Home Movies (1951)

home movies June, 1951 PUBLISHED IN HOLLYWOOD WITH THE L A D H ES strangers mm fii actors Can't get the right kind of actor? Ask any stranger — the right one is nearer than you think. W I L M M A R L O W PEOPLE are nicer than anybody, doggoned if they're not! For every ornery person you may run into, there's about a couple of hundred folks who are the swellest, most helpful guys and gals you ever met. I have met up with some grand strangers since the home movie bug swooped down and stung me. After shooting my first two rolls of classic pot shots, I learned of a medication easing the pain of amateur movies — scenario-type films. By creating a small play, with friends and relatives as the stars, my actors had a chance to do something besides wave at the camera. It was also a neat way to bring into my films many wellknown spots of interest. When I began my scenario filming however, the first thing I discovered was that I didn't always have the special characters I needed, or the proper background. That's where strangers came in! Take for example, the time I needed a tall, slick, questionablelooking character to fit into the part of a guy who bumped into my G.I. hero at the depot as though he were "lifting" his wallet. I didn't know any tall, slick, questionable-looking characters. So when we showed up at the depot ready for shooting, I went talent scouting. The first man I asked to play the part was willing, but it seemed he worked at the depot and was due on the job in five minutes. The next one I spotted was waiting for a train to arrive — and was even better for the part than the first one. So I propositioned the young man. He was pleased to do the part — rehearsed cooperatively several times, then we shot the scene. He turned out a wonderful performance. A Red Cap of ample proportions that I recruited for the part, pushed an orange-colored baggage truck by in the background of another scene at the depot. His toothy smile was still glowing when we left the depot for out next scene. Then there was the time I wanted the "lead" in the play to purchase a colorful silk scarf at an open-air booth in Olvera Street. This street as you probably know is the oldest in Los Angeles and is a cameraman's haven because it's a historical spot that is filled with colorful Mexican odds and ends. Naturally, I needed a Mexican chap to "sell" my hero the scarf. So, nothing to do but more on-the-spot recruiting. The fellow I asked readily consented to do the part. He came to the outside of his booth where it was sunny, unpinned the scarf from its holder, folded it, opened a bag and slipped it in and held it out for our hero. He gave the most natural performance. Well, why not, the man wraps 'em up all the time for the customers! There was another time that I needed a taxi in a movie scene. I wanted my heroine to ride up in a taxi and step glamorously out of it. I found some taxi drivers waiting for a call with nothing to do but pick at the callouses on their hands. I entreated a sallow, sour-looking one to pull into the spot ahead of him with my heroine in his taxi. Surprisingly he consented with a grin; and when he had stopped his car, the fellow jumped out, opened the door for her, and she stepped out like a queen. I remember the last time I took a taxi; the driver didn't bother to get out to open the door for me. Everybody puts his best foot forward in a movie part, it seems. And this gives me the idea that just as it has been said: there's a little bit of ham in all of us! In addition to our need for extra actors, we often needed a special background or "location" to help create an illusion or to make our play more convincing. The amateur doesn't have the time nor the cash to make up his "sets" as the studios do, so he has to improvise. I found there are so many people who are glad to help out — the neighborhood grocer, the corner drug store, the conductors at the train depot, or the rancher with the orange grove. They are happy to permit you to film their property as background. And if you can find some bit part for them in the background they have furnished you, they will usually be tickeled about it. • See "STRANGERS" on Page 207 Wilma Marlow shooting an arr.ateur movie at Los Angeles Union Station.