We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
ALL FOUR VISTAVISION cameras are assembled here to photograph the chariot drive against the fleeing slaves — one of the big spec¬ tacle sequences in “The Ten Commandments.”
DeMILLE gives final instructions before camera starts to roll on doseup of Anne Baxter. Here may be seen diffused quad-lights mounted above comera to provide special, soft closeup lighting.
LOOKING THROUGH FINDER of VistaVision camera, Director DeMille checks on a new camera setup prepared by cinematographer Loyal Griggs and his crew for an interior for "The Ten Commandments."
HIGH IN RAFTERS OF SOUND stage DeMille directs action from behind the camera mounted on Chapman boom. Note dual quadlights mounted immediately above the VistaVision camera.
Paramount lot, Griggs had only recently displayed his singular camera artistry in the photography of Paramount's “Shane." for which he received an Academy Award. Sub¬ sequently, the studio selected him to direct the photography of “White Christmas,” its initial VistaVision production. Following this, he filmed two other pictures in the same wide-screen process. Thus, by the time Mr. DeMille was ready to choose his cameraman for “The Ten Command¬ ments.” Griggs had become the most experienced director of VistaVision photography. By now DeMille had elected to make “The Ten Commandments” in VistaVision and color, and Hollywood’s most challenging photographic assign¬ ment went to Loyal Griggs.
The assignment came during the final pre-production
stages of the picture, for there was yet the big task to be fulfilled of surveying Egyptian locales and mapping the location sites. Griggs accompanied the survey party which Hew to Egypt in the fall of 1953. During the party’s threemonth stay, he studied Egyptian vistas the full length of the Nile, and for miles on either side, evaluating their possibili¬ ties from a pictorial standpoint as well as their accessibility. Mr. DeMille had indicated a desire to film as much of the production as possible on the actual locales of Moses’ greatest acihievements centuries ago, in order to give the picture authenticity and the utmost religious significance; and so it was that the historical locations on DeMille’s list, as mentioned in the Book of Exodus, were carefully surveyed (Continued on Page 6&0)
A M ERICA N Cl N EM ATOCRA PHER
November, 1956