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FROM "FADE-IN"
out as a factory turns out ready-made wearing apparel.
DIRECTOR
We have taken step by step, omitting details, the elements of picture making, until we get around to the man who has under his supervision all of the aforementioned work and those who do it.
The director is first consulted about the story. He works with the continuity writer — sometimes he writes it himself.
It is on his shoulders that the responsibility of finally selecting the cast falls. Then he outlines his ideas of sets and approves them along with the costuming of the cast.
With h i s staff of assistants,he starts on the real "shooting" of the picture.
While he is directing he is in constant touch with the cameraman, and after the film is finished day by day he views it in the projection room. (These daily takes are called "rushes.") Then he decides whether or not the scenes will have to be retaken.
While viewing the daily takes, he confers with the people who are to cut the film, and they take notes to file away until the production is finished and ready to be cut and assembled in the sequence which the scenario indicates.
When the director finishes his day's work, he plans his next day's schedule, and if he is going to have "extras" or people not actually in the cast (the minor parts are
TO "FADE-OUT"
Nina Wilcox Putnam and Cecil De Mille talk over one of her stories which is about to be filmed.
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Using "extras" in a mob scene.
called "bits"), he arranges his program so he can take all of the scenes with the extras in the shortest possible time and waits until he has used them and sent them away before he takes the intervening ones (usually close-ups), with just the principals. This saves money for the company and keeps the cost of production down, another duty of the director.
When the actual filming is finished he "cuts" it. Of course, the scenes have not been taken in the order which we see them on the screen. They are taken in sequences calling for the same setting. Then they are cut up and assembled in their final order.
When a six-reel feature is finished, the director finds that he has twelve or more reels of negative film. He has to eliminate the unimportant footage without taking out any of the story or action.
TITLES When this is done and the film is cut
A publicity "still' Mae Murray.
of
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