The Motion Picture Studio (1921)

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August 6, 1921 THE MOTION PICTURE STUDIO FILM EDITING In many British studios the editing of films is done bv the director, but the time is coming when in each studio will be the man whose sole duty is to sort the chaff from the wheat of the raw negative. The film editor’s existence is primarily neces¬ sitated by the fact that the director has to shoot scenes out of story-sequence. Writing in The Picture goer this month, P.R.M. (a film editor) says:— “In a film I recently edited, a long-shot was taken of the hero bending forward to embrace the heroine. Almost immediately the scene faded into a close-up, so that the movements leading up to the actual kiss were enlarged. “ For the sake of realism, these two scenes had to exactly coincide where the posing of the characters was concerned. But often the director forgets just how the actors stood in his long-shot, and alters them, for the close-up. This is what happened with the lovers on this occasion. In the first picture the hero had his right arm round the heroine, whilst his left held her hand, but in the close-up both his arms encircled her waist. There was only one cure, and that was the introduction of a sub-title, suggesting that time had elapsed between the long-shot and the close-up. I filled the breach with the wording, ‘ An hour passed, and still they dreamed in love’s garden.’ Ananias has nothing on a harassed film editor!” On the film editor rests the responsi¬ bility for the correct use of sub-titles so that they accentuate the thrill in situa¬ tions or emphasise the humour or pathos of the scene. Of this, P.R.M. says : — “The film editor, through the printed word which flashes on to the screen, must endeavour to create the feeling amongst the audience that they are moving for the time being amongst the characters in the play. In the store chambers of his mind he has to collect a multitude of mental puppets, ranging from cowboys to melo¬ dramatic villains. He is responsible for the tabloid humour necessary for comedy sub-titles, and the ‘ meaty ’ melodramatic phrases beloved by the serial fans. Always they must be perfectly in key with the action around them. They must be light, if surface emotions are being de¬ picted on the screen ; heavy and gripping if the action is dramatic and tense. And all the time it has to be remembered that the titles must build up the interest of the picture, and not describe what is to be shown on the screen.” P.R.M. was for two years the editor of a “topical,” and these years he de¬ scribes as the most strenuous of his career. “ For concentrated bustle there is no atmosphere like that of the developing, printing, and projecting rooms of the offices of a topical film company when scoops are in process of being sped to the screen. Figures flit, silently about the great dark rooms beneath the sombre glow of the ruby lamps, whilst cog¬ wheels, dials, and dynamos play their part in hurling great lengths of film into a finished condition. And the film editor, on whose judgment the success of the film largely depends, has to keep as cool as a cucumber, although thousands of feet of film race before his eyes in the theatre, which approximates to the sanctum of a newspaper editor.” 'There is much to be learned of the work of the film editor, and those who aspire to this position in studio life must be prepared for strenuous times; weeks of hard graft. But P.R.M. pays : — “ It is a life which has its share of triumphs, disappointments, and disillusion, but once one has trod its paths the fascination of shaping the destinies of the denizens of shadowland alwavs remains.” FRONT COVER BIOGRAPHIES No. VII.— FRANCIS INNYS. (Stated to be one of the most promis¬ ing of our screen comedians, Francis Inncs is now on “stock” with Inter¬ national Artists’ and is at present play¬ ing in John Gliddon’s production of “ I he Night IHawk,” an adaptation of Eden Phillpotts’ well-known sea story, “'1 he Haven.” John (Hidden states that Innys is a real discovery, especially so as prior to “The Night Hawk,” he played straight parts exclusively. He owes his introduc¬ tion to films to George Clark (of George ( lark Productions), and made his film debut last year. He has since appeared in manv productions, including “My Lord Conceit,” “Frailty,” “Carmen,” “Speed,” “A Sportsman’s Wife,” “The Mystery Road,” “'The Woman of his Dreams,” etc. Tie is .a very keen golfer, something better than scratch, and always takes his clubs with him when he goes away. 'The company was filming in a very small Spanish village on the sea coast recently, and having a morning off, he took his clubs down to the sea shore which, when the tide was out, stretched for miles in a long expanse of sand. Having made one particularly good drive, he began to pace out the distance to get the length. He had not gone far, however, when he was approached bv the village policeman, who had evidentlv been watching him for some time. As he could not speak a word of Spanish, and the policeman could not speak a word of Eng¬ lish, he was promptly arrested and taken to the police station. He was released in half an hour after having satisfied the authorities that he was not a lunatic at large, and that the clubs he carried were for playing golf — not for any sinister pur¬ pose ! Francis Tnnvs is of a debonair type, quick in thought and action, and, so it is declared, an actor whose natural gifts became apparent without intrusion. If John Gliddon’s prediction is proved — if Francis Innys does add his name to the few who can register unforced humour on the screen, his advent will be more welcome than the proverbial “ flowers in the spring. ” NEW PRODUCING COMPANY A new producing company, to be known as British Photoplay Productions, Ltd., is now in course of formation at Torquay. During the last fortnight or so good progress has been made towards this end, and the new concern proposes to commence opera¬ tions immediately on the screen version of the popular stage play, “Where the Rain¬ bow Ends.” The locations of the production will be Torquay, Lydford Gorge, and Becky Falls (Dartmoor), and Cheddar (Somerset). Lisle Lucoque, who has supervised the making of films in America, Africa and F.ngland, will be the director Mr. Lucoque states that all his British productions had been filmed in Devon, and as everything a director could possibly require was available in that neigh¬ bourhood, he had no intention of invading any other part of the country. SCREEN MAKE-UP BY AN AMERICAN ARTISTE I will tel! you just how 1 change my face into that of a cruel, ignorant woman of the lower classes, whose features bear the imprint of a life spent amidst squalid surroundings. First of all I use plenty of cold cream to cleanse the skin, so that it will be smooth and ready for the make-up. 'Then 1 place a foundation of grease-paint over my face. Being a brunette 1 use white grease-paint ; but a blonde would utilise a shade of pink. '1 he paint has to be massaged into the skin with the finger-tips until it presents a smooth surface. Then the base for the building up of the new face is ready. Now a stick cf brown grease-paint comes into operation. Five lines are traced across the forehead six lines be¬ tween the eyes, and one under each eve. 'To lengthen the nose I place a brown line on each side, and to suggest a drooping mouth I carry a line from each nostril, and down the cheeks. By means of dark grease-paint I create an apparent hollowness of the neck. All these lines have to be carefully blended with the finger-tips so that (here are no sharp edges or smudges. Tan-coloured powder is then applied to the face and neck. It has to be patted and not rubbed on to the skin, so that the delicate lines of grease-paint do not smear. Lip rouge alters the mouth to the necessary hard and thin lines, and black grease-paint can transform the eyebrows into a shape which aids towards Miggcst ing a stupid expression. The hair is brushed back from the lorehead, and allowed to droop carelessly ever the ears. The mouth is compressed to give the necessary hard line, and the head bent slightly forward to rob it of any suggestion of grace or poise. A final touch with the powder-puff, and yours truly, Agnes Marc, has the lave of a woman of the slum class. ALLIANCE BUSY Harley Knoles, the Director General of Productions (who now takes over the managing directorship of Alliance Film Corporation, Ltd.), has started his plans on another stupendous production entitled “The Bohemian Girl,” and he will adapt Balfe’s world-famous opera as a picture production which promises to equal his great master¬ piece, “Carnival ” in power and effect. 6