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Most British producing companies are in a state of chaos. There is no organization, no centrahzation, no efficiency. In the art department it is sometimes impossible to obtain such simple materials as crayon or blue paper. The worst example of this poHcy of meddle and hope that I have met was during the construction of a street scene. The carpenters had been instructed to use as little wood as possible, but they found it necessary to order a smiall extra quantity. The clerk of works was immediately summoned to the head office. He explained the position and pointed out that the set was to be the principal one in the picture and therefore justified a little additional attention.
After a lot of humming and hawing one of the directors said, "Well, we are not quite sure if we can use this set in the picture." They had only just started to write the scenario ! There may be a lot to be said against the water tight scenarios of Hollywood but. . .
Perhaps you cannot blam.e the companies entirely for the complete lack of initiative in their programmes. They have grown to distrust their producers, and seeing the numbers of 'duds' gathered in the British industry you cannot be surprised. Our leading British producer confided to me, in a weak moment, that he directed his pictures with his tongue in his cheek. Another of the star directors might do something big if only he could be persuaded that there are other shots besides close ups. I have seen disconsolate actresses, sit on a stool for hours on end while he secured hundreds of feet of 'close up\ The most tj/pical English director I can think
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