Business screen magazine (1946)

I Brite-^ye650 ; gives /pu more light and more control than any other portable of its size. It's another advance trom . . B&M THE INNOVATORS <N ' LIGHTING EQUIPMENT Brite-Eye is a bantamweight quartz portable that acts like a heavyweight on the job. It matches the light intensity of much larger units. It can be focused from spot tojiood. And it has more built-in controls, options and accessories than you'd ever expect in a portable. See how BriteEye can help you do your job better and easier. Write for details to Dept. BS 5-0 ''B^ "^ardweU^'McAlisterlqc. A DIVISION OF F&8/CEC0 INDUSTRIES. INC. 12164 Sherman Way North Hollywood, California 91605 (213) 875-1913 315 W. 43rd St., New York, N. Y. 10036 (212) 586-1428 voice of creativity . . . continued of his creative ability, to properly convey the idea and subject matter, and fight for the right to use film as art." The Goldsholls wili do nothing "hokey," and cringe when they see samples of bad filmmaking. They believe art can be effectively applied to the production of any film. If films are their great love, then fishing and/or trains are second, and both of these interests have played parts in their filmmaking. The first film they made, called Nii^ht Driving was filmed on the way home from a fishing trip. Millie shot the film of passing lights at night from the car as Mort was driving. She used the camera lens to create distortions for effect in the film. Their first sponsored film was Texoprint, produced for Kimberly-Clark Corporation. Their great love of trains (almost a romantic nostalgia) undoubtedly was a factor in the acclaim of ImaHimition 10, their tremendously successful film of two years ago. Up until the demise of most regular passenger runs, Mort and Millie traveled almost exclusively by train, preferring it to automobiles or airplanes. Their first film studio was actually in their home, even though Mort had a design studio in downtown Chicago since the early 1940's. Neither of them really knew anything about filmmaking, both having been art and design students. Their first animation stand was fashioned by Mort from a drill press. Millie counted the frames of film to add sound, knowing only that there were 24 frames per second. Today, in their 12th year of making films, they employ 20 people, six of whom ar-e regularly involved in filmmaking. Mort and Millie believe in maintaining as much as possible the same staff because they feel a total crew can work better together this way and produce better results. "The crew members, having worked together, gain a mutual knowledge of each other and what is desired in the particular approach to "a film," says Millie. In the wake of recently completed annual reports for Borg-Warner Corporation, Kimberly-Clark and Owens-Illinois, Mort is currently working on Momentum, a film for Westinghouse. Millie has just completed a film for Eastman Kodak, Out of Sight. The film looks at everyday life through the eves of an 1 1 -year-old boy where ordinary things become unordinary through an extension of his vision. An example, as the boy looks at a cow, it becomes a milk producing machine through animation. In their spare time, the Goldsholls are active in the Film Forum, a North Shore film society in its 18th year. Presently numbering about 80 members, meeting each month in a member's home, the group at one time numbered about 500. Mort and Millie's strongest feelines are expressed on the subjects of creativity and filmmaking ethics. "For best results," says Millie, "a filmmaker should be paid a creative fee. And, a filmmaker should never bid until he has thoroughly researched the subject, applied his maximum creativity and envisioned the total concept of the film to be made. To do this properly, the filmmaker should expect to be compensated. "A major problem of most filmmakers is conveying the sense of the film or subject to non-film oriented people. By taking that extra creative step and applying the added dimension, any film can be made interesting to nearly any audience. There can be something for everyone in any film." Sharing the growing belief that many young people are turned off on "words," Mort and Millie utilize this idea that visuals convey the message in their films. They select and make films that challenge their creativity. They want to make those films where they can apply creative concepts. Millie believes that "all art is one," that all art is related. On the subject of sponsors and film buyers, Millie says, "Too many people, including sponsors, have a backward notion about what film is and what it can do. A creative artistic film can convey a corporate message far better than a direct hard sell approach." Of film festivals and awards, Mort says, "The first award you receive is nice, but the most important award is the medal you give yourself." He believes this is a rare event for a professional filmmaker, because there always seems room to improve. Mort and Millie each research and write their own scripts. They are quick to add that they "write film, not words." Mort's approach to a film is to think a film assignment over in his mind for days, sometimes longer. He mulls the film over until all facets are clear in his mind. He claims that all of the essential details are relatively sharp in his mind before he prepares the script or begins shooting. He says this has proven to be his most successful approach to a film or design project. Preferring a reputation as creative filmmakers, neither Mort nor Millie are considered specialists in any general subject area. In one year's time, they have produced films ranging from educational undertakings to very technical product films. In one year, their sponsors range from Field Enterprises and the Department of Health, Education and Welfare to Sears, Roebuck and Co. and Owens-Illinois. Their dedication and talent are reflected on the screen in every film they produce. And, despite a tremendous popularity and acclaim, they remain the "quiet voice of creativity" in industrial filmmakins. • 32 BUSINESS SCREEN