The Motion Picture Almanac 1929 (1929)

1929 The MOTION PICTURE ALMANAC 101 CUT OIT OF THE PlCTURE~To be left on the cuttinp: room floor. CUTTER — A man who specializes in aseemblinE the film that has been made by the director and the cast. CUTTING ROOM— Where the picture is "cut into >;eiiuence form" and assembled. D DAILIES — Screening of film which was shot the preceding day. They are rushed through the laboratory immediately after they are brouKht in by the cameramen and are printed for the scrutiny of the staff and cast. DARK ROOM — Where the magazines are loaded. So employed so that the film will not become exposed. DARK ROOM^A room in a laboratory where negative film is deveioi>ed. DAY CHECK — An extra is f^aid to be working till a day check when engaged solely by the <iay and not by the picture. DEAD PAN— An immobile face : expressionless. DIALOGUE— Characterietic of a picture which has audible linet;. DIFFUSER^A silk curtain or canvas used to sh:-ide the camera lens fi'oni the sunV glare. DINGE — A colored actor. DINKIES— Slang for girls. DISSOLVE— The fading of one character into another in the same scene. A shot in which the actor't; features are focussed out and are replaced when the features of another actor are focupsed in. DO A BIT — To do an outstanding piece of business. DO A CLOSE-UP WITH THE STAR— To do a ]iiece of business that is photogi'aphed witli the leading man. DO A SCENE— To act in a scene. DOING A PART— To have a part. DOGGY — Up-nofiy. high hat, snooty, up-stagc, high brow. DOGGER — One who is imperialistic in lording over "The Mob." DOGS (PUPPIES)— Feet. DOLL HOUSE — A portjible dressing room on the wet for the leading lady. DOLLY — A three or four-wheeled vehicle primarily u.sed by the cameraman. DON'T SHAVE TILL YOU SEE ME— Expression for extras, meaning, "if you let your beard grow I might have a job for you." DOUBLE — The star's i>rofessionaI twin ; one who substitutes for the wtar in case of danger. DOUBLE EXPOSURE— Exposing a piece of film twice to get an unnatural effect. For dual rol&i, apparition scenes and miniature set>. DOUBLE BACK— To work in a picture and then don unrecognizable make-up and do another character. DOUBLE TAKE— To take a scene twice. DOVE TAIL — To synchronize the action from one scene to another. DOWN-STAGE— The foreground of a set. Toward the camera. DRAPE A SET— Dress a set with the proper hangings, etc. DRESS A SET— Same as "Drape a Set." DRESS THE STAGE— To arrange the set in it-s final details for shooting. The process often includes such small propertie*^ as pictures, table lamix^, iten holders, blotters, rugs and flower pots. DRESSED — Prepared for camera work. Pertaining to a set that has been fitted and furnit-hed in the last detail. DROP DOWN— A camera term. Reduce the speed of the camera : the characters, conversely, move faster on the screen. DUCAT— A check for the day's work. DUMMY — An effigy stuffed figure used foiwrecks, crashes and explosions. D. W.— A term that is synonymous to D. W. r.iifl^th. DUPE — A negative film made fiom a posit i\e jirint. EAGLE — An insect that flies across the set while the camera is grinding is referred to as an eagle, for such is the effect to the eyp of the camera. EARS ARE TOO CLOSE TOGETHER— Meaning that he's a fool, or a lame brain. ECCENTRICS— Casting office term for mixed characters, freaks, etc. ELEPHANT EARS— Small goboes. (See Gobo.) EMOTE— Slang for acting. ESTABLISHED— To be established means the actor has been registered in the film to such a degree that if he were cut out he would be missed by the audience. EXTERIOR — A scene made outside of stage. EXTRA — One who does atmosphere. FADE OUT OF THE PICTURE— Get out. FADEOCT — Darkening the film until the image is obscure. FAKE — To go thiough the mechanics of a piece of business play. For instance, in a semilong shot we see a character go to a pay phone, drop his nickel in the slot and start talking. Often he will just "fake" the act of putting a nickel in as he is too far away from the camera for the audience to discern whether he did so or not. Also to make a scene by an artificial device. FAKIT — To make a shot in miniature or in one of many unreal methods. Often pertaining to faked collision shot*s. FANNY— See "Pratt Fall." FANNY BOARD— See "Belly Board." FANNY FALl^-Same as "Pratt Fall." FEATURE— n.. A motion picture, adj., full length, v.. to bill a player above the others in the cast ; to play up one of the cast to a position slightly less than that of a star. FEED— The straight man is said to feed the comic. A feeder is the foil for the comic's antics. FILL A SET— See "Cast a Set." FILLING UP THE SPACES— Scattering the extra people around the set proportionately so that the scene looks balanced. FIN— Five dollars. FINK— Cut-rate laborer. FLARE — 'A rocket used to illuminate the .?cene with a fiashy light : used much in battle scenes. FLAT — A backing. FLICKERING TIN TYPES—Slang for movies. FLOOD — ^A term used when light is thrown on a set with extraordinary brightness and volume. FLOP— To fail. A failure. FLOP— A failure. FOLLOW SHOT— A scene made by the cameraman following the actor at a regular distance with the camera mounted. FOOTAGE— The number of feet used to shoot a scene is referred to as the footage. FOREGROUND— Immediately up toward the camera. FOIL — A straight man for the comic. FOREIGN INVASION— Phrase used by disgruntletl extras when there was a migration of foreign stars recently. FORTY-THIRD ASSISTANT— On large sets additional assistants are employed to handle the