The Cine Technician (1935-1937)

70 The Journal of the Association of CineTechnicians Dec, ig36-Jan., 1937 FADE OUT We have asJ^ed leading technicians in all branches of cinematography and departments of film production, and our friends of the press, to let us have their views on their particular section of the British film industry, or indeed, a short message of any l^ind which wdl be useful at the stocJ^taJ^ing which invariably occurs at the end of one year and the Contributors ANTHONY ASQUITH— Studied film technique in HoUywood in 1926. Directed films for B.I. P., 1926-1930, Gaumont-British 1931-1934, and is now with London Films. At present directing a film for Capitol Productions. Productions include : — "Shooting Stars," "Underground," "Tell England," "Cottage on Dartmoor," "Lucky Number," "Moscow Nights." JO BACKHOUSE — One of the best-known floor secretaries, with many years' experience on all types of productions. BERNARD G. BROWNE — Cameraman, London Films. Made "Wharves and Strays." SIDNEY COLE— B.Sc. (Econ.). Free-lance Film Editor. At present with Fanfare Productions. Member, Film Society Council. ANSON DYER—Cartoonist. Director of AngHa Films Ltd., producers of colour cartoons, including "Sam and His Musket," "Carmen," "Beat the Retreat" and "Sam's Medal," the last two to be released shortly. "FOREIGN ACE"— Non-de-plume of lighting cameraman, with a big reputation both in England and his own country. J. C. GEMM ELL— Vice-President, A.C.T. See "Who's Who of Mce-Presidents" elsewhere. KENNETH GORDON— Vice-President. A.C.T. See "Who's Who of Vice-Presidents" elsewhere. F. GEORGE GUNN — Studio Technical Supervisor, Gaumont-British Picture Coi'poration, Ltd. ALFRED HITCHCOCK — England's premier director. Productions include "Blackmail," "Juno and the Paycock," "The Skin Game," "Waltzes from Vienna," "The Man Who Knew Too Much," "Thirty-Nine Steps," "Secret Agent" and "Sabotage." At present with Gaumont-British, for whom last four films were made. PAUL HOLT — Entertainment Editor, "Daily Express." ERNEST IRVING— Musical Director, A.T.P. Studios, Ealing, ADRIAN B. KLEIN, Major— M.B.E., A.R.P.S., Technical Director, Gasparcolor Ltd. TO THE YOUNGER TECHNICIANS .... What I write here is advice — advice to those on whom this British Film Industry will ultimately depend — the junior technicians. This advice I temper with a caution. I warn them that one of the biggest dangers that will affect our film industry of the future lies in the overhastiness of themselves. I have noticed in the last two years their attempts to run before they can walk ; their hot-headed attempts to light a set before they have learnt to pull focus. Youngsters are even aiming at becoming directors long before they are equipped for it, and it is to this state of affairs that I call the attention of the industry. If we wish to compete in the race for motion-picture glory, we must have knowledgable men. We must have technicians whose general film knowledge will render them independent of the faultiness and alibi-ing of the various de])artments of the business. We must have men who will have the-'commonsense to forge ahead with their job, imhampered by the petty annoyances from less efficient branches of tlie business. It took me six years of progressing from one department of film production to the other till I felt I had enough film knowledge to become a director. Even when I had gained the director's chair, I felt I was there by proxy. I knew I still had a great deal to learn. This point I desire most earnestly to drive home to our junior technicians — If they come into this business they should bring with them a thirst for general film knowledge. They should not be bounded by the sphere of tlieir own department. Wlien a young camera assistant finds himself idle, let him pay a visit to the studio art department and glean a little knowledge on the business of evolving a setting. Let him wander into public art galleries and from the famous paintings of the world study the laws of pictorial composition. His cameraman's life-to-come should not be spent in imitating other men's ideas. He sliould evolve his own. Similarly a junior in the Sound department should keep himself alive to the huge possibilities of obser\ing sound. His early studio life should not be entirely centred on pulling microphone strings. \Mien in years to come he may be called upon to produce the roar of passing traffic, that sound to him should not be simply a roar. His knowledge gleaned through the years — his observation on sounds — should enable him to know exactly what comprises the sound of traffic and what component parts in that everyday sound have the most dramatic value. Hollywood steals a march on us daily through the progress of her junior technicians. The interchanging of studio staffs is common business. A boy's knowledge is for ever on the increase as he climbs towards his ultimate position. He begins to know how a set is built, how it is painted, how it is dressed. He discovers the difficulties of sound, camera and electricity. He knows how a scenario is composed, how a film is cut. He learns the methods of