American cinematographer (Jan-Dec 1931)

Going To Try Directing? An Amateur Advises Amateurs by ORLTON WEST We are more than delighted to give you the accompanying article by Mr. Orlton West, because he is one of the best known amateurs in Creat Britain. He has directed many fine amateur films, with "Waitress" as, perhaps, the most outstanding. This was made for the London Film Cuild. — The Editor. //I 'M GOING to have a shot at directing my first film this I spring," a friend announces. "How do you do it?" "It's quite impossible to explain how one does these things," I informed him, but I passed on to him, and now, in this article, pass on to you, the unripe fruits of a brief experience in the matter. The more one watches other amateur film directors at work the more one realizes successful results to be due more to science than to art, more to deliberate study and application of psychology than to a black hat and the 'artistic' temperament. Generally speaking there are two distinct types of directors common both to the amateur and commercial film studio; the one, noisy, driving, 'schoolmasterish;' the other, quiet, calm, and self possessed. The former cannot hope to obtain useful results from his ravings, because as soon as he gets annoyed and behaves like a spoilt uncontrolled child, one or other of the players follow suit, either privately to themselves or openly to everyone. In either case concentration on the real work in hand goes to the winds. Noisy argument breaks up order, and the resulting atmosphere of strain muddles the acting side of matters. On the other hand the quiet director, although his presence may be scarcely noticed by lookers-on, dominates and guides his players with his personality. They trust him most when he says least — and is thinking. The few necessary words he does utter carry weight. Robots and Actors Always prepare your cast for direction with an outline explanation of the scenes to be 'shot', then go on to tell them anything they might want to know (especially if they do not ask) about the scenario in order according to the story, not according to your working script which is intelligible only to technicians. This is important, because the players can only generate correct degrees of expression for present scenes if they know how they match up with past and future ones. There is never any excuse for treating any member of the cast merely as a robot performing to your orders. Some people I find do much better without detailed direction. Really good players (and there are some — if you look for them) are best left to themselves. Once they know the general situation, atmosphere, and points to be conveyed in the scenes on hand, they will direct themselves naturally. Many members of the cast will listen intently to every word you have to say. They belong to a different type, who feel the 'teacher-child' or 'you know everything, I know nothing' attitude towards you. They project their personalities upon you as representing the part they are about to act, and your detailed directions give them self confidence. To successfully handle these folk form the real test of your directorial abilities. 32 The amateur film director must train himself to be very versatile. When working on exciting scenes such as fights or love quarrels, fold up your quiet manner for a time and put it away. Try and work yourself into an appropriate emotional passion, some of which will be transmitted to those under your direction Alternatively, when engaged on a quiet domestic scene, switch back to the calm ludo (not Lido) mood at 9 p. m. — in short, have control of yourself before hoping for control of other people. Incidentally, it is wise to free the studio from all those not directly engaged in production while guiding difficult pieces of acting. Continuous gaze, whispered criticisms, and a general atmosphere of petty jealousy created by other and less fortunate members of the club may worry your players — and the finished results too! Overcoming Shyness Competent casting lightens the directors' job, and is essential if you are going to give the whole film and its best players an honest chance. If you want lovers try and find a couple who are real lovers, or at any rate who can get on quite well together. This omits the preliminary overcoming of little repressions, and shynesses, which you may find most trying. It is in this matter of casting where the amateur has advantages over the commercial director, who is often tied to a 'star' who may be a mother in one film and a daughter in the next — one of these parts must be miles removed from that star's real personality and outlook — poor 'stars.' Look carefully around your club for the desired type for a particular character. If unlucky, it is sometimes better to seek outside the club circle and import a new member than to accept second best. Small part players may be chosen from almost anywhere, and while giving priority to club members, I have chosen ideal minor parts from passers-by in the street, and these people, because they were perfectly naturally themselves assisted the chief players by forming living backgrounds to their performances. Some people become nervous outside the studio. They dislike a street crowd of lookers-on who stare at them, just as they would at a fire, cat, burglar, or male dress reformer! The best way out of this difficulty is to rehearse the scene against the correct background, while the passers-by gape to their heart's content, then go for a brief circular walking tour, and return to shoot the scene before the inquisitive ones have time to collect and exert their fatal hypnotism. In preparing or assisting to prepare the scenario, you can aid both yourself and your players by always giving them something, some symbol to act to. It is unfair to stand the villain against a wall and say, "Now look as though you felt lustful — remember you are supposed to be thinking about bad girls." He will, unless he be a very good actor, find it as difficult as trying to catch the seaside holiday spirit at the Public Baths on a Sunday morning. Should the 'bad girl' not be in the same shot, he can at least be looking at a photograph, poster, or something suggestive of her, which incidentally, visually indicates his thoughts to the audience. There are the actors, the audience, and the film as a whole to be considered — all along.