Screenland (Nov 1945-Oct 1946)

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Box 2389 • Hollywood 28, California MARIA MONTEZ Universal Picture Star Just one of your favorite stars available in the Stargraphs. We reserve the right to substitute. MAY MANN Favorite Hollywood Columnist tellsall youwant to know about your favorite Star in each Stargraph. / QUEST All-purpose DEODORANT On sanitary napkins, Quest powder deodorizes completely CONFIDENTIAL For Movie Fans! The private, home addresses of more than 400 top Hollywood motion picture stars in this exclusive directory. Send for it now! Enclose $1 in currency or money order. Movie Star Directory P.O. Box 3068-C Hollywood (28) Calif. for New York snobs without the slightest knowledge of film technique who come out here to pick up easy money. You see, to be a good screen writer, you must visualize as you write. This is something many of the highest paid novelists do not always master." Joan has thumbs down even on famous playwrights if they haven't absorbed motion picture technique. "Motion pictures are completely different from stage plays," she explains, "for you have to conceive pictures in terms of film. As an example: in our medium we don't have the limitations of the stage; such as small sets with the action taking place within their boundaries. In a stage play you can never get close to anyone's face and therefore don't have the advantage of closeups. On the stage, also, you must keep down movement as much as possible. Too many rights to lefts are distracting. Remembering all this, it's easy to see why people who don't understand cameras are never any good in turning out Hollywood products. Film has its own technique. In movies, the camera controls the whole emotional impact of the picture." Joan knows what she is talking about, for she was a screen writer herself before she became a producer. Under Hitchcock, she wrote — among others — the scripts of "Rebecca" and "Suspicion." She learned so completely the knack of visualizing as she wrote that sometimes it annoyed her when she couldn't get the feeling of what she wrote on the screen. For this reason she decided to become a producer. That way she could make sure that what she had in her mind would find its way to the screen. Her advance from screen writer to producer was as simple as that. Being a writer herself, she works very closely with the writers on her pictures. First, they work on the original draft. Although it's cut up into scenes, it isn't the polished, final manuscript. The last draft, the shooting script, is complete with all types of technical description. It has such terms as "Fade in," "Dissolve out." The dialogue is interspersed with directions, as: John (motioning to the left) : "The closet is over there." To a layman, many of these directions seem like Greek. Camera pans to Florae's head, the script may read. Or, again, John looks at Mary as the music wells up. But these technical points are invaluable to the actors, the art director, the director, the costume designer, the cameraman, and so on. After the script has been completed (about this time the director is generally called in and has part in all the conferences thereafter) , Joan begins to think about casting the leads. For "Phantom Lady," she saw tests of various girls. The one she liked best was of Ella Raines. Joan liked her personality, and although Ella wasn't well known at the time, Joan said: "She's a fine actress. I'll gamble on her." Next, Joan selected Alan Curtis. Then came the casting of a very special role. "In every film," explains Joan, "there is an exciting piece of casting. There is a role that is different, and it's very important who plays it. For 'Phantom Lady' I wanted Franchot Tone, so I sent MOVIE STAR PORTRAITS' Cornel Wilds 12 •« 1.00 POPULAR GLOSSY PHOTOS FINEST QUALITY— NOW . . . 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