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Six
AMERICAN CINEMATOGRAPHER
August, 1924
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Top, left: Bert Glennon, A. S. C.
Top, right: Shadows cast by means of skillful lighting. This is the interior of the church during the course of construction in "The Ten Commandments."
Bottom, right: Getting over the idea of "oppression."
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to be immediately brought to the lap of the audience. Those were interesting and happy days for the cinematographer. I was at last painting with arc lights.
The next change was that to the early morning. Pharoah had grieved before the alter of his gods, and, in a spirit of revenge, denounces them and calls for his army. The tempo increased and every person had to feel the excitement reigning within this palace. This time the set must be pictured in all its strength and
power. There must be immense bright spots of light that blend into soft shadows. Mr. De Mille alloted three days for all this work, so lights were placed so that by turning off a specified number I had one effect, etc. thereby saving time so as not to lose the spontaneity of direction and acting.
Psychological Undertaking It appears, therefore, that the photographing of an idea is very much of a psychological undertaking. The cinematographer, as well as the dir
ector, must be imbued with the feeling of the particular action in question if the desired effect is to be worked on the audience.
The cinematographer can no more classify his lighting effects and say that "I shall use such-and-such an arrangement of lights to portray oppression, or joy etc.", no more than the player can hit upon some series of facial expressions which may be invariably whipped into play to express respectively, "joy," "sorrow," "grief," etc. (Continued on page 21)