Screenland (May-Oct 1930)

for August 1930 12? URBAN — Continued from page 31 laughed, "none of us have much architec tural data of those times, so we shall have to re-construct what little we can ascertain of that period. But whatever we do, as Mark Twain says, it can't hurt the sixth century. Therefore, we'll have to conjecture a bit as to just how the people lived. All this will be most interesting in contrast to the modern wise-cracks of Mr. Rogers. "My second picture will be 'The Man Who Came Back.' Now just imagine. I'll leave this modern office in New York and in fancy go to San Francisco to re-create the atmosphere of the lowest sort of cabaret there. From San Francisco I go, again in fancy, to China. But do you think I see any of the beauty of that land? Not at all. I must stick to the opium dens. From there I journey, still' in imagination, to a British possession, an island in the Pacific — and then back to New York again. Quite a trip! "However, the designing of sets will be the least of my work in California, perhaps. It is a well-known fact that the new talking picture industry needs the knowledge and experience of all the artists possible to help develop it, not only on account of the industry itself, but for the sake of the millions of people who enjoy pictures. Every artist who goes to Hollywood has big experimental problems to work out. "I can't say just at this time exactly what I am going to do. But I can tell you several specific things I shall try to do. "First, I am not satisfied with the present lighting of moving picture sets. Most of the lights used at this time are white. I plan to use colored lights. "For instance, just imagine that I have a yellow tree. I paint the whole tree but it will always be the same dull yellow if a white light is thrown on it. But if I throw a deeper yellow or orange light on it, the tree will come out with thousands of transparencies — mixtures of all the yellows in the world. There will be as much difference in the use of the white and the yellow lights as there would be between the color of a tree in the rain and of a tree in the sunshine. "If you should see the best scenic work I have ever done lying on the floor, you would say': 'How terrible!' But if you should see it set up, with the colored lights on it — well, maybe you would think better of it. All the scenery I design is built for light effects only. "Another thing of which I am a great believer is in taking most of every picture indoors. Now I know the California sun is wonderful — dependable and permanent. But, hold on a minute. I'm going to make colored pictures and the great composition in color is not only the color itself but the real secret is in the use of light and shadow. The artist has to have that in his own hands. You can't depend on things which happen outside. Nobody human is able to command the sun to stand still. And when it changes, all your angles are shifted and your lights and shadows are not where you planned them at all. "The third thing which will claim my attention will be miniature sets. When you see your favorite movie star standing below a castle parapet singing a song, I hope you never stop to think that in reality that castle may not be longer or wider than twenty feet. It's apt to be a miniature model magnified many times by the camera's lenses until when you see it on the screen it looks like Buckingham Palace itself. " 'Why do we use these miniature sets?' perhaps you'll wonder. "I'll tell you. It saves expense, in the first place. But that's not the primary consideration. The real reason is that it is so much easier to construct this tiny model and then magnify it since all the work can be done indoors. You can put your lights on so easily, introduce what color you need, get the proper shadow and light effects, and still not move from the table on which you are building your model. "I believe enormously in the educational value of talking pictures. I don't mean that you should be taught lessons when you pay your good money to go into the theater to be amused. But I do mean that millions of people, even without realizing it, through the talking picture, will become so accustomed to real artistic form — artistic atmosphere, wonderful photography, splendid color, and clear unblurred sound that before they know it, they will become just as artistically sensitive and as dramatically critical as that small class of cosmopolitans who have had the advantages of education and unlimited money — those who are able to attend the Metropolitan Opera in New York in the winter, go to London for the Covent Garden season, then on to Paris, for the Comedie Francaise, and later to Vichy and Monte Carlo to hear the greatest singers and dramatists of the continent. Talking pictures really have brought Art right to our door step, and we have only to open our eyes and ears to learn." GARBO'S NEW SCREEN LOVER Continued from page 83 a test at Metro-Goldwyn-Mayer for another picture but the Garbo picture had never been mentioned to me." It seems that Clarence Brown, directing the new Garbo talkie, had made exhaustive tests to find a leading man without success. The part called for a man who could play the part of the minister-lover with convincing humanness and dignity, yet endowed with romantic appeal. Brown and Miss Garbo were in a projection room, looking at various tests, when the operator put on Gordon's test by mistake. "That's the man!" exclaimed Brown. "Who is he?" Garbo nodded. "I don't know — but he's the man!" she agreed. A few hours later the casting office got Gordon on the telephone and told him to report at 9 a.m. to begin work. "On what?" he asked, astonished, since the film he tested for had already been released. "The Garbo picture," he was told. Gordon grinned as he recalled the moment. "And you can imagine my embarrassment," he said. "I had a date to take a very charming young lady golfing that morning — and I think she's still waiting!" They Used, to Say Look at Me Now The story of a if'-j woman who found the way out j '\ "T WEIGHED 167 pounds less than fornix months ago. Today I weigh only 138 pounds. Yet I always ate plenty of good, satisfying foods. I didn't roll on the floor, or wear hot, sticky rubber garments, or take drugs or pills, or give myself exhausting sweat baths. "My figure is just what I want it to be. I can wear the latest styles now. And I'm stronger and healthier. I keep house, play, or dance without getting tired. My heart and lungs are fine. My complexion is clear. I feel just like a new woman. "And it was all easy. I just followed Annette Kellermann's simple, sensible methods. You know that Miss Kellermann has not changed her weight bv an ounce in over 16 years. Her methods of reducing are approved by physicians. I .know what Miss Kellermann has done tor me— my weight has gone down nearly 30 pounds. If you want to reduce safely — and to grow stronger and healthier while you reduce, simply write for Miss Kellermann's free book. 'The Body Beautiful.' She will give you advice on reducing that is worth more than you now realize." Miss Kellermann will be glad to send you. free, a copy of her book. "The Body Beautiful." She will also tell you about her method of reduction — a sane, sensible, scientific way that takes off your weight and at the same time increases your energy and strength. Simply send the coupon below or write a letter. There is no obligation. Annette Kellermann, 225 West 30th Street, New York, Suite 248. Annette Kellermann. Suite 248 225 West 39th Street, New York City Dear Miss Kellermann: Kindly send me. entirely without cost, your new book. "The Body Beautiful." I am particularly interested in Weight Reducing. Name _ Address City : _ State _ YOU can earn good money in spare lime at home making display cards. No selling or canvassing. We instruct you. furnish complete outfit and supply you with work. Write to-day for free booklet. The MENHENITT COMPANY Limited 252 Dominion Bldg.. Toronto, Ont. nm ■ ■ ■ ■ mt JSffiricAL NURSING At Home in 12 Weeks Marvelous calling. Earn $20 to $30 weekly caring for invalids in your vicinity while learning. We help secure positions. Write MISS TULL, H-6206 Winthrop, Chicago, III. The next issue of SCREENLAND Will Be On Sale August 1