Screenland (Nov 1937-Apr 1938)

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Let Mejell You About your business, travel, changes, matrimony, love affairs, friends, enemies, lucky days and many other interesting and important affairs of your life as indicated by astrology. Send for your special Astral Reading. All work strictly scientific, individual and guaranteed satisfactory. FOR MANY YEARS PRIVATE ASTROLOGICAL ADVISER TO ROYALTY and the ELITE. \\ rite name, address and date of birth plainly. No money required, but if you like send* 15 cents (stamps; no coins) to help defray costs. 'Address: PUNDIT TABORE, (Dept. 465-G). Upper For.iett Street. BOMBAY VII, BRITISH INDIA, Postage to India is 5 c 96 dark film until the entire square is covered. "Fade out" reverses the process. SAM SNODCRASS presents Wanda Gulch in "Blossoms on a Cactus." Original story by John Shakespeare and Peter Einstein. (Credit title) Screenplay by Joe Doe, Tom Teenth, Eve Gay and Malcolm Montgomery. (Credit title) Technical adviser, Dr. Ludwig Von Loon, Phd. (Credit title) Gowns Gargo. (Gowns are always more original if their creators use only one name). Let us imagine we are adapting a storv for the screen in which Joan Crawford, Franchot Tone and Douglas Fairbanks are to play the leads. (It is a favorite trick of producers to feature stars who have been in some phase of romantic interest.) The first scene is generally a STOCK SHOT. (Films taken previously and kept in the permanent files of the studio. Pictures of Times Square, Piccadilly Circus, and newsreels of forest fires, floods, and current events are stock shots.) Each movement of the camera is a scene and numbered so our first shot will be A-l — "A" for the sequence and "1" for the scene. If the sequence is not named the first scene is simply "1" and the number of the first scene in the second sequence will follow that of the last scene in the first sequence instead of being B-l Our STOCK SHOT will be of the French Riviera. A-2 will be a LONG SHOT— CHATEAU ON RIVIERA (A long shot is just what it says, a long shot so that a full view is obtained.) A-3 INT. LIVING ROOM OF CHATEAU — WIDE ANGLE (As much of the room as can be is included in the "frame" or picture.) Then in its place on the page reserved for business: A woman is standing in the center of the room, apparently waiting for someone. CAMERA MOVES CLOSER (each movement of the camera is typed in capital letters) and we see that the woman is JOAN. Her face lights up as she sees something out of picture. We CUT TO: (A "cut to" occurs when there is a change of scene in running action.) A-4 FRANCHOT ON STAIRS — FULL SHOT (entire figure) He is descending the stairs. A-5 FRANCHOT AND JOAN— MED. FULL SHOT (upper half) He kisses her. Thev start walking toward the patio, CAMERA TRUCKING WITH THEM. (The camera is being pushed.) A-6 FRANCHOT AND JOAN— IN PATIO —MED. CLOSE SHOT (shoulders and heads) They are engaged in animated repartee. 10AN: It's a lovely day. FRANCHOT: Yes, it is ... a lovely day. JOAN: (suddenly, a horrified expression on heT face") Look! She points to the sky. A-7 PLANE IN SKY— LONG SHOT The pilot has obviously lost control and the plane is crazilv banking in circles. A-8 JOAN AND FRANCHOT They watch, helpless. A-9 PLANE IN SKY— LONG SHOT It starts to fall in a straight line to the ground A-10 PILOT IN PLANE (TRANSPARENCY) His face is distorted with fear. (Because of the difficulties of photographing the interiors of moving vehicles most scenes in planes, automobiles, buggies, and boats are transparency effects. The stationary vehicle is placed before a screen on which pictures of the background are run. Wind machines help give the effect of speed; the bouncing of the automobile or jogging of the buggy is done (out of picture) by some of the kind gentlemen on the set: and telephone poles whizzing past are frequently pencil-size wooden sticks which are flashed before the camera at regular intervals by an equally agreeable gentleman.) A-1 1-12-13-14 MONTAGE EFFECT (Name of the man who invented it) showing the thoughts which race through the aviator's mind as he falls to almost