Star-dust in Hollywood (1930)

The ^Movietone in France the stuffy, sound-proof seclusion of the first were the cameras. In the caravan was the recording apparatus that synchronized the voice with the action, and the * mixer,* who regulated the quality and volume. Around me now was a babel of mixed English, American, and French, with some French-English and English or American-French. At my elbow stood a man in a white overall. He had a tall shock of pale grey hair and pale blue eyes set in a congested face. I tried to talk to him ; he waved thick fingers in my face as a sign of negation, but C , returning at that moment dressed as a butler, introduced him. " This is Alexandre," he said. " He is the make-up man. Don't try to make yourself up. If anything goes wrong they blame you, but if their own man has done it they can't complain. You have to be careful. However, Alexandre is a marvel. He used to work at the Arts Theatre in Moscow, but the Bolshies chased him out. And remember, when you come out to work, get made up at once. If you have had your paint on they must pay you." " Oui, moa Alexandre, Russe," babbled the make-up man, grinning. " Maquillage." He pantomimed in front of my face with his hands as though he were mentally preparing to mould it into a dozen different disguises. An actor dressed as a butler like C now approached us with a courteous and formal salute. " This is Monsieur Paul, my French confrere" said C . " You watch him when he goes on to play and you will have a good idea of the difference between the social positions of a French and an English film actor. Although we act in exactly similar parts, he gets about a third of the salary I do, is glad to get it, and he never dares to talk to the director without calling him 'sir.' " [287]