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25
SCREENLAND
A story conference in a film studio. First National producing executives decide the form "Mile. Modiste" shall take in its screen version. Reading up the table: Paul Perez and Julian Josephson, scenarists; Robert Crawford, executive in charge of music; Robert North, producer; William A. Seiter, director; C. Graham Baker, chairman of the conference.
YES, it's a conference! Not a gathering of highpowered diplomats to decide on the peace of nations, nor the sise of battleships, but a modern movie conference wherein is decided what you and I will see upon the screen when the motion picture in question is completed.
Movie conferences have been the butt of almost as many jokes as prohibition, but, in spite of the merry jokesmiths, these conferences have increased both in number and importance with the advent of the talking picture, of Technicolor, and the production in which singing and dancing and a horde of glorified merry villagers and celluloid gendarmerie abound.
Now, there are conferences and conferences, including the kind that an elusive official seems to be constantly tied up in when you want to see him on a question of— let u& say, a rise of salary0 But a general production conference prior to the filming of a pretentious musical production, such as Victor Herbert's operetta, "Mile. Modiste,1' now facing the cameras and microphones at the First National Studio, offers what is perhapj the best example
YES, IT'S A
They Really Do Have Business. Here You Are Learn What
By Brian
of a modern movie conference. And, incidentally, it is probably the first at which a reporter or interviewer was ever admitted or permitted to sit on the side-lines and take notes.
This gathering in the lion's den occurred in a luxurious office used expressly as a conference room. In fact, it was even labeled Conference Room on the door, and should