National Board of Review Magazine (Jan 1939 - Jan 1942)

8 National Board of Reviezu Magazine much more of a break. He has only one angle to consider at a time. Question : Could you tell us something of the difiference between stage acting and screen acting? Answer : Well, I do not think there is much difference, except in the question of continuity and the contact with an audience. The latter is a great stimulation, and may often cause a variety in performance which one would not get away from an audience. The stage has much more of a feeling of spontaneity about it because of the audience, because of peculiar factors, of which I know nothing, but which make themselves apparent in a difference in audiences. For instance, on the stage, a Thursday matinee audience is an entirely different entity from a Saturday night audience. This makes you act differently. You get a feeling from the audience. You begin to feel what particular angles of the character they like; what particular angles of the play they like. It is sometimes possible to change your performance, to do it minutely, but still importantly. As for technique I believe the same problems apply on both stage and screen. Question : How much ad libbing are you Montage and the By Slavko An address delivered ty Mr. Yorkapich at the National Board of Revieiv Conference, inchiding also the ansicers to some questions put to the speaker folloioing his address. Mr. Vorkapich of Metro-Goldwyn-Mayer, is the foremost authority on montage. A few years ago when I was hired by one of the major studios to make certain montage sequences I soon ran into difficulties with the production manager. He had the idea that montages were made out of odds and ends of film found on the cutting room floor, or scenes shot by the director, or stock shot scenes from different news reels, or various bits out of past pictures. When I began demanding actors, and wanted to shoot some scenes and needed a pool with about 100 pounds of mercury in it, and a newspaper front page enlarged and reproduced on a large sheet of cloth, about 10 X 12 feet, he didn't like it a bit because, in his opinion, that simply added to the cost allowed when you are appearing before the cameras and on the stage? There must be a difference. Answer : I would say not. Perhaps there is more ad libbing for the camera. Very often in the heat of a performance, and as a result of quick preparation, the actor will come out with better lines tlian were intended, but ver\ often you will find that the lines, as given, are much better than anything an}-body can ad lib. Question : Do you hke acting in Xew York better than in Hollwyood. Answer: I cannot say I do, no. I would hate to be cut off from any part of the entertainment business. In fact, what I am looking for is a little bit of variety. Question: Is there any role that you played that vou like particularlv well, and why? Ans\\"er : Well, I was in Hollywood f ix years, and made 36 pictures, and it would be awfully hard to choose one out of those. I had three or four parts that I liked ver}much. I liked Mutiny on the Bounty. Bengal Lancers and a little number called Love on the Run. That was really my favorite picture. Creative Camera Vorkapich of making the picture. He said, "Tf I ever meet that guy Montage I'll wring his neck." Lately, I have been getting some fan mail. I am asked to explain what the word "montage" means. Some writers spell it like '"montague". Some ask me whether it is a lens, or the name of the Frenchman who invented the camera. So I have written a little definition of montage that I usually send to all who inquire. I will give it to you now. "Montage is French for any kind of mounting, assembling, putting together. Like many other words, it has a general and a special meaning. Thus, the making of a complete picture, the assembling and putting together of individual strips of film, is montage in its general meaning. Its special meaning, with which we are concerned, denotes putting together two or more images, one next to another, one after another, or