Movie Makers (Jan-Dec 1931)

596 Scenarios for superspeed FRANK R. KNIGHT, JR. NOVEMBER 1931 Baby, IS chuckling, seen peering from open doorway the NOW that movie makers have become more or less accustomed to the possibilities of the fast film, the approach of winter takes on a new significance. Those parts of the family film library, so long left blank, can now be easily filled with most important shots, for surely there is no site so productive of worthwhile films as the interior of the home. So here is an outline of a type of picture that can be made with ordinary lighting — an all closeup film that will appeal to friends as well as to the family. This example might be called Baby Breaks Loose and there is more than a hint of realism about it, too, for it relates what every youngster seems to think about and what every mother is often convinced every youngster thinks about. If shot, it is an amusing domestic documentary film. The plot calls for the destruction of one or two items, nothing costly, although no great cinematic epic has yet been achieved without some sacrifices. Pick out some badly cracked plate, drop it "kerplunk" on the floor and make a closeup of Baby on all fours alongside of it. Then attract the youngster's attention to some other part of the room and film him while he turns about. Now make a shot of Mother at the telephone talking animatedly. If possible, get a shot of Mother's best friend at her telephone. Follow this with one of an overturned scrap basket and show Baby extracting its contents, then another shot as he leaves for his next scene of destruction. This time it is Dad's slippers. Baby slides his hands into them and moves majestically from the scene preceded by the ludicrous slippers. Cut in another scene of Mother at the phone; next, one of Mother's old hats on a chair is seen. Baby comes into view, pulls the hat off the chair and clamps it on his head. Then a chubby hand lifts a book from the bookcase. Make a series of shots as Baby's interest in literature develops and book after book is removed from the case until he is almost completely surrounded by them. This is done by removing a few books at a time and stacking them around the child between the short shots. Then film him Ideas for indoor movie making with the new fast film as he bursts through his seemingly self erected fortress and, still equipped with the slippers, disappears from view. Now we see his hands as they turn on the faucets in the bath tub. The water is shown pouring out and partially filling the tub. Then Dad's slippers are seen floating about the tub. (It's really time he had a new pair anyway.) Show baby chuckling to himself. Back to Mother at the telephone. She smiles, nods and hangs up. As she turns about, a look of horror comes over her face and she is seen to utter an exclamation. Baby turns a startled face, apparently in her direction. A sharp whistle from one side will produce the desired effect. At this point the wheels of a car are shown rolling to a stop in the drive, a hand is shown pressing a horn and, in a medium shot, Dad is shown climbing out of the car. Mother comes to the door, her expression indicating that she has been through a lot. Baby, chuckling, is seen peering from the doorway. Mother, with gestures, describes the carnage that awaits within. Dad tries to pacify her. While they discuss matters, Baby hurriedly brings order out of chaos. He first replaces the papers in the basket, an effect which is achieved by turning the camera upside down and filming him again as he extracts the papers. Turn this scene end for end in the reel and resplice to secure the effect of reverse action. Mother's hat is returned to its chair in the same manner. Then Baby points commandingly. This gesture can be obtained by holding s om e t h i n g he wants just out of his arm's and the camera's reach. The plate is seen miraculously to reassemble itself. This effect can be secured by gradually moving the broken pieces together and flicking the exposure lever between moves. When it is almost united, sweep it up and, without moving the camera, make a [Continued on page 622] Ewing Galloway