Screenland (May-Oct 1928)

SCREEN LA ND 93 diffusion discs or by using black silk gauze as chiffon, tulle or marquisette. If the scene is of great importance, a test shot is made. An assistant cameraman dc velops this test in a "test box" (a small portable dark room) and in a few minutes he has a small strip of developed film. All the lights are set and everything is O.K. So Pev calls, "Shoot It!," but as Mr. DeMille has not yet arrived the order is changed to "Rest "Em!" At three doleful blasts of Mac's police whistle the electricians turn out the arc lights. During this period of waiting for "CB the company indulges in a little clowning. The set orchestra, composed of violin, cello, bass violin and organ, play music for us. The entire troupe join in with wonderful effects for the "Anvil Chorus" and "A Hunting We Will Go." There are anvils and dogs in every nook and cranny of the stage. The orchestra suddenly ceases play ing and starts playing a certain overture, which means that Mr. DeMille has arrived. The clowning stops and we resume the business of making pictures. The electrician whistles for lights, which groan and howl, when they are first turned on, rill they gain full brilliancy. Mr. DeMille has the players run through the action that is to take place and if it is satisfactory, announces over the loud speaker system, "This will be Picture!" At the word, camera, the action is photo' graphed. Each bit of action like that is called a "take" and after each take. I slate the scene. Sometimes the action does not completely stop at the word, cut, or the blowing of a siren. During our fight sequence, I was on the receiving end of an over-ripe tomato and during the fire sequence, considerable water. So you see, slate holding has its grief. If the action is faulty. I hold up the reverse side of the slate and slate it N.G. or no good. Five or six are always made of every scene. The action for that scene was satisfactory. Mr. DeMille, with a view-finder, selects his next line and indicates where the first camera will set. The other cameras group around it or set up on special lines. Certain takes are printed of every line. These prints are known as the dailies or rushes and are shown every night at projection. It is at projection that the best camera lines are chosen for the first cutting. The action in the long and close shots is the same. The picture then may be cut, from a long to a close shot or vice versa, at will. The next order is "Strike that line," and we, assistants, pull out our cameras and set them up on one side of the set, where we reload them, change tripods, clear the mat-box, or do any of the many things that will be necessary for the next shot. Mr. Urson now poses the actors for a still picture, while "Bill" Thomas, stillman, gets his camera ready. "Mac" blows his whistle for the lights to be flashed; this lowers the carbons, and they will burn several minutes more without flashing again. After the "quiet pictures" a shout goes up, "New deal, shuffle them," and everything is reset for another scene. The language used on the set — not pro' fane, by any means — is full of colloquialisms. The ordinary bystander would not know what it was all about. Such words as the following are in common use: pancake, two foot green, six inches, box, flag, nigger, gobo, funny-gag, flag, broad, tower of jewels, hay wire, aurora borealis, little elevation, young ladder, baby spot, iris, frost, wobbly-head, snoot, shelf, rotary, and many others. Bystanders are referred to as "set-lookers" and light-blockers," as they are generally in front of some light. In our picture, we used a great number of "breakaways," i.e. crumbling walls, falling ceilings, beams, and flaming masses of wood. These "breakaways" were designed by Mitchell Leison and built by Roy Jones. The breakaways are built of real brick and plaster and are dangerous if not timed right. The only thing false about them is that we control when and just about where they are to fall. This is done from an electric switchboard, by "Mitch" Leison who stands directly behind the cameras. The fire in the picture is both real and artificial. Real fire and smoke do not photograph well, so we make our own. It is not as hot and is controllable. Some of the fire was handled from guns, like liquid flame, and the smoke comes from powder and burning oiled rags. Don't let this explanation of how it is done belittle the fire sequence because it is very natural looking and the actors were in constant danger. The interiors of the fire sequence were made inside stage six (the stage is big enough to hold a football game). The wood, stage floor was covered with asbestos before the cement was poured and the walls of the set were real brick. The overhead runways were protected from sparks by tin sheeting. Two fire engines stood by, with their crews, and eight hose lines carried water pressure for immediate use. The Godless Girl, like all big pictures cost a large sum to produce. That was necessary to obtain realistic sets and excellent casts. Mr. DeMille certainly strives to secure a most natural picture. During much of the picture, I was as thrilled as if the actual thing was happening in real life. I could quote numerous figures and tell how one night's work cost $45,000, but I don't believe that it would interest you or add to your enjoyment of the picture. We have shot our pre-arranged number of scenes. Mr. DeMille says, "That's all for tonight" and selects the first line for the morrow. The boys yell, "Wrap 'em up" and everyone prapares to leave the set. 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