Came the dawn : memories of a film pioneer (1951)

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It was some very considerable time after this that all the principal American producers abandoned New York and shifted three thousand miles across their continent to Los Angeles so as to have almost continuous sunlight, and then, as soon as they got there, dug themselves into dark studios to keep the sunlight out! I couldn't make sense of this at first but I came to realise that what they really wanted to avoid was the hourly shifting of the sunlight, constantly altering the values of their pre-arranged scenery. Still, they could have accomplished all that by remaining on the East side, where all actors, technicians and supplies were ready to their hands. Expense is wrought by want of thought as well as want of art. Our studio was built at first-floor height so as to be that much above the level of surrounding houses, and the space underneath was devoted to three printing and developing machines — same old pattern — drying-rooms, mechanics' shops and so on. One small room in front between the main dark-room and the road was the perforating room with half a dozen motor-driven Debrie perforators, for it was not until considerably later that the filmstock makers took over the perforating as part of their responsibility. It is curious to note how little faith is put by builders and folk of that sort in the ideas of people who are young and inexperienced but not necessarily silly. I designed this small building, made the plans and all necessary drawings and submitted them for an estimate to a local builder of good repute. His first response was to say, 'That roof won't work; it can't be built; it will 'wind'.' I didn't agree but in the end I had to make a scale model in cardboard to prove that I was right. Then again, I had allowed a space of six feet square for a staircase turning three right-angles to the first floor. He made no comment on this but just altered the measurement to six-by-^A/ feet. But a staircase of this description, whatever its size, must be square at its base. When the building was up he found this out and had to put in an additional inner wall in accord with my measurement, and that two foot of wasted space is there to this day. When the studio was built and ready for work I put down a sort of railway for the wheeled camera-stand to run on, to make what are now called 'tracking shots,' which had not by then been heard of. Also we used a panoramic head so as to follow the actors 75