Screenland (May–Oct 1927)

SGREENLAND 101 Pev Marley Offers You a Job Continued from page 49 stage, and Marley turned to Mr. DeMille. "All set, chief." Director DeMille picked up the microphone through which his directions were broadcast, and gave the word to start the cameras on one of the most awesome and photographically difficult scenes ever rec orded for the screen. "From the paths of the past", says a Hindu proverb, "are moulded the streets of the present". And the early paths trod by Peverell Marley certainly have played their part in bringing him to the peak of his profession as chief cinematographer for Cecil B. DeMille. Eleven years ago, when motion pictures were still in swaddling clothes, "Pev" Marley began his career as a camera-man by manufacturing a still camera. A discarded lens, which prompted the idea, a cigar-box, some wire, and a great deal of adhesive tape were his materials, and after a few days of effort the job was completed. A connoisseur of cameras might have criticized the appearance of young Marley's contrivance, but not the quality of the pictures it took. From that day Pev Marley has been a "nut" on photography. During his four years in Hollywood High School he spent most of his spare time experimenting with different types of cameras, various qualities of chemicals and printing paper, and produced several remarkable photographs. His work was exhibited several times in art displays, and some of his studies received wide publication in rotogravure. Upon his graduation from High school Marley had determined on his career — he intended to become a motion picture photographer. Having lived for years in the center of motion picture production, he was familiar with the various companies and producers, and he aimed high. Armed with a dozen selected photographs he had taken, he set off for the office of Cecil B. DeMille, to ask for a job in the "movies". d[ Dorothy Sebastian wearing a patchwor\ jac\et, which explains where the quilt went. Mr. DeMille was busy, but consented to look at the photographs. They were sent in, while Marley waited anxiously outside. In five minutes a secretary came out and asked Pev to step inside. Although surprised at the youth of his visitor, Mr. DeMille discussed photography with him for some time. Before he left the studio Marley had landed a job as a camera-man's assistant. Well-informed in the rudiments of photography, it did not take Marley long to pick up the fine points of camera work. From a "slate-holder", or assistant to second camera-man, Marley soon graduated to first assistant. While a second assistant, he had held up the "slate" after each scene, and the cameras exposed additional footage on the number held up. The rest of his job was moving the cameras about when there was a change of set-up, running the tapemeasure out to the center of focus, changing magazines of film on the camera of his boss, and generally making himself useful. The first assistant has more interesting work. He has the responsibility of keeping on hand a supply of loaded magazines, and if he misjudges the amount of the day's "shooting", he sometimes must load additional magazines during the day. When "light tests" are made, which are short pieces of footage exposed to determine the quality of the lighting effects, he must immediately develop and print it, and take it to the chief camera-man. He keeps track of the amount of film stock used, and sees that the cameras are in good mechanical condition. Marley earned his first opportunity to grind a camera within a year, when he was entrusted with fourth camera on a large scene. He remained with the Cecil B. DeMille production company, and by the time the great producer had started work on "The Ten Commandments" , he was grinding second camera. In the final print of this super-production Marley's negatives were decidedly conspicious by their number and quality. The natural result was that Marley became a first camera-man, and filmed the first picture produced at the DeMille Studio when it was established almost three years ago. He handled the photography on Cecil B. DeMille's first production as an independent, "The Road to Yesterday" , and divided the honors on "The Volga Boatman" with Arthur Miller. "Three Faces East" and "Silence", both exceptional for their photography, were filmed by Marley, and then he was selected for the responsibility of being chief camera-man on "The King of Kings", Jeanie Macpherson's biblical story. The wide comment caused by Peverell Marley's work on this stupendous production is abundant evidence of his ability. Appreciating the advice and encourargement he received when new to the profession, Peverell Marley is quick to help newcomers who show interest in their work. When he started at the DeMille Studio he gave a job to a young man as an assistant to the second camera-man. Largely through the schooling he received from Marley, James McBride is soon to take over a second camera at the DeMille Studio, having developed into an able photographer. Peverell Marley is a personable young man of twenty-five. He is attractive in appearance, and might have been as successful before the camera as he has been behind it, had he chosen to be an actor. Needed in Aviation! T)0 you love adventure? Do you want to make big ■L-' money? Although aviation is still in its infancy thereisa crying-demand for men withcourage, nerve, and self-reliance— ambitious men who are looking for a new field. For those who qualify there will be thousands of highly paid jobs. 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