The Other Tomorrow (Warner Bros.) (1930)

Cast Including Grant Withers And Kenneth Thomson Support Beautiful Billie Dove / Talkies Bring a New Vocabulary To The Screen World Weird Terms Are Listed by Lloyd Bacon, Director of “Other Tomorrow” (CURRENT FEATURE— VITAPHONE) Talking pictures have brought many new expressions into motion picture making. Many of the new terms were invented, not by the technicians, who them, but by the less scientific and more face had scientific words for tious stars, featured players and acHere follows a list of them, many of which have replaced old together with the names of tors. terms, their inventors when there exists a record of the word’s coining. The list was compiled by Lloyd Bacon, director of Billie Dove’s latest First National starring picture, “The Other Tomorrow,” now at the Theatre. “Give ’em A. C.” doesn’t mean give them alternating current. It refers to the first step in synchronizing cameras and waxes. It is a purely technical term. “Footage eater,” on the contrary, was invented by Louise Fazenda. It refers to an actor who says his or her lines too slowly, or hesitates between words and_ sentences. “Big moment” now refers to any tiny “bit” an extra may be given in front of the ‘mob, while “taking it big” today infers exclamations of astonishment instead of startled pantomime. “Breaks”, used to mean luck; now it means voice breaks. “Apples” are audio frequency tubes ; Jack Mulhall coined it. “Blimp” is Richard. Barthelmess’ word for the little sound-proof felt andpneumatic hood over a camera; Dorothy Mackaill named the same _ contrivance “Spark Plug’s Blanket.” “Plug ’em in” refers to the second phase of. preparing the cameras and recording machines for filming and recording in synchronization, “Turn ’em over” is the third phase, and it indicates that the speed in revolutions required has been reached. Filming is now possible at any moment, so the director starts his action with a “cricket.”? It is the familiar snapping device formerly used at parties, and by children. “Flutter” refers to losing and regaining synchronization momentarily. Loretta Young invented the phrase because she said it made her heart “flutter,” but fit fis descriptive of the thing itself. “Buckle” refers to the film getting looped in the camera. “Tnkies” are incandescent lamps. Conrad Nagel is credited with the playful term. “Dupe” is negative film made from positive prints. “Freaks” isn’t what it seems; it’s Director William Seiter’s term for electrical frequency. “Wham—in the box!” has become the term for “That scene is all right; we'll save it.”. This is another of Louise Fazenda’s. “Three and chow” refers to three-dollar-a-day extra folk who are supposed to eat only the one meal given them by the company during the whole day. “Line biter” is the new term for ‘Jens louse.” Eddie Cline, prominent director, invented it. ‘Oscar’ is the correct word for electrical oscillations; “baff”? evolved “baffle” and it refers to “flats” composed of sound proof material, stretched on frames and placed around or over sets to “damp” an echo. “Stick” in some way evolved from “static.” “Flash” is a spark that fogs film from an aecumulation of “stick” in the “box;” box being camera magazine. A “tonsil test? is a voice test; a “tonsil doctor” is the Vitaphone technician who makes this test. “Dubbing” is a technical term for trans Cut No. 14 Cut 65¢ Mat 5c IB ELELMEE “The Screen’s Bird of Para dise’’ in her most powerful ; role. Is it right to keep up friendship with your former sweetheart after you’ve married the wrong man? See, hear and thrill to with GRANT WITHERS Adapted from the story by Octavus Roy Cohen Directed by LLOYD BACON A FIRST NATIONAL & VITAPHONE PICTURE “Vitaphone” is the registered trade mark of the Vitaphone Corp. designating its products. ferring from sound film to wax or wax to sound-film, but Corinne Griffith gave it a new meaning that has almost erased the other; she uses it to mean “muffing you lines” or missing cues. “Cans” are ear phones used by the “mixer,” who operates the “wheels” (dials) on the radio-like instrument board of the “binny”—mixing apparatus. “Coops” are Cooper-Hewitt mereury vapor lamps used for set lighting. “In sink” refers to action and dialogue perfectly synchronized. A “yodeler” is a man whose voice is too high for good recording; a woman of this sort is a “squeal.” “Lock ’em up” refers to locking up the cameramen in their sound-proof “gows” or booths; “gow” probably came from “hoosegow.” “Hot house” is a mixing cage used on a Technicolor set; “chromo” is slang for Technicolor or natural color photography; “chromo man” is any Technicolor worker or expert. new term for microphone; “Mag” is the horn of the “playback” apparatus, which plays the record just recorded by ‘a film company back “blind’’—that is, without the film being shown—so_ the “Kar”? is a director and players can “audit” (probably derived from edit) the “wax” (record). SiR ie Canny 728. RAZ ee Bolle? “Zoop” and many other sound-deseriptive terms describe undesirable sounds heard by the mixer, or produced in some way, by accident, on the wax record. Collectively, they are known as “wax stew,” if on the record, or “mike stew” if heard by the mixer. A “bullfrog” is a man with a deep voice, while a lady with a low voice is called, for some reason, a “cello.” An “audipin” is a beginner at the talkies. “Forte” is good, “tripe” is bad. “G.E.’s” are lamp bulbs, not shells; “shreds” is what a camera does to the film when the film sticks in the magazine, and “dinge” is what you are when your makeup is too dark; or “lily” if it chances to be too light. And one of the latest names for talking motion pictures is “detonating celluloid.” Movie Queens Defy Paris and Battle For Short Skirts Billie Dove, Star of “The Other Tomorrow,’ ’Leads In the Movement (ADVANCE READER) Girls are, and of right ought to