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Engineers John Dullom and Robert Shirley use this truck on location to tie sound to action with mathematical precision
recently metamorphosed into a sound stage. There was a swarm of company boats, and the Bounty herself in the bay. The whole Isthmus crawled with Metro-Goldwyn-Mayer.
The troubles of Director Frank Lloyd, as he recounted them to me, are also typical. "It started months back," he said, "when we had to select the site — that was done through the research department. We had to hunt all over the world for
Frank Skinner, Arranger, Nat Finston. Head ol Music. Arthur Lang. Conductor, talk "shop"
plans of the original Bounty, so she could be built to scale. And the war canoe was brought from Tahiti. "That's routine stuff, of course, along with sets and casting and props. The biggest worry is feeding the men, two hundred of them; food has to be brought in speedboats from the mainland twice daily, and when we're at sea all day hot lunches have to be sent out thirty miles by launch. And then the weather: if this country has a fault it's occasional fog — and production held up means a budget bloated. So we made a stage in the pavilion, sound-proofed it pretty well with jute, and stationed guards all around. It meant bringing lights and extra cameras and trucks and what-all over from the studio, but we saved time on interiors."
There was transportation, first consideration when location is necessary. This particular camp had to have a fleet of water taxis ten or so cars and a flock of trucks; they had to have a road between the settlement and "Tahiti" which with all its palms and houses they duplicated some miles down the coast. There was no road so they built one, bringing in engineers, laborers and steam-shovels for the purpose.
People on location get up early, go to bed early. It's hard but it's worth it; everyone gains tin pounds except the director, who loses ten, and almost everyone returns to the studio with quieted nerves and a toned-up system. Half the film colonsromances find their beginnings on [ PLEASE rURN to PAGE 94
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