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Hollywood — The ^Artist of the Film
written pages, the mere caterpillar of the butterfly that shall emerge. Now the creatively visual mind must have its say. Of all the collaborators possibly only the director has any visual sense : he alone can see in his mind some dim image of what the picture is eventually to become. Yet again a very wide gap lies between a dim visual feeling and the actual concrete building that must first take place. Before one inch of the film can be turned the artist, with his more powerful visual capacity, has to ponder over the script and evolve the actual scenic backgrounds for the play. The difference between this dim image and the concrete is what divides the painter from the ordinary man. Try to visualize the face of your best friend. You may think that you can do this easily enough, yet try in your imagination to compare the simplest measurements. How long exactly is the nose in comparison with the forehead ? You will soon understand that in fact this image is really very dim.
From the written script the artist has to conceive the drama as a series of visible happenings, but he has to conceive it so vividly that he can draw the scenes as though they really existed. The play as we see it starts actually in the artist's and the architect's office and in the construction-shops.
The director says to the artist: "We are going to open this play in a Viennese fair of the eighties.' ' A fair is, after all, only a fair : a collection of merry-go-rounds, booths, cockshies, and so on. It has been used in the movies a hundred times already. What new in the pictorial sense can be got from a fair? It happens to be the artist's job to get something new out of the fair. If he cannot do this he is of little use in the movies.
He is the illustrator of the film. His designs have to be turned into good framing, plaster, and paint ; sometimes on an enormous scale, sometimes on so small a scale that one can think only of the Queen's Doll's House for comparison, but
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