American cinematographer (Nov 1921-Jan 1922)

December 1, 1921 THE AMERICAN CINEMATOGRAPHER The Log of a Great Piclure By the Cameraman Who Shot It DECEMBER 10 Worked from 9:45 to 11:30 p. m. Four stars at work. Nothing thrilling today, except when the director shouted about 3:30, "Let's go; let's go; we have about 20 scenes to shoot yet!" The production is sumptuous. I sometimes wonder if the picturegoer is impressed by all this display of luxury — if the time, money and thought put into it really gets its full value on the screen. Are we trying to dazzle the senses or to reach the heart? Film 3748; stills 47. DECEMBER 11 Worked from 11:30 to 7:30. Spent an hour and a half in projection room. Laboratory fogged two close-ups — first time in ages. Director has script trouble. Whispering chorus offers suggestions and finds out who's directing this picture. Sir Gilbert Parker and Elinor Glynn called today. Four stars today, including Smith and the Lady. They both languished. There are a lot of real studio romances that nobody hears much about — real love stories. I've seen more than a dozen marriages in my own companies. Film 2371 ; stills 9. DECEMBER 13 Worked 9:30 to 4. Location at telegraph office. Waited an hour for Smith. When he did come he drove up at forty miles an hour and tried to stop within five feet, jeopardizing my crew and cameras. Shot two scenes and returned to lot to retake rain stuff. Everybody gets wet, including the camera. S has hard time getting the cat dissolves. Bill brings a goat into my studio to scare the cat — couldn't find a dog — but it worked the other way — the goat became frightened and nearly wrecked the place. Film 510. DECEMBER 14 Called for one. Worked 2 to 6:30. Three stars. Tried lines for long shots. Finally shot close-ups of Smith, the Lady and D . Director bawled out electricians for studying effects in hosiery. . Camera assistants also a bit lax because of scenery. Is Smith jealous of D ? To realize art, one must first have ideals of art. What is the supreme ideal of photodramatic art? The picture of the future will be written by a man who knows the camera and who is a poet and a philanthropist. It will not be written by a cave-man, nor by a commercialist. Film 1255 feet; stills 7. DECEMBER 15 Worked 9:45 to 6:30. Five of the big stars in set. Big cafe scene that cost up in five figures. Made me recall a time a brother A. S C. was set up to shoot a set that cost $14,000. The production manager came in when it was all ready and said offhand: "Strike it; we have decided not to use it!" Who paid for that? Lined up for long shots; made several tests. Music so good crew has difficulty keeping still, but no trouble keeping their eyes open. Half the people have sore eyes from the lights. Retakes on first day stuff because the Lady's head dress was N. G. All tired at quittin' time. Film 2825; stills 26. DECEMBER 16 Worked 9:45 to 6:45. Everybody seems to have Kleigl eyes. By four everybody affected, director included. Busy day for Doc. Genl. Neville, French hero, and staff arrive and inspect us. Director introduces all the stars. I get a lot of good publicity stuff (lucky for assistant that he had full 400 feet of film in camera). Tripod jammed, but shifted to another. Director had 'em pull off long shots of dancers and cafe for Neville, who seemed to like it. Stars have Kleigl eyes. Film 3655 feet; stills 22. DECEMBER 17 Worked 9:45 to 6:45. Shot double exposure and some dissolves. Director in telling orchestra to play slower is surprised to find two of the stars furnishing the music. Director calls Smith down for acting like a stewed prune. Smith also tried to argue with me about a close-up. I've heard much about "art" during the filming of this picture, but before art there must be art ideals. DECEMBER 18 Worked 9:45 to 3:15. Director called for three cameras. I have trouble with the iris of one. Director: "Do these d — d cameras have to be wound up before they start, or do we have to write out a requisition and politely hand it to the cameraman, requesting that he be ready soon to shoot a scene?" We 7 get the stuff through and when the Director calls time at 3:15 we hardly know how to act. Film 1258; stills 11. The Lady and Smith were much interested in a legal looking document. Can't be a marriage license? As the days go by I can see the cameraman coming more and more into his own. What they give him to shoot he is not responsible for — but the way he shoots it. The effects he gets are his and his alone, and it's the effects that give to the picture the mantle of beauty. Unique Element in Pifiures (Continued from page 6) It is the cameraman's art that has given the public the pictures they have of their favorite stars and near-stars. How many of them never would have had a chance to shine but for the resourcefulness of a sympathetic cameraman, who has made the otherwise hard and unsympathetic camera soften a line here and overlook a physical defect there? The purpose of this tribute to the cameraman is not to belittle the work of author, actor, director or any other factor in the making of photoplays. Each one is a necessary cog that is as essential as the other in the complicated and composite art of cinematography. Drop out any one of them and the result would be imperfect. But in the relativity of their importance, the cameraman has been sadly overlooked — due largely to his innate modesty and the fact that he has so many other things to keep busy that he hasn't had time to fight for recognition. Hence this belated tribute. All honor to the cameraman! But for him there would be no moving pictures. Therefore, his position is unique. And as usual, the silent worker is the worker. KOSMOS Film Laboratories Pride in the perfection of your photography needs the support of perfection in the laboratory. No matter what genius you display in photography, your negative will be only as good as the laboratory makes it. Is it worth your while to try a laboratory that not only has high ideals of workmanship, but inflexibly maintains them? Perfect Prints made on Step Printers Only. 15 Tints — 10 Tones 6 Double Tones and a Triple Tone Houj's This for Color? Kosmos Film Laboratories 4811 Fountain Avenue Holly 3266 Hollywood, Cal. * 'J