Picture-Play Magazine (Mar-Aug 1921)

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S. GIVENS, 237 Chemical Bldg., Kansas City. Mo speed, anywhere from eight hundred to fourteen" hundred revolutions per minute, and flexible enough to stand the severe strain of throwing it wide open from slow speed to its limit of power. It would be very embarrassing if, in the middle of a big storm scene, the motor suddenly ceased from troubling and the storm lav down and went to sleep. To overcome certain difficulties that he has met in the course of his storm making, Wilder is now working out a scheme for controlling the motion of the wind machine's blades by friction so applied as to increase the resistance of the blades to the impulse of the motor, a device which will permit fine shades of propellor motion to be obtained. Working out new mechanical contrivances for use in picture production is, in fact, 'Wilder's hobby, and he has a brain full of new ideas waiting for a leisure moment to be developed. l'roviding at short notice, any known variety of vessel is one of the tasks at which Wilder has no master. Motion-picture directors are so unexpected in their desires. One day Wilder gets a request for a luxurious private yacht, available for a week's use. The next day somebody wants a whaler of a period of a hundred years ago. The next mail brings a request for a threemasted schooner that can be run ashore, a battered derelict, a sunken steamer, and a ferryboat. But he gets them ; that is the point. Battleships, ocean liners, yachts, submarines, barges, canal boats — he gets them somewhere and somehow. The majority of the owners of these various craft are obliging enough in lending their property or, more frequently, renting it. When there is trouble it is due, as a rule, to the carelessness or destructive habits of some director or star who has had previous use of the owner's boats. Unfortunately not all companies are rigidly careful in their use of borrowed propertv. The company headed by a well-known feminine star once made use of a Japanese liner, and left it in such a condition of disorder and actual damage that it took many weeks of patient negotiation and many promises and guarantees before the owners of the line would give permission for the use of another of their vessels. Luckily it happened that the next director to ask for the use of a ship owned by this company was George Melford, who was then producing "Behold My Wife." Melford has the reputation of leaving a location actually in better condition than he found it, and therefore the company gave the desired permission. In Wilder's opinion, realism is the reef on which many pictures are wrecked. Realism is what he seeks in his suggestions to directors. For instance, he knows that a ship's crew, launching a small boat, will pull oars like sailors, not like landsmen navigating rowboats at a Sunday-school picnic. Many is the time that he himself has donned the garb of the sea and has taken his place in a boat to be stroke oar for a ragged crew. If a boat is supposed to go straight for the eye of the camera. Wilder hates to see it skitter crab-fashion all over the ocean, oars dipping any old time. If a ship is to be manned by a crew of genuine shellbacks, Wilder gathers them in from the San Francisco water front. Studio sailors are all very well for close-ups, but when it comes to handling a wheel or working out on a yard, anything less than the real thing worries him, and he manages to make it worry the directors. There was a picture in which hero and heroine were swept ashore, clinging to a spar torn from a wrecked vessel. The director was in a hurry, so he shot the scene without paying much attention to details and rushed back to the studio. A little later Wilder saw the picture and the scene. The first thing that Wilder noticed was that the end of the spar which had presumably been ripped loose from the ship was neat and square and smooth, just as the saws had left it, instead of being splintered and broken. It is just such little things as that, minor details perhaps, but none the less important, that Wilder believes can make or mar a picture. Personally he is never quite satisfied with his own work, and he is always planning to make his share of the next picture just a little better. He has been working along his own special and decidedly unique line in pictures for three years, and says that he knows possibly one per cent of what is to be known about picture making. He would rather spend hours of patient work to make a sea scene correct in every detail than to have his name on the screen in letters a foot high. Wherefore, his work is worth while.