The Cine Technician (1935-1937)

76 The Journal of the Association of Cine-Technicians Dec, ig36-Jan. 1937 PUBLIC NUISANCE No. 1. Why is the Still Photographer considered "Public Nuisance No. 1" on the set ? Surely the man who is responsible for all the pictorial publicity of a film, the show outside the theatre, which can and does attract and draw in the paying public and, of even more importance to the distributing firm, supplies their travellers with pictures sufficiently attractive to obtain orders from Renters and Exhibitors — surely I say, this man and his work should be taken a little more seriously by some directors and their staffs. Personally I feel that the remarks passed to and about the Still Photographer are jokes, and I take them as such. I don't know who started them — that is lost in antiquity. I have, however, heard of cases when the treatment of poor old "stills" has been so thoughtless as to be discourteous, and I do feel that this sort of treatment should be discouraged. It should always be remembered that we "less than the dust" people have our job to do and most of us are conscientious workers who like our work and are trying daily to raise it to a higher level both technically and artistically. I must say, from years of experience, that I have more often found courtesy and help from directors and their assistants than the reverse, with the result that time, the chief factor, is saved, results are better, and there is a general feeling of good temper among all concerned. My brother "stills," I am sure, can support me when I say that work is a pleasure on a happy film and every film should be that, because the work is then improved. Greetings, good wishes and happy hunting to all in this business of producing the most popular form of entertainment and enjoyment — Tlie Films. Lewis Protheroe. HIGH GENERAL STANDARD MAINTAINED From the Art Directional angle the year 1936, like most others, is distinguished mainly by the high general standard that has been maintained. In the only two cases of technical advancement of which I am aware, British film producing concerns took their part. In the first case, for the "Dark Angel" (U.A., Richard Day, Art Director) the British and Dominions' Art Department co-operated with the American Art Department in the collection of material for the reproduction of British railways and railway stations of the 1914 period and of suitable wartime posters, etc. It is to be hoped that co-operation of this nature may be extended in the future between film producing concerns not only of different continents, but between those of individual countries. The second concerns the 20th Century-Fox production of "As You Like It," in which the Art Director, H. L. Meerson, employed for the first time in this country, at any rate for a number of years, the extensive use of building in perspective. The results upon the screen amply justify the great labour and ingenuity that must have been employed. What is, however, of much more importance to British art directors than any technical advances directly concerned with production is the fact that during the year four new studios have been under construction in this country, two of which have now been officially opened and production started within the last few months. The construction of and facihties provided by these new studios disclose a new and brighter future for all British technicians, and from the Art director's personal point of view the comforts with which they are provided in these new plants make their existence of even a year ago almost primeval in comparison. These added facilities will, one is confident, be reflected in the work produced in future years. Laurence P. Williams. ON THE THRESHOLD OF OUR BEST YEAR Generally speaking, I think that the year 1936 will be remembered by all members of the film trade as one of the most ambitious and important periods in the life of British films. The most outstanding event has been, of course, the construction and opening of two of the world's most modern studies, at Denham and Iver respectively. These studios, together with others to be completed in the near future, are equipped with the most up-to-date apparatus, and have every facility for the carrying out of the bigger production programmes now being planned. More pictures mean a greater demand for staff, and cameramen are now at a premium. The influx of foreign «cc-cameramen has not been detrimental to our British camerauien ; on the contrary, it has brought to our studios fresh ideas and a higher standard of technique. :\Ien working wdth these foreign experts have had the opportunity of perfecting their knowledge of their job ; thus not only does the individual benefit from this contact with men who are at the top of their profession but, indirectly, British films will reflect the influence of these ace-technicians, in the work of our cameramen which already, during the past year, has taken a notable step forward. And now to turn from expert cameramen to those who are only beginners at this branch of the film industry. I STILL, [CURTIS h . From "HEAD OVER HEELS,' a Gaumont-British Picture with Jessie Matthews, directed bv Sonnie Hale.