Movie Makers (Jan-Dec 1953)

MOVIE MAKERS 21 believe us or not. But when he was sure we weren't kidding, he really went to town on Kev — and they both loved it. Tonsorially, the results were pure mayhem. But dramatically, the sequence was a smash hit. And there was one thing for sure — there could be no retakes of earlier scenes after Gregory finished that five minutes of gleeful fratricide. So we shot the sequence after all else was finished — and then cut it into its rightful place by editing. The fun of making the film really appealed to the children — initially, that is. For on our first run-through of each scene they seemed to regard it as a game. However, when shooting different angles of re-enacted action, we ran into trouble. We had to resort to all sorts of bribery and cajolery on those occasions in order to win their cooperation. In fact, after a few days of filming from breakfast to bedtime, we heard Gregory remark wistfully to Kevin one morning: "I hope Daddy isn't going to shoot me again today." Being new at this type of filming, we underestimated by far the amount of film we would shoot. We had thought that about 1000 feet would see us through; but we wound up shooting over twice that amount — 2200 to be exact. Frankly, we were a little aghast ourselves. This was getting to be an expensive vacation for not going anywhere. However, the further we progressed in the editing, the happier we were that we had that much footage. For it enabled us to use only our best sequences and our choicest shots. FROM 2200 TO 750 FEET An interesting thing happened to us during this editing process. After the first rough cut the picture stood at 1500 feet — too long, we knew. So we went through it several more times and whittled it down to around 1200. And then, at about that point, we suddenly lost our enthusiasm for the film entirely. We felt undecided on any next step. Was the film still too long? And, if so, how and where could we cut it further? We simply could not decide; so we set the project aside for a considerable period of time. Later, when we returned to it, we were able to go after the job with a colder and more calculating eye. Of each shot we now asked ourselves: "Does it help to tell the story as plotted?" If we could not answer "Yes," we would cut the scene out. Following this formula soon left us with but 900 feet, a total which eventually was slimmed down to 750 feet in its final form. Our aim in this final trimming was to create or maintain swift, smooth progression in every scene where action was involved. Sometimes this meant trimming only four or five frames, especially where a number of shots from differing angles were being interwoven to create the finished sequence. For in filming of this sort there is always likely to be an overlap, or partial duplication, of action from one scene to the next. We feel now that our care in trimming out even the smallest bits of this duplicate footage is largely responsible for maintaining the picture's pace. NARRATIVE AND MUSIC In our first crack at the narration, we planned to have Pop deliver the running commentary. But this system was unsatisfactory, since it seemed unnatural for him to be talking when not in the scene; further, this setup did not offer the opportunities for humor that we wanted. There seems little reason why you should be interested in the varying other narrative schemes we tried and discarded. But it may amuse you to know that in the end we assigned the audio endeavors to a pair of inquisitive and omnipresent mice. That's right — mice! Their invisible but highly effective personalities were played by Shirley Jornt and Robert Tenuta. a couple of trained amateur actors whose cooperation we secured through the kindness of Mrs. Everett McNeil, director of the Kenosha Little Theatre group. We too found that it pays — as Haven Trecker so wisely stressed last month — to go out after that just-right voice or voices for your film. In selecting the background music, we had two distinct purposes in mind. While the mice were commenting, we wanted a light and pleasant music that would not distract from their talking. During other portions of the film, we wanted the music to carry the load without commentary. Thus, in those places, we used music which we felt was stronger and more commanding. THE EQUIPMENT USED For those who are interested in the technical aspects, I have included the following: We used our 1943 Bolex H-16 for all the filming. Since Delores and I also shoot color slides, I have designed adapters for using any of our Contax lenses on the Bolex in order to avoid buying extra telephoto lenses. Actually we have only two lenses exclusively for the movie camera — a 25mm. Eastman //1.9 and a 17mm. Wollensak //2.7. However, use of the Contax lenses gives us in addition a 5cm. //1.5, an 8.5cm. //2 and a 13.5cm. //4. Since the standard Bolex finder BOLEX ACCESSORIES STEVENS Bolex Camera Accessories and Authorized Service exclusively • Battery-Operated Camera Drve • A. C. Synchronous Camera Drive • Lens Extension Tubes for Ultra Close-Ups • Double-Exposure Split-Frame Mask • Detachable Camera Base • Special 400' Magazine Installation • Alignment Gauge for Precise Framing • Cine T mer for Automatic Time-Lapse Photography • Turret Filter Slide Installation • Complete Bolex Service & Parts SOUND SPROCKETS INSTALLED OCTAMETER FINDERS INSTALLED Write for Illustrated Bolex Accessory Booklet STEVENS ENGINEERING CO. 2421 Military Ave., Los Angeles 64, Calif. 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