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to a natural need for mapping out cartoon pictures in advance of production."
"Some 25 years ago William Cameron Menzies applies the technique of sketching action to a live picture (it was a Doug Fairbanks film). In varying degrees it is standard operating procedure with many companies and producers. The difference in the Kramer operation is that our story boards, like face cream, are all-purpose, serving the interests of writers, directors, art directors— in fact, everyone concerned with production. The artists do not sit down and sketch willy-nilly. Rather, their work comes after periods of discussion when they translate ideas into visual terms.
"Briefly, the purpose of the drawings is to sketch out a movie as it will appear on film, capturing the scope of the writer's narrative, the director's style of staging, and the art director's conception of the sets. In essence, we produce a picture in the rough, supply a model on which additions, modifications, and altera
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tions may be made with little effort and at insignificant cost. It is no more of a mystery than building a scale model of a ship or bridge."
Although Sternad is inclined to minimize the freshness of the preproduction planning technique, the fact remains that its whole hearted application is found only in one Hollywood organization — Kramer's. Consequently, Sternad occupies a singular position in the realm of production designers and art directors, the only member who sits on a picture from the day a subject is selected until it leaves the sound stages. A long tenure at Metro, 12 years at 20th Century-Fox,, and six years as a leading art director at Columbia have given him a vast background in film production and account for his realistic appraisal of his unique job.
"Our story boards," explained Sternad, "are only as useful as the producer allows them to be. Kramer and I worked out 'Champion' on the drawing boards largely for the purpose of seeing how cheaply the
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If you saw " The Champion," you will remember these scenes.