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t>b Picture Show Annual wooden clappers are used, to indicate that shooting and recording are about to start. From that moment the artists are completely on their own. Not only is it imperative that they are master of their faces, their limbs, their smiles or tears, they must also be word-perfect. A moment's hesitation in their lines is disastrous—a slip on the stage can be covered, but the microphone cannot be cheated. If an artist stumbles over a word, or forgets a sentence, the " shooting shuts all over again, which not only adds to the irritability of the smoothest tempered director, but also considerably to the cost of production. To use "lights" indiscriminately means burning money ! The Enthusiastic Betty BUT in spite of the enormous difficulties which confront the director of talkies, the making of them from an onlooker's point of view is fascinating beyond words. There is colour, movement, sound, music, and the human voice—and, above all, the infectious enthu- siasm of all those connected with the industry, from the highest-paid star to the keen technician. Hours spent in sound studios pass swiftly. Frequently there is all- night work, if " sets " are suddenly altered through unforeseen circumstances— but who cares ? This is life ! "Raise the Roof," directed by Ca-tain Sum- mers, was Betty Balfour's first talkie. Her film work is the breath of her existence. She adores it. Her lips were smiling, her blue eyes sparkling, mischievous, her hair sunlit ! She had been in the studio since nine o'clock that morning. She had rehearsed her songs umpteen times to satisfy director, camera, and microphone, and during luncheon, which consisted of water biscuits and weak tea, her busy brain was occupied with thoughts of Richard Eichberg directing Anna May Wong in " The Flame of Love," which was Anna May Wong's first talkie, ll is the Ge rman version seen here, and Franz Lederer, who took. John Longden's pari in the English- speaking picture, is seen sitting on the floor near the star.