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PICTORIAL BEAUTY IN THE PHOTOPLAY 177
Thus we sec that the design of the setting and lighting may become a very important element in the securing of any desired emotional effect, and this explains why, in many cases, authenticity is sacrificed, and architectural principles violated, all for the sake of the emotional response that is being sought. My own policy has been to be as accurate and authentic as possible. However, in order to forcefully emphasize the locale I frequently exaggerate — I make my English subject more English than it would naturally be, and I over-Russianize Russia. An interesting thing happened when I was working on a Spanish picture with Miss Pickford quite a few years ago. We had to have a Spanish city near Toledo and I put the Campanile of Toledo in to make it authentic. As you know, Madison Square Garden in New York has copied this campanile, and so many people recognized it and asked what Madison Square Garden was doing in the picture, that I had to change it.
It might be interesting for you to go through the routine of the art director's work from the moment he receives the script. In the first place, although not customary, it is of great advantage to the art director to know something of the story as it is being constructed. Very often he will have many valuable suggestions to offer. Now, what I am describing is my own method. Except for some slight variations, I think most of the art directors follow the same method. When reading the scenario, notes are made, and if there is sufficient time, rough sketches of the separate scenes are prepared. After consultation with the cameraman and director and the incorporation of their suggestions, the art director works up his sketches into presentable drawings. He considers such things as point of view, nature of the lens to be used, position of the camera, and so forth. If he is concerned with intimate scenes, he concentrates on possible variations of composition in the close shots. If he is designing a street, or any great long shot, he considers the possibility of trick effects and miniatures, double exposures, split-screens, travelling mats, and so forth.
When the drawing is finished the director, cameraman, and designer confer again, and when all interested are satisfied with the drawing, it is projected through the picture plane, to plan and elevation. However, this process reproduces the composition line for line, and retains all the violence or dramatic value of the sketch, even with changed point of view. The finished plan and elevation is blue printed and sometimes transposed into a model and turned over to the construction department.
From then on the artist's main interest is the supervision of the texture and painting of the set. Texture is a rather interesting subject. All our straight plaster textures are cast in sheets nailed to a frame, and then pointed or patched with plaster. Brick, slate roofs, stone work, and even aged and rotted wood are casts taken from the original thing, made in sheets and applied. That is, if we have a stone wall, we get in a lot of stone and build up a wall about six feet high, put the plaster cast on it, and peal it off like you do a cast from a tooth. You can cast any number of pieces of wall