Movie Makers (Jan-Dec 1949)

415 16mm. scenes by Frank E. Gunnell, FACL SATISFYING SEQUENCES of children at play are obtained only by the carefully planned inter-cutting of action and reaction, expressed in the changing viewpoints of medium shot, closeup and extreme closeup. Action here is a tortoise race, so adroitly staged as to seem natural. such "showing off" in earlier films — films that have brought embarrassment to the children when shown to friends and relatives. Like adults, children enjoy being laughed with, but not laughed at. ASK THEIR SUGGESTIONS Young people like to have a purpose or reason for doing things. That is probably the reason they are constantly asking "Why?" If, then, we explain to the children the story and purpose of our film they will not only know why we need their cooperation, but sometimes may even be able to offer helpful suggestions of their own. After all, we adults sometimes forget how children really would behave under certain conditions. In so doing we may expect too much of them or try to put them in situations that are unnatural for their age. If we so much as adopt one of the children's suggestions, they then feel that the film is indeed theirs. In Sahuaro Land, for example, (made when Donald was eight) he understood that while we were visiting in Arizona we wanted to make a picture of a boy and his dog in the desert. Getting Donald's cooperation was no problem at all; he was proud to have his cocker spaniel featured in a movie made among the giant cacti. The twelve minute film took about a week to produce, with daily production limited to short periods of work interspersed with rest periods, picnics and hunls for interesting locations and bird and animal subject matter. Producing The Voorlezers House involved using a group of eighteen school children of various ages from five to fourteen years. The children were carefully briefed as to how we were going to reproduce the school life of one hundred years ago, costumes and all, in a historic old schoolhouse. THE FAMILY FILM Although strangers to the cameraman at the start of the film's production, the children quickly fell in with his hopes and plans and eagerly took their parts. With a less serious purpose, some of the costumes worn would have brought a howl of protest from the boys! Mohawk Pals, a story of the adventures of two boys and a girl (ages eight to ten) at a New Jersey summer resort, apparently broke our rule about not dragging production out too long. It was two summer seasons in the making. However, the film was planned as a series of individual sequences, each of which could be filmed in a short time. REHEARSE FOR TIMING Before actually shooting any scene involving children, the director-cameraman should make sure that they know exactly what is expected of them. This means ample explanation, and in many cases actual demonstration by the director or his assistants. Scenes that involve anything more than a walk-through should be rehearsed and checked carefully for natural action and timing. Watching the scene through the camera viewfinder as it is rehearsed will enable the director-cameraman to check for good composition, line of movement and proper placing of subjects. When two or three members of the cast are to appear together in a scene, perhaps entering from different angles or at slightly different times, then the scenes must be rehearsed for correct timing. TAKE IT EASY A technique which we have used successfully is to have the children go through their parts as the directorcameraman gives directions in a calm easy-going voice. The children are taught to listen and to follow the directions naturally, without at any time turning to look at the director. In as much as the director is generally at the camera, this means that the children are being told "Do not look at the camera." Ask your child if players in professional pictures [Continued on page 434]