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.
Talking Pictures
directors meet on one common ground. They all are specially and acutely sensitive* to the drama of life, for they all have the same central hobby, an enthusiastic, abiding interest in people. A good director cannot be a grouch or a recluse. He must have an insatiable love for, and interest in, his own kind. And every director, whether he will admit it or not, is a practicing psychologist.
The principal tools with which a director works are men and women. A director is judged by the logic and accuracy with which he fits actors and actresses into the parts and the plot of a fictitious story. It is here that individuality of the director becomes most evident. Each director will have different methods of getting* the ultimate in emotional reaction from the cast of his picture.
One director will be very brusque and businesslike. Another will patiently explain each scene quietly and in great detail. W. S. Van Dyke is an example of the first school, Sidney Franklin of the second. Sidney Franklin, unconsciously, is an extremist in his method. He speaks in such an abnormally low, quiet voice that his players find themselves giving unusual concentration to every word he says.
The director must know his story so thoroughly that he senses the exact moment when actors should be subdued or their actions. intensified. Actors depend on directors to give them the necessary connection between scenes. If a player worried about tempo, the distraction would interfere with his creation of a perfect individual scene. It is the director's responsibility to be certain
[156]