Camera - April 14, 1923 to February 16, 1924 (April 1923-February 1924)

I era: 'The Digest of the Motion Picture Industry' Page 5 A Treatise on Cinema Waste By M. C. LEVEE, President of United Studios Ith the producing activities of 192+ must cor the elimination of waste in the making of filtl if we are to cut down the high production com which curtailed producing the past fall. Jit what is and what is not waste in motion pie re producing is something that can be arted until the end of all things. If time and -moly is wasted, in the literal sense of the word, an through this apparent waste a situation or anpea is made possible that greatly helps to pupver the picture, then that is not a waste af all. What to the hardened business man m; at times seem waste, may in reality be the so :e of a great creation on the part of the art. -j 1 1 a business where intangible factors that map make up the product are necessary, such Eun the making of motion pictures, it is imBble to entirely eliminate waste. In an entejrise where weather conditions must be gabled with, where personalities play such an fcprtant part in the quality of the product, and Hre artistic creations become part of the sellHvalues, there will continue a certain amount of aste. However, there are various physical factors H contribute to the success and production MB of pictures. Any waste resulting through Hmisjudgment or mishandling of these phy■I properties is inexcusable. Ihere is no reason why a set or a series of M should not be ready on time. There is no e:ise fur insufficient lightning, or for delays in Hinging locations involving inactivity on the Ipl of the producing staff and players. There Ho cause for waste motion in the physical ■Idling of the routine business of picture ruing. Hrange to say, a great percentage of waste in. Hpast has resulted not through weather conHons, not through accidents, but purely Hugh lack of business application to the businp end of picture making. Irhere is no reason why a company should ■rt shooting and then lay off for days while ■ director plans other scenes. There is no Hson why a player should be placed on a ikry and then kept idle for weeks before he H"ts actual work. Nor is there any excuse H the building of sets at the eleventh hour ■essitating overtime work on the part of hunWds of men — and then having that set lay unBd for days. Hn the production of Maurice Tourneur piclies, for instance, the entire working schedule plaid out before a single scene is shot. PlayH start work when they go on salary and stop with the conclusion of their actual engagement. We can tell a week in advance on what day certain sets will be photographed and on what day location trips will be made. This and other information we have on hand before we start shooting a scene just as a builder has his complete plans figured out before he starts laying a foundation. Producers adopting these methods are eliminating waste as much as it can be eliminated in this business. This, however, requires facilities and organization which, as far as the average independent producer is concerned, are not always at his command. A great many independent producters start shooting before they know what the shooting is all about. The institution that has at its disposal the services of an organization and the facilities to handle the business end of producing for the independent producer will save money not only for the producer but for the distributor and the exhibitor as well for they all must share in the costs made at the source. To render such a service and to render it more efficiently than any other institution should be the aim of everyone in the industry. To give the usual facilities means merely another studio; to give greater facilities and money saving innovations is to offer the producer more than the physical studio. The very building of a studio requires more thought than most people seem to realize. When the present interests and management of the United Studios took over the plant this fact was first considered. Since that time changes and renovations have been in progress. Today, after spending $800,000 and much time and thought we have what we believe to be the most scientifically laid out plant in existence today. To save waste motion entire buildings have been moved for several blocks, departments have been altered so as to place them where they are most needed. In fact, the entire physical machinery of the plant has been changed about so that money may be saved producers. Equipment has been discarded by the ton, and modern improvements installed. Labor saving devices of every description have been purchased and every step taken with one thought in mind — save money for the producer in making his pictures. We did not do this because we were "good fellows," but because of sound business reasons. If we can increase our business by means of saving money for the producer we are merely another example of the doctrine that service pays in this business just as in any other. The Universal Megaphone By Arthur Q. Hagerman (After spending nearly seven weeks on loca'|n in the redwood timbered hills of Northern 'jlifornia, with a deserted summer camp as fit refuge and a high-powered radio as their ily source of entertainment, Director Clarence (own and the Universal company that is asking him in the filming of "The Signal Towr have returned to Universay City to complete K remaining scenes of the picture. The "Clarence Brown Special" which transited the party to and from the location seven |mdred miles from the studio, carried Mr. 'own's first and second assistants, Charge Dojin and Ernest Laemmle; Virginia Vail i, who starred in the production; the cast of players, eluding Rockliffe Fellowes, Wallace Beery, J. irrell McDonald, James O. Barrows, Dot Far ley and Frankie Darro, and production aides and workmen to the number of forty. Attached to the Pullmans were four cars of equipment, including two big electric generators, a massive battery of lights and a full-sized collapsible signal tower, with interlocking semaphores and switches. Of the six weeks the company spent in the hills near Fort Bragg, three weeks were given over to day work and three weeks to the taking of the many night scenes. The camp at which the company was quartered consisted of a small inn and some tiny bungalows, and ordinary comforts were at a premium. The cold was intense and the food not over-inviting until Mrs. Brown, who accompanied her director— husband (Continued on Page 19) A studio to be of greatest service to the producer must carry expensive organization as well as a tremendous line of material properties that are used in picture making. As to organization, our chart is the best illustration of how our plant operates. First the office of President carries with it the entire supervision of the plant. Next comes the general manager directly responsible for the individual departments. The Planning Department is the heart of the organization consisting of the Chief Planner and schedules, the Material Man, the Purchasing Agent, the Planners, the Job Chasers, Stage Space Assigner, Storage Manager and Employment Manager. In the Construction Department are the mill, the staff shop, paint and paper shop, plaster shop, carpenter and labor departments. Under the Property Superintendent are the furniture men, the set dressers, property men, electrical fixtures, draperies and wardrobe units. Under the electrical superintendent are in addition to the electricians, the blacksmiths, tinsmiths, plumbers and maintenance and repair men. In the accounting department are experts handling finances, contracts, time-keeping, billing, store accounting, and adjustments. JOE DED By Bert Tracy JOE DED SAYS: Lead a wild life and die young so you'll have a good looking corpse.