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country-side, upon which they depend for their health, and how the sun and the fresh air and the pasture lands are brought to them in dairy produce every morning. Here is another idea. If one lives in London, make a subject of Edgware Road, from Marble Arch to the old village of Edgware. The changes in character from Wi to 2; from towering flats to narrow thoroughfares; extensive stores to crowded stalls; and so on, to widening roads flanked by automobile factories; and still on, until rural surroundings gradually creep in. I mention this as the story is ready-made, and all the technical resources of the cameraman will be brought into play.
In conclusion, I would implore the producer to be as natural as his material should be, and avoid being clever. Please do not shoot telegraph poles sideways without a reason — if there could be one. Fight against the desire to film that colossal power station merely because you can obtain marvellous shots of the chimneys. Film the power station because you want to relate its wonderful work. Shoot a telephone normally. If you show it upside down, you must know why. People who introduce unusual angles to emphasise particular points, sometimes know what they are doing, and one enthuses over their originality. But it is so terribly easy to shoot things like that without knowing why. If you are filming Winchester, remember it is quite a long walk from Moscow, and that the brilliant characterisation in many Russian films would be totally wrong if applied to your story. I believe in studying the work of every producer everywhere, and then going away and doing what I think is correct, but if I felt I was merely copying what I have seen, I would throw my efforts into the bin.
CONTRIBUTORS TO THIS NUMBER
RUDOLF ARNHEIM. Author of " Film." Now engaged on the International Encyclopaedia of Cinematography.
ANDREW BUCHANAN. Producer of the Gaumont-British Magazine, formerly 4known as Ideal Cinemagazine. Author of "Films: the Way of the Cinema," and several novels.
ALBERTO CAVALCANTI. Director of En Rade and Rien que les Hemes.
ERIC ELLIOTT. Author of "Anatomy of Motion Picture Art."
JOHN GRIERSON. G.P.O. Films producer. His Industrial Britain is at present being widely shown throughout the country.
STUART LEGG. Director of The New Generation. One of the G.P.O. Film Unit.
HUGH MagDIARMID. Author of "A Drunk Man Looks at the Thistle," "Lenin," etc. His new volume of poems "Stony Limits," will shortly be published by Gollancz.
MACK W. SCHWAB. Hollywood film critic.
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