Screen and Radio Weekly (Feb 7, 1937)

pa — warn Ba te. ge | sarrexen to see : an advance adver _tisement of the motion picture “A Star As Born” the other day and noticed with no little amusement and a modicum of -well-concealed chagrin that the directorial credit was given to William A. Wellman. Now Wellman is a man * am proud to call my friend (or would be if he would get over the habit of confusing me with an insurance agent who has been on his trail for years), but I think that the time has come for the public ARR the picture. Although I should like to believe that my simple word was sufficient to support my claim, it may be well to mention the corroboratory evidence of Fredric March and Janet Gaynor, the stars of the picture. Neither of them has at any time denied or in any way discredited, the startling facts which I am revealing. task, and I had been in Hollywood for : many ‘months before I felt myself definitely qualified for it. Even then I took extraordinary precautions, not even letting David O. Selznick, the producer, in on the fact that I was going to handle his picture for him. The amazing thing unaware of it. Only the other day I happened to run into him in his office, where I was looking for a cigar. and asked him casually if he knew who had directed “A Star Is Born.” His reply showed where he stood on the matter. “Give your telephone number to my secretary,” he said, “and we Nl let you 2 sa definitely one way or the other.” _ _ His secretary was no help at all. _ “My name is Silvia,” she said. “What are you doing tonight?” toe Bor recognition means . ‘nothing to me, and the purpose of this b rticle is to give a few tips to the lay" an on the technique of screen direc tion. My own experience has been . ‘somewhat specialized, working as ! have the throne. But an illustration of my ie ‘methods might be of some interest. “A Star Is Born,” perhaps I should Hie ats c. explain, is a picture I wrote under the. 4 ~—s pseudonym of Dorothy Parker and Alan Vi tampbell from a story about modern lywood which I dictated to Wellman d Robert Carson. It is one of my fforts, and na ied I was very. The adentnny ‘auld ordinarily be on 2 sound stage ready to shoot by 8:30 j / morning, but various responsibil ii a) ies would keep me in bed until well noon. This procedure meant that sft Wellman to his own devices i uughout the better part of the day, _ which gave him an illusion of responsi: d made for better feelings all ow to Direct 7 eas Moti ton vPicture to_know that I, and not he, directed | ‘pointment elsewhere at 3. Directing a picture is not an easy is that he still appears to be completely. idirectly or, as you might say, behind | The Director Directs Stars, and Lardner. Directs the Director, or Something After lunch IL would join the others on the set. There I would question Wellman about what he had accomplished during the morning and lay down a program for the rest of the day in order that I could get away in time for. cocktails. Ordinarily our discussions were conducted on an amicable basis, but occasionally, there would be some disagreement. I HAD joined the company. about 2 o’clock one day and was anxious to be on time for an apPhe scene was laid at the annual dinner of the Academy of Motion Picture Arts and Sciences. Janet, or Miss Gaynor, as I was wont to call her in a spirit of camaraderie, was seated at a table with Adolphe Menjou and others. I complimented. Wellman on the set-up but pointed out that the lavish display of colors seemed a trifle wasteful in view of the fact that plain backgrounds and costumes would photograph just as well. Diffidently. he explained that the picture was being made in Technicolor, and it was only after I had verified this fact that I decided to let him have his own way. But enough of “A Star Is Born.” The picture is finished, and I will stake my reputation. on its success. ‘ Mone pertinent to the problems of aspiring student should be an analysis of a typica)] scene from a motion picture. I have one in mind that lends itself to our purposes. It is from a screenplay called “The Tarantula,” a melodrama which is still unproduced, owing to the pressure of foreign governments and powerful vested interests. The éhebectaes are Widgeon, the Tarantula; Weems, a killer; Winifred. a clinging vine; Wanda, a hoyden. Wilson, a realist, and Warren, a poet. The scene I have selected follows immediately on a prolog in which nothing particuiar is establisHed. Let us first study the sequence as it appears in the script: LONG SHOT OF DIRIGIBLE TRAVELING AT TOP SPEED IN A PERFECT CIRCLE. MEDIUM SHOT OF DIRIGIBLE. WE SEE WINIFRED LEANING OUT OF ONE OF THE WINDOWS OF THE GONDOLA. INTERIOR GONDOLA. WE NOW SEE WINIFRED FROM THE REAR. SHE LOOKS ABOUT THE SAME, a x Winifred turns as a door opens. ; Weems Ah, my little bird. I have been look ing for you. | ¥ Winifred attempts a smile. It is a flop. _ Winifred Go, you scoundrel! You mass murderer! Weems (recovering poise) Nonsense! You could count the people I’ve killed on the fingers of one hand. Winifred (driving her point home) Away with you, butcher! Weems You cannot get rid of me as easily as that. I come with a message for the Tarantula. CLOSE SHOT OF WINIFRED She faints. There is a roll of drums offscene. WEEMS STANDING BY DOOR, THEN WIDGEON The drums become louder as the door opens and the “Tarantula, Widgeon, enters. LONG SHOT OF WEEMS, WIDGEON AND WINIFRED, WHO IS LYING ON THE FLOOR. Weems She fainted. BACK TO SCENE Wanda comes into the scene from the right. She is driving a highpowered car. Wanda Say, do you boys mind if I use the telephone? Widgeor * Have you had tea? — Wanda (shifting gears) Yes, 1-had a snack down in the control room .with the captain. CLOSE SHOT OF WINIFRE : She comes to. Winifred You fiend, you cunning, cunning fiend. MEDIUM SHOT OF GROUP Widgeon You'll feel better after you’ve had tea. 3 = = Lardner Indicates: “Give.” Weems Chief, I don’t want you to think I’m meddling in your affairs, but it occurs to me that you’ve been much too lenient with these people. Widgeon I’ve been too lenient with YOU. Widgeon draws gun and_ shoots Weems. CLOSE SHOT OR WEEMS He dies gracefully. : BACK TO SCENE Widgeon The man was a paid spy. known it for a long time. I have Wanda Who paid him? Widgeon I did. Winifred What are you going to do with me, monster? Widgeon I’d like to have tea with you if you don’t mind. Behind him Warren enters on all fours. CLOSE UP ON WARREN’S FACE His eyes are riveted on the ground. Widgeon Are you looking for anything? Warren Let’s not go through all that again. He looks up, sees Winifred What are you doing here, my little flower ? CLOSE UP OF WINIFRED We see her reaction Winifred Nuc that. No. I couldn’t stand it! FADE OUT N OW, there is what IT call a nice, compact little scene. It has warmth, depth, comedy, excitement, pathos and sophistication, all blended together. But in the hands of an inept director it might fall flat. The first thing a= skillful director would consider would be the question of what is the most interesting element brought out in the action. Obviously, it is the behavior of the character, Warren. The entire sequence is a build-up to his entrance. Therefore, it is necessary to create an atmosphere of suspense, speeding up the tempo of the action to the dramatic moment I asked an unimaginative director of my acquaintance how he would handle it, and he suggested a series of titles cut into the action, such as “Hold on to your seats. This is going to get good,” “Keep your eye on that door” and “Don’t leave now—there’s a newsree! coming on after the picture.” The other factor which must be taken into consideration is the presentation of Widgeon, who has the title role. in the hands of an experienced actor, this part should draw a laugh a minute. [If it seems to be falling short of that, the ingenious director will force it a little. Such devices as having a potted plant fall on his head from time to time or making him stutter are always sureeye A little good, clean fun never hurt a picture..