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Timely Topics
Motion pictures are your best entertainment. . . . To those
of us concerned with the making of motion pictures, that phrase ought
to be more than just the catchy slogan of a nation-wide campaign to
make the public more picture conscious. It should be a yardstick by which every bit of production effort can be measured.
The campaign itself is a great idea. It is being carried through on a great scale by the cleverest minds of the exploitation, distribution and exhibition
branches of our industry. But it can backfire disastrously if we of the produc
tion division don't back it up by delivering pictures which really are the public's best entertainment.
Outstanding pictures can never be turned out to order like so many Ford parts. But if everyone concerned with the making of a picture were to give his work that added touch of personal interest which makes the difference between capable, routine workmanship and whole-hearted enthusiasm, that picture couldn't help being better — stronger — for it.
We've an idea a survey of the industry's all-time hits would show that all of them were made by men and women who threw themselves into their work sincerely convinced they were producing something worthwhile. We're equally sure the industry was built up to its present success largely by people who honestly believed the motion picture offered the public something better in entertainment than it had even known before.
So — why not make the industry's present, greater campaign the occasion for a private campaign of our own? A campaign to restore our own confidence in what we are doing ... a campaign to side-track our exaggerated, unnecessary intra-industry political squabbles ... a campaign to squelch the calamityhowlers and sophists within our own ranks. In short, a campaign to rekindle our own faith that MOTION PICTURES ARE THE BEST ENTERTAINMENT.
H*
Writing in a recent issue of The American Cinematographer, President Victor Milner of the A.S.C. gives some characteristically interesting views on one of the most debated technical subjects of today. His comments on the professional use of photoelectric exposure-meters, and the professional's needs in that direction, merit serious consideration by anyone interested in cinematic technology.
With all due respect to those of our friends who do not care to utilize such aids, we're inclined to take sides with Milner. As he points out, the work of the cinematographer is two-sided: it is at once highly artistic and highly technical. To our way of thinking, anything which will relieve him of routine mechanico-technical drudgery is just so much more to the good. His fellowworkers, the recording and laboratory experts, have at their disposal far more
Pape Two