certain death. The background of our Montage will be the head of the aviator. Dissolved into it we see a child kissing his dying mother goodbye; the same child, only older, seeing a dog killed: a youth winning a race. The tense face of the youth, which we do not clearly see. becomes the tense face of the aviator, racing to death in a plane! A-l 5 PLANE IN SKY— FRANCHOT AND lOAN'S VIEWPOINT It crashes to the ground. CAMERA ZOOMS UP CLOSE (rapid action on the part of the pushers) as the plane bursts into flame. In its special place on the page: SOUND EFFECT: The sound of plane crashing and bursting into flame. Franchot dashes into picture. (Heroes never do anything so common as "run".) After several shots of Franchot trying to rescue the aviator he succeeds. A-20 JOAN, AVIATOR AND FRANCHOT —IN PATIO— MED. FULL SHOT The limp figure of the aviator is lying on the ground. Joan is again her animated self and is brushing gay tears from her eyes. Tenderly, then, she removes the aviator's helmet and goggles. She starts back, amazed. A-21 AVIATOR— CLOSE SHOT (Just the head in picture) It is Douglas. A-22 GROUP SHOT— MED. CLOSE Douglas comes to. (If a nice person call characters by Christian name, if villain a terse Bligh or Hyde is more menacing.) He gives a start of recognition. You can tell by her smile that Helen Vallcis has a film contract. DOUGLAS: I'm not dead? Joan slowly and silently shakes her head. DOUGLAS: Take me to a hospital, please. A-23 FRANCHOT AND JOAN She looks at Franchot with beseeching eyes. JOAN: Please. Franchot nods his head in assent. A-24 GROUP SHOT JOAN: (smiling animatedly) You're going to stay here with us. Douglas, until you get well. The CAMERA MOVES AWAY from the group and STOPS on the dead leaves on the ground and we DISSOLVE INTO: (A dissolve denotes a lapse of time. It is not ' so long as a Fade out nor so short as a cut. Before all of one scene has melted out the new one is coming in. Hence the word "dissolve".) A-25 THE BUDDING LEAVES OE A TREE CLOSE SHOT (A standard way of showing that time marches on) A-26 INT. BEDROOM IN CHATEAU — DOUGLAS IN BED— MED. CLOSE SHOT He is smiling happily. DOCTOR: (not in picture) I think you can get up today, son. CAMERA PULLS AWAY to give us a WIDER ANGLE OF THE ROOM and we see Franchot and Joan at either side of the bed. (The doctor is standing near a door.) DOCTOR: I've done all I can do. You two will have to do the rest. He looks significantly at loan and Franchot. A-27 THREE SHOT— FRANCHOT, JOAN AND DOUGLAS lOAN AND FRANCHOT: (simultaneously) We will. The three exchange smiles of great understanding. IOAN: We've decided to be pals. A-28 DOCTOR He smiles, too. in understanding. A-29 JOAN, FRANCHOT AND DOUGLAS They are gazing at one another with even greater understanding. A-30 DOCTOR He turns, tiptoes out the door and closes it softlv behind him. A-31 CLOSE THREE SHOT Unaware of the doctor's departure, Joan, Franchot and Douglas smile at one another with the greatest of understanding as we FADE OUT. The number of writers assigned to a picture depends upon its producer's pocketbook, for each writer's salary is charged against the picture whether or not his script is the one used — one why of the high cost of production. Generally, two writers collaborate. More often than not, no sooner do they finish their script when it is passed on to another pair to be polished. The polishing process may last until every writer on the lot has had a crack at it and nothing of the original story, novel, or play, for which the producer may have paid as much as one hundred thousand dollars, remains. Who, then, receives the cherished screenplay credit? According to the new film code only two writers may do so. However, if a team both members must be mentioned, so a maximum of four names can follow the "Screenplay by." The names will be those of the persons who have contributed the major part of the script which is filmed. One of the most successful teams in Hollywood today is that of Walter De Leon and Francis Martin, who specialize in comedies and musicals. Walter De Leon (one of his best was "Ruggles of Red Gap" SCREENLAND mi