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FERDINAND EARLE, director and artist, has intensely interested all Hollywood in an idea of his — something entirely new in motion picture making. Everyone knows the enormous cost of ihe difficulty involved in the making of proper backgrounds. Companies have traveled many thousands of miles to find suitable locations — motion picture corporations have gone bankrupt over the filming of one special feature.
Mr. Earle's method will never supersede the actual building of sets, but there are many cases in which it can be used to advantage. For his sets consist of innumerable paintings done on eighteen by twentyfour academy boards. By a method of double and triple exposure he is able to introduce real actors and actresses into these sets and, when the results are projected on the moving picture screen, and translated into terms of light, they look like real photographs.
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Mr. Earle s studio — more like a Parisian artist's atelier than the workshop of a motion picture director — is hung with a number of his "sets"
All the romance and color of the orient is in this scene from "The Rubaiyat of Omar Khayyam, Mr. Earle s most ambitious picture. There is a splendid imaginative quality, a depth and beauty, that is found in some of the larger panels by Maxfield Parrish. One cannot help feeling that the photographer has gone back across the years to secure this effect. But Mr. Earle, with his bits of cardboard, knows better!
It s hard for any woman — no matter how clever an actress she may be — to walk up a flight of stone steps that are painted on a small section of academy board. But with the assistance of Mr. Earle and his genius, the well nigh impossible has been attained. Living people stroll through his painted vistas, lean out of his painted windows. And it is all done with an amazing sense of loveliness and unbelievable realism
Magic Carpets of Cardboard!
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