The Moving picture world (December 1920)

710 MOVING PICTURE WORLD December 11, 1920 Cardinal Principles in Architecture of Pictures Are Realism, Line and Color EALISM, line and color embody the cardinal principles of motion picture architecture, according to Robert M. Haas, art director for Paramount Pictures made in the eastern studios. In recent years this form of architecture has taken definite proportions and has become a recognized branch of the profession. Producers used to think that only a scenic painter and canvas were needed to make a picture, but with the rapid development of the industry architecture has become a very necessary part of the successful and popular motion play. "Architecture and decoration are nothing more than the expression of the character of the people of the times," said Mr. Haas. "We had no documents or books to tell us of the mode of life in ancient history, so ruins were dug up and the character of the people was judged from these buried treasures. "In motion pictures one of the first things we try for is realism — the expression of the character of the people in the story through the background. Such a setting enhances dramatic value and adds to the interest of the picture." Mr. Haas explained that the most important thing in designing motion picture sets is to start with the proper line and proportion. "It is the line that forms the composition of the whole room," he said. "By using care in line you can get the room so the eye will not wander. We establish a focal point — center of interest — and also gain mass composition by formation of line. "A good design is nothing but symmetry of interest. In big sets we get balance by inserting an interesting little mass. The big thing hits the eye first, but the little mass helps to divide the focal interest. The camera has its limitations, as everyone knows, and the composition of the background has a great deal to do with the finished picture which appears on the screen. The camera distorts and this is corrected by throwing into the background vertical, accidental lines that are offset by the horizontal mass. "Every composition for successful proportion can be based upon the painting of Whistler's 'Mother,' a picture which illustrates complete balance by the use of vertical and horizontal lines." Color plays a secondary part in motion picture settings, according to Mr. Haas, but is essential for its pleasing effect on the actor as well as the eye of the audience. "The photographic value of color must be considered first," he continued, "and after that we always choose colors that harmonize and please the eye. This gives a pleasing atmosphere for the actors to work in and is one of the principal reasons for painting the background instead of having flat colors. True, many of the colors do not show their true value on the screen, but the use of proper tones has a great deal to do with dramatic action. You would not expect an actress to portray the part of a society leader in a dark, dismal room, so we put in color to fit the story even if it only photographs in shades of black and white. "Greens have the best photographic quality, for they show up practically in their true value from the lightest tone of gray to the very darkest. Green, which is a combination of yellow and blue, does not photograph flat like the warm colors. "In selecting color it is necessary to consider the complexion of the star who is to work in the background. Some photograph better in light backgrounds and some must have dark backgrounds. In order to get color on the wall that will be suitable to any complexion, we use what is called three-tone stipple in most of the Paramount pictures, discarding wall paper altogether. Three-tone stipple is a neutral colored background over which is stippled a light color and over that a darker color, which gives three tones of gray. This gives enough dark color for the blonde actress and enough light tones for the brunette." Over a Million Involved in Improvements Fox Is Making at West Coast Studios WHEN William Fox opened his new studios in New York it was declared that production on the West Coast would in no manner be curtailed by the great addition to the facilities for ensuing Fox productions. This assurance is confirmed in the announcement of improvements now under way in Hollywood, under the supervision of General Manager Winfred R. Sheehan, of Fox Film Corporation, and it is said that more than a million dollars is involved. Two new stages, new dressing room buildings, carpenter shops, an increased-capacity garage, blacksmith shop, lighting apparatus and electrical distributing system that will eventu ally do away with alternating currents — all looking to an enlargement of producing facilities — are under way or contracted for. Among the principal building activities is a new dark stage already well along toward completion on the east lot. This will be known as Dark Stage No. 3. Another dark stage of the same dimensions (75 by 100 feet) and to be known as Dark Stage No. 4, will be built paralleling No. 3. Representing the latest development in studio construction, these new stages will be particularly well equipped with lights. The Western avenue sides of No. 3 and the carpenter shop (which is being increased by 4,500 square feet of new con struction) are being finished in stucco plaster, which will add to the attractiveness of that vista of the street. The extension to the carpenter shop will accommodate a new baud-saw, a new planer and a new bower and ventilating system for the entire shop. A new plaster shop, 30 by 60 feet, is planned to take care of the increasing amount of plaster work and clay modelling executed for William Fox productions. Mr. Fox has broken away from flat stencilling for sets where sculptured effects are necessary and instead is incorporating actual sculpture created by his own staff. Another innovation will be a blacksmith and sheet-metal shop, 30 by 60 feet, on the site of the present equipment. Several cottages at the northern end of the east lot are coming down to make room for lumber sheds 20 by 150 feet— to afford storage for enough lumber for all studio needs. On Serrano avenue will be erected a garage, 100 by 300 feet, built of concrete and having capacity to house fifty machines. The dressing rooms on the comedy side will be increased by fifty in one building adjoining Stage No. 2, on the east lot, and there will be fifty new dressing rooms adjoining the new No. 4 stage A great increase in electric power is contemplated, the first of the three new 300kilowatt generators being now in operation. A new underground system, embracing a mile of conduits, connects the two lots and provides for the eventual elimination of all alternating currents. Still another improvement is the installation of a steam heating plant in the main office building. The grass plots on Western avenue and Sunset Boulevard are to be planted with flowers, and in general the entire aspect of the entire studio plant is to be improved. LAST CALL! For Space in the Special Christmas Edition of MOVING PICTURE WORLD DON'T DELA Y A DA Y!