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}uiet Directors
By BRIAN YOUN© (Something Indian Directors should Learn)
ollywood directors have as ly different ways of handling r players as the late Lon mey had character make-ups.
ome yell, others mumble, ly storm, a few smile and sell use a mood technique.
oung Edwin L. Marin, who has n to the top ranks by being gned to direct EVERYBODY G, is termed a "low-key" dor.
. microphone or megaphone
unheard of on a Marin set.
by any means is Marin al
fs giving out smiles, but even
m he is handling a tough
le, he never raises his voice.
feels that yelling will only up
the player and make his work
n more difficult. Also, he ks that any raising of the voice is to make the player realize how difficult the scene is and efore causes him to tighten up.
t's only natural," explains the ro-Goldwyn-Mayer director, people to grow taut and menfight back when someone s at them. Then it takes hours break that down and make n normal again."
it Marin is far from being the i "low-key" director in Holly§d.
idney Franklin also comes er this classification. He's so >t that after a day on one of companies, even the scream"giffers" and workmen talk in spers. Roy Del Ruth not only cts quietly but says fewer ds than any other of his guild.
Visitors on a Marin, Franklin or Del Ruth set often mistake the assistant director for the director. When a guide points out the "captain" of the set, they are usually amazed.
One woman remarked:
"Why he can't be a director. He just sits there and quietly talks to the people. That man yelling through the microphone at the 'extras' is more like the directors I've read about in novels." (She meant the assistant.)
The average person wouldn't think of W. S. Van Dyke as being a "low-key" director, but actually he is. A man of the out-doors of the rough-and-ready type, Van na
turally has a robust voice. But he always directs in the same low key, as far as tone is concerned.
Van Dyke is not only a quiet director, but he also believes in the "happy mood" method, especially when working "extras". One night on the sixty acre set of Romanza where he was filming the actions of 1500 "extras" for scenes in ROSALIE, he was having trouble getting the atmosphere players to work properly.
"I've got an idea," suggested one of his assistants. "Let's plant some people in the mob, have them cause some trouble, and then fire them as an example. This will make the others obey orders."
"No," answered Van Dyke, "you can't get work out of people unless they are happy and satisfied."
Van takled to the mob for a minute, reminded them that they were "extras" of experience, and the next time the scene was perfect.
Durga Khote in "Soungadi" a Nataraj picture.
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