took his scene with him in it alone. Here I would carefi'illy prompt, something like this : 'Get ready to feel his presence — you sense his presence — you see him' — and so on. "Having taken the material side, we woidd next film the .spirit action. The player doing the ghost would rehearse and, wlien he was perfect, we would cover the entire setting, even the carpet and floors, with black velvet. Then we would grind the film carefully back in the camera to the start of the scene. "T should, perhaps, explain the velvet, .'-lincc we were re-exposing the film, the velvet prevented any fuzzy doubling of background. Only the ghost's figure would be photographed, the velvet preventing an\' reflection of light or photography of background, "Then we put a gauze of crepe de chine before the lens. This gave the resultant vague and hazy spirit effect. .\fter which we 'shot' the scene, which dovetailed in exact numbering with the material portion. "You can guess how easily these scenes slipped up. The slightest error threw everything out. To guard against this, we 'shot' every scene many times and finally used the best 'take.' Right here 1 want to express my appreciation of the way the players co-operated with me. Frequently we worked from 8 :30 in the morning to midnight or longer. This was uecessary because the camera could not be moved between exposures ; diat is, between the filming of the spirit and material 'shots.' It would never be possible to re-set up the camera exactly the same. A divergence of one-eighth or one-(|uarter of an inch woidd wreck everything. "There were many apparently insurmountable difiicuUies. For instance, in a scene of speedy action, such as the one where the widow falls thru the spirit arms of her husband to the floor. It is practically impossible to time a fall with accuracy. This simply meant doing the scene over and over until we caught the right thing. "Again, I believe the scene where the dog sees the spirit is the most unusual cxainple of double expo.sure ever made. You cannot rehearse a dog or tell him what to do. So we did the next best thing. "On the top of a platform, out of range of the camera, we placed a goat. Now a dog hales a goat, perhaps, more than any other animal. In front of the goat we placed a draw curtain. "At the moment when the dog sees the spirit, we drew aside tlie curtain and revealed the goat. Of course, the dog started, bristled and jumped (o his feet, revealing all the necessary emotions. (Continued on page 94) (Nilicty-tzvo} I