Movie Makers (Jan-Dec 1936)

MOVIE MAKERS 43 moving it around to search for burglars. Scene 23. Medium shot. Living room. Mother and Father creep in through the door, Father holding the Indian club aloft and Mother inspecting the premises with the flashlight. They stick together. Scene 24. Semi closeup. In the kitchen in the darkness. A stool is piled on a chair in the scene and the stool slips off the chair, falling to the floor. Scene 25. Near shot. Father and Mother in the living room. Mother jumps and clings to Father. Together, they proceed very cautiously toward the dining room. Scene 26. Medium shot. The dining room in semi darkness. There is a shaft of light across the floor which comes from the kitchen door, although the door cannot be seen. Mother and Father creep in through the living room door. They pause and look at the light on the floor. Suddenly Mother clutches Father's arm and points with a trembling hand at the wall outside the camera range. Father starts and stares in the direction toward which Mother points. Setup of lights, camera and actor to make shadow effect Scene 27. Medium shot. Of the wall only. On the wall is a shadow of what appears to be a tall man who is holding a revolver upraised. (Note: This shadow effect is produced by Junior who is standing on a stool which has been placed on a chair so that he can rifle the cupboard. The gun is a chicken drumstick. To get a fairly sharp and convincing shadow, stage this scene separately as indicated in the diagram herewith. Since only the shadow on the wall is shown in this scene, the shot actually may be made in the kitchen, if more convenient.) Scene 28. Semi closeup. Mother and Father. Mother clings to Father, who raises the Indian club. Father comforts Mother and whispers: Title 4. "/ will tackle him with the club!" Scene 29. Medium shot. Mother and Father and the shadow on the floor, which wavers ominously. Father and Mother creep forward and then rush to the brightly lighted door where they halt abruptly. Father lowers his Indian club slowly and Mother stares. Scene 30. Medium shot. From the kitchen door. Junior is standing on a stool that has been placed on a chair so that he can rummage in a kitchen cupboard. In his hands he holds a chicken drumstick, which he raises to his mouth. He turns and sees his parents. Scene 31. Semi closeup. Father and Mother. Father drops his weapon at his side and looks at Mother. They smile foolishly at each other. Scene 32. Semi closeup. Junior, who is wrestling with the drumstick. He beckons his parents into the kitchen. Scene 33. Medium shot. In the kitchen. Edibles have been spread on the kitchen table, and Junior, Father and Mother, all in their night clothes, are having a midnight snack. Fade out. N ew wri nkl es on newsreels [Continued from page 17] be one unit or clip of your reel. Go over the others the same way. If you are short of comedy breaks, perhaps you can go out and make some. Suppose that you have a series of views at the local four corners and that you need a laugh that is not on the film. In time, you will learn to look for the comedy when the shot is made. Meanwhile, try this outline: Street corner. Rival newsboys. Both seek the same customer. They scrap. The victor sells the prospect a newspaper. Loser nurses a black eye. The scene plan for that would read, perhaps, as follows: Street corner. Medium shot of two newsboys. Closer. They evidently are not friendly. Man enters. Both offer papers. Man undecided. Come in close. One boy nudges the other away. Fight starts. Distant shot of the fight. Closer in. Loser holds his hand to his eye. He has a black eye. Medium. Fight stops. Closeup. Winner sells his paper. The customer is a friend of yours and the two boys are neighborhood youngsters who will stage the fight for a quarter apiece — or maybe for pleasure. Just tell them what you want and stage the fight on a quiet street corner where you will not attract attention. Your friend carries makeup for that black eye, which is put on between shifts of camera position. Your assembly can be related or it can be as different as possible. One clever worker cut out excerpts from six reels of old material in order to gather shots of parades. These he assembled as The Parade of Time. It ran as follows: It is human nature BETTER LIGHTING In the New Y ear With PHOTO FLOOD SPOT I For the first time— theatrical type illumination in the home — luminous spot-lighting which diffuses artistically into your subject or scene— pictorial backlighting and other effects which you admire on the professional screen. 5" condenser, folding tripod, 10 ft. rubber covered cord and switch SI6.50 Auxiliary Reflector which may be used interchangeably with Photo Flood Spot $2.00 FLEX-A-LITE Provides utmost flexibility and versatility in home illumination. 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