mob; the extras refer to these also as "The Sheepherders." FOUL BALL— A wet blanket. A person that the regulars don't take to. FRAME — One single picture on a piece of film. FRONT GATE BARNACLES— Extras who hang around the casting offices all day long waiting to get a job. See "Spec." FREE LANCE— A person not under contract is said to be free lancing. FUDGE— Move into the picture. (See cheat.) FULL FIGURE SHOT— See "Knee Figme." _ -FUNNY STORY— A person is said to give you a funny story when he comes up and gives you the rush act for a loan. A hard Iuck tale that sounds fishy. FUZZY' — The quality of a piece of film turned out. tested and found out of focus. GABO— Grip. GAFFER— Electrician in charge of a group of juicers. See "Juicer." GAG — A situation in a scenario originally meaning a comedy situation. GAG LINE— A stock phrase. GAGMAN— An embryonic scenario writer specializing in adding comedy touches to a scenario. GAG ROOM— Where the gags are assembled, or written. An editorial office for gag writers. GANG — A number of extra players — fewer than 3(1. GATE CRASHER— One who gets by the gate man on the strength of a story, or a fast line. G. E.'s — Any incandescent light bulb. They range in price from 90 cents to $90 and the expensive bulbs burn only a few hours. GENERAL ACTION— All that the name implies as used in a scene. GET TO FIRST BASE— To say that a person doe-^n't get to first base means he can't get his stuff across. GILLIPINS — Taken from the circus jargon. "Beginners." GIN POLE— A large pole suspended to the back of a truck ug^ in hoisting persons and objects out of « *s;c*?ne.,' Jiie^ character or., object is suspeTiued fro.r. "tna' pt le ' by invisible wires. * ■ » » i » GIVE THE LANDLADY THE BUSINESS— Stijl/ her 'fcv .thp rent. GH0SY--A's"h',r1oU f^Pin;i ov-r the* ^^t.' GO ALL THK' VyAY THROUGH THE PIC TURE— The actor 'starts VHeA -the -p'cture starts and works all the way through. Thi.< is "the extra's dream." GOES BLACK— To say that an object goes black means that it will photograph all black. See "Blue Glass." GOESOVER— A shield for a lens. Protects it against top lights. GO OUT — The company will go on location. GRAND— One thousand dollars. GREASE— Cosmetics. GREASE — Grease paint. Vernacular used by the piofession for make-up. GRIND — A verb meaning to turn the crank of a camera. GRIP — A handy man or jack-of-all-trades on a director's crew. GROUND HAZE— This makes for poor photography and cameramen shy from it. A photographic handicap. GUN — The camera. GYMBOL — A water wave placed before a camera to enable the director to make a tricK ocean or river shot. H HALF WIT^ Vernacular for stupid person. HAND SHAKER— A studio politician. HAT — Any camera stand. HAY WIRE OUTFIT — Cheap. fly-by-night quickie company. HEATER — Common for overcoat. HEAVY— A villain. HEAVY STUFF— Dramatic acting. HELP HIM OUT OF THE PICTURE— In a chase where the cops run after the crooks the director will say to the cameraman : "Help them out of the picture " meaning for the cameraman to "undercrank" and thus get them out of the scene in less footage than would ordinarily be required. HIGH HAT^A very low stand on which a camera rests. HIGH LIGHT— A lighting effect ; illuminating a subject so that the features are well defined. HIT 'EM — A cue for the electrician on the switch-hoard to light the set. HIT 'EM ALL — Switch on all the lights on the set. HIT THE BROAD— Place a silk diffuser on a broad-faced lamp. HIT THE FLOOR— Directing the baam of h spotlight onto the floor. HIT YOUR SPOT— Open the switch of the large spot light while the staff is arranging the set. HOOFERS— Soft shoe and tap dancers. HOG IT — -The practice of an actor who crowd.s another actor out of the scene by placing himself squarely before the camera with instructions. HOLD YOUR HAMMERS— A command from the director to carpenters on adjacent sets to stop working while the scene is being taken. HOLD THE SLATE— A black paddle bearing the name of the director, the cameraman, the date and scene number of the take. It is photographed at the end of each take for identification purposes. HOLES — Wheie a large mob of people are used the set is spoken of as having holes if the peoi)le are not evenly scatteied. HOLLYWOOD ROMPERS— Golf trousers. HORSE OPERA— A Western picture. HOT — An abundance of light. HOT POINT— Gang way! Clear the way. HUDDLE— A conference held on the set by the director and his aides. HUNDRED AND EIGHT— A fall used by comics that is similar to the half gay nor in spring board diving. ILLUMINATING ENGINEER— Electrician. IN AND OUT— To say an actoi is in and out means that one day he's in the money and the next day he's on his uppers. IN CONFERENCE— "Not to be disturbed." Also a huddle outside or inside the office. INCANDESCENT— A filament lamp. INDEPENDENT— Any producing company not affiliated with the Pioducer's Association. INDEPENDENTS— A group of these companies. INDIES — Independent producers and studios. INGENUE — An important young feminine player in a picture. INKIES — Incandescent lamps. INSERT— Example: We see the star reading a letter, we cut to an insert of the letter. In other words, the contents of the letter are revealed in a close-up. The letter is known as "An Insert." IN STOCK— Salaried weekly players are said to be "In Stock." INTERIOR— A scene made inside of stage. IKTBRVIEW— Literally an interview batween th*? player and the casting director. When an aotor says he has an interview he means that the casting director has called him regarding a forthcoming bit or part.