We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Hollywood — The Director
" Two and six," answered the script-girl. To our unpractised eyes there was little to choose among all these different images, but Von Sternberg had selected unerringly those that contained the qualities he needed. The projector continued its low murmur. Betty reappeared larger, the middle-distance shot. Once more she lighted the cigarette, swung her eyes obediently ; once more Von Sternberg selected without hesitation from some half a dozen. Betty reappeared again, a huge head. Almost every scene was repeated in these three sizes, distant, middle, and close-up. Then George Bancroft came on arguing with Clyde Cook ; distance, middle, and close-up ; distance, middle, close-up with enormous, grimacing faces, each repeated half a dozen times.
Four or five such scenes represented the whole of the day's work. Four short slips of motion, not one lasting two minutes.
A peculiarity of these rushes was that in them one could distinctly feel the presence of the director. Betty swung her eyes, not because something had startled her naturally, but because somebody outside had shouted at her through the megaphone. So, too, Bancroft and Cook argued and pulled one another about, not from the dictates of an inner desire, but because of an outside will. In these little detached segments one could perceive clearly the texture of the material, just as, in a single cube from a mosaic, one can see the nature of the stone. And, as in the mosaic, in the finished film this sense of the outer material, the impress of
H [113]
CLYDE COOK