be, free to exhibit their ankles if they so prefer—not only their ankles but likewise their calves—and if it be their will (and the angels have provided them with dimples) there is no good reason why a_ bonnie kneecap shouldn’t go unconcealed! That’s Hollywood’s edict. The movie queens, defying Paris and every other would-be arbiter of fashion, have decided that they won’t hide their legs under a bushel of chiffon. And one of the leaders in this patriotic movement is Billie Dove whose latest First National starring picture, “The Other ToMOULOWs-s OPENS ak! sry at the UE eee wae Theatre. Opinion, long smoldering in Cinemaland, against long skirts finally has been crystallized, and the mouthpiece of the insurgents is the American Women’s Short Skirt Association. Corinne Griffith is the president and Clara Bow the vice president. They have both apparently grown weary of long skirts in a few brief weeks. The first charter member was Miss Dove, and others are Lois Wilson, Vivienne Segal, Louise Fazenda, Bernice Claire, Loretta Young, Dorothy Mackaill, Alice White, Natalie Moorhead, Marion Nixon, Inez Courtney, Dolores Costello, Hedda Hopper, Patsy Ruth Miller, Jean Arthur, Myrna Loy, Lila Lee, Betty Compson and Edna Murphy. That’s the list up to now. New members are coming in rapidly. President Griffith telegraphed Mrs. William Dick Sporberg, who debated short skirts recently with the Federated Women’s clubs, informing her of the organization. The foundation policy of the Hollywood girls is short skirts for all occasions except evening wear—and then let your instincts be your guide. Movie Stars Have Different Ways of Memorizing Lines And They Agree That It Isn’t Nearly So Hard As It Sounds (CURRENT READER— VITAPHONE) It isn’t so hard as it sounds, according to a consensus of stellar and near-stellar opinion at First National Studios, when the subject of learning lines for the talkies discussed. Billie Dove, for instance, star of “The Other Tomorrow,” now at the Theatre, is one of those fortunate persons whose memory is little short of remarkable. She can recite long poems such as “The Ancient Mariner” line after line without a flaw, after very little study. Some that she learned as a child are fresh and clear in her mind. As a consequence, “talkie” lines offer her no difficulty at all. During the filming of “The Painted Angel,” and again during the making of “The was Other Tomorrow,” she cued other players on their lines again and again. She also has helped many a script girl in remembering the countless details that this highly specialized observer and recorder of data must be able to give the director on a moment’s notice. Speaking of script girls, Alice White’s apprenticeship in the motion picture business as a script girl has greatly assisted in fitting her for memorizing talkie dialogue. Despite that fact, Miss White had difficulty with her early talkie roles in such pictures as “Broadway Babies.” Her later ones, including “The Girl. from Woolworth’s,” “Playing Around,” and “Show Girl in Hollywood,” gave her practically no trouble at all inthis respect. Not long ago Richard Barthelmess explained that “lines” were the easiest part of acting for him, and Barthelmess is one star who makes no mystery of his art. At the same time he remarked that good acting is largely a capacity for keeping the make-believe situation and character in one’s mind. Director Frank Lloyd, who filmed the star’s<.<““Drasy? “Young” Nowheres,” “Weary River” and “Son of the Gods,” declares that Barthelmess almost never misses a line or muffs. it so that a retake is necessary. Corinne Griffith admits that study is necessary for her, but she “enjoys it.” An hour or so of line-reading before each day’s “shooting” is sufficient for her, and most of this time is spent in perfecting expression rather than merely achieving letterperfection. Jack Mulhall’s forte is a glib Irish tongue which can often improve on the original line if he chances to miss it. “Some dialogue is more difficult than other dialogue, even in the same script,” he explains. “It varies with the nature of the plot, the dialogue writer, and the nature of the scene. In ‘Murder Will Out,’ one of my latest pictures, for instance, it was harder in some ways than my earliest ‘talkie, ‘Twin Beds.” My role in ‘Show Girl in Hollywood’ is a cinch, if I may be permitted to be colloquial in these days of faultless cinematic English! “T never had a parrot memory. I have to reason things out, and I do think before I speak, unlikely as it seems when you listen to this fast patter of mine. My best resource is to be thinking while the other actor is talking. I start thinking as the other player starts his line, like a baseball player starts at the crack of the bat, so usually I’m ready with my part of the dialogue. That is an advantage which could not come if I were not so familiar with the pantomime necessary in motion piectures.” Alexander Gray is extremely stu dious. The musical comedy baritone learns his lines letter-perfect and then dismisses them until time. for his scenes, when he brushes up by glancing at them just once. Bernice Claire, who sings opposite Gray in “No, No, Nanette,” “Spring is Here” and “Song of the Flame,” is naturally gifted with an excellent capacity for memorizing lines and songs quickly. Her training as a singer, which meant learning countless songs in many languages, was ideal for preparing her for the talking film work. First National Pictures, Inc., presents brings you a story that’s set to the lilting strains of Dixie harmony — packed with tense moments of love and_ love’s’ sacrifice — filled with drama and enacted by a cast: of your favorite stars. It’s more than worth a visit to the Cameo. A FIRST NATIONAL & VITAPHONE PICTURE Cut No. 6 Cut 65¢ Mut r5c Billie ove Be « — Adapted from the story of Octavus Roy Cohen. Directed by LLOYD BACON Page Seven