American cinematographer (Jan-Dec 1963)

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Phone: HO 6-1318 uate and go into non-theatrical work they are apt to become rusty on the¬ atrical film techniques.” Neyman pointed out that Hollywood’s craftsmen rank among the best in the world because they developed their skills prior to the advent of TV and other new forms of entertainment, when the volume of production was more than sufficient to keep them busy and in practice. But now, under the in¬ dustry’s present economic pressures, few7 employers can afford to break in new men. This makes it difficult not only for beginners to get their first jobs, but also for working craftsmen to advance from one degree of work to the next. “For this reason,” he said, “I think both beginners, who must first work with non-theatrical equipment, and the established craftsmen who would like experience in a line of work more ad¬ vanced than their own, would benefit from a program that would permit them to make theatrical short subjects out of competition with commercial productions. “We are now exploring the possi¬ bilities of establishing official channels through which beginners and profes¬ sionals could receive permission from the unions to join together in the mak¬ ing of such short film subjects, in a similar manner to the production of "Off the Highway.’ This would not only give the beginners opportunities, but would offer professionals the oppor¬ tunity to try new things and experi¬ ment with pet ideas that may not other¬ wise be practical. "‘So far as 1 can learn,” Neyman continued, “the production of ‘Off the Highway,’ is the closest the movie industry has come to an internship type project such as each student of medicine must go through. Its produc¬ tion facilities and materials were do¬ nated, but if such projects should become more frequent, it is unlikely that this could continue. So some fi¬ nancing would have to be arranged. “The industry itself and foundations are possible sources. On the grounds that motion pictures not only enter¬ tain. but also contribute to our national image overseas, the foundations may be persuaded that a program of this sort would be worth supporting. “I think it would be unfair to limit the participants to only those who can financially afford to take the time off without income. So perhaps it would be suitable for each participant to re¬ ceive subsistence, let’s say an amount equal to unemployment compensation. This would be comparable to Holly¬ wood Off-Broadway Equity scales. No one should get more. Any profits from the shorts should go to some industry welfare fund or some other good cause to prevent such projects from ever be¬ coming union-dodging devices for un¬ scrupulous commercial opportunists. “The sole purpose of the projects must be to give both beginning and established craftsmen the opportunity to develop, maintain and display skill during periods of unemployment. “Fred Zinnemann, Richard Widmark and others among the professionals who participated in ‘Off the Highway’ have pledged their support in the promotion of this program. We welcome any others who are similarly interested, Neyman concluded. " MAKE WAY FOR YOUTH Continued from Page 92 depravity, corruption and immorality; with shoestring entrepreneurs who have neither the ability nor the desire to create quality; with night baseball, bowling and similar diversions which compete for the movie dollar. Furthermore, we are in a new tech¬ nical period, with new sound tech¬ niques and photographic concepts and we stand on the threshhold of a new age of electronic gadgetry which may well, given the opportunity, revolution¬ ize our industry. What all this comes down to is that we need new blood. We need the effer¬ vescence and the unlimited optimism of youth if we are to survive as the world capital of filmmaking. We need a direct program which will assure the youngsters who want to become actors or directors or cameramen or pro¬ ducers a chance to show their talents. Many will try and few will be chosen, but those few can become the great stars and creative talents of tomorrow. Not only management must embark upon this program, but the crafts as well. Our backlot workers are the best in the world, a fact attested to by any¬ one who has ever made a picture abroad. But their heads are getting grey, even as ours. They, as well as we, must look to the youngsters. I hope a program like this is started soon, before all the greybeards are gone and there is no one left to take their place. If it is, I’d like to be a part of it. ■ 112 AMERICAN CINEMATOGRAPHER, FEBRUARY, 1963