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24
THE PICTUR&GOE-R
JULY 19:
-^ /f/r)7i gerTrude
fc "2m yrtu/L M.ALLEN
V
man would be an easy first candidate for the honours that attach to the conquering of fire, water, and other kindred discomforts.
Such records are, however, unavailable— for the camera-man is nearly always as modest as he is useful. But amongst his unassuming kind, I have recently made a discreet and patient effort to extract " copy " for this article.
Consequently, the readers of THE PI< rUREGOER here have firsthand information, in a small degree, of some of the " experiences " of these wizards of the camera.
My first " subject " related, with characteristic modesty, the following incident as one of many in which he has been " leading man " in the cause of pictures.
" The film was one of those typical Western railroad dramas," he informed me. " One scene called for the hero to be photographed (from the interior) driving an express train in circumstances which inevitably meant that the heroine's troubles would be mitigated if he were successful in reaching his destination safely. But the ' if ' proved to be a bigger one than either the producer or the hero had anticipated. Some
Filming a scene on a moving train.
The famous Hell and
ell camera shown in this picture costs a thousand pounds.
"/*"\ hoot ! " If a certain important and
I respected member of the studio
%. fraternity were to record the ^k amount of " shots " he is 1 responsible for in the course of a week, the pukkah " crook " g would be a bad second in com
^ f parison !
But the kine-camera-man has made an art of shooting—not a crime ; without this accomplished gunner, the rest of filmland's ammunition would be of very little use.
Though some of us may know " how it is done," very few of us can do it, but it only needs such superb pieces of photographic art as abound in such films as Mary Pickford's latest success, Little Lord Fauntleroy, to make the picturegoer gasp with astonishment at the genius of the men who are prosaically termed ' ' camera men. " They are the magicians of movieland, and t heir magic is not the least contribution to the success of a pictureplay.
Thrills and throbs, danger and daring, are automatically associated with the names of all those w ho shine in screen land ; but if records could be compiled and compared, it is safe to assume that the camera
lielow : Filming a Christie corned).