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''Going on Location"
ing. It was built for The Big House and later used during the filming of Criminal Code.
From this discussion of locations within America it should not be thought that picture making is confined to our continental borders.
For scenes in dramatic photoplays, companies have gone from studios in London, Paris, Hollywood, Berlin, and Nice, to everv corner of the globe. It is doubtful if anyone exceeds the travel record of W. S. Van Dyke. This director has covered over half a million miles during his career. First he made many Westerns in remote pans of the United States. Then he headed two extended foreign "locations." He was in Africa fourteen months with the thirty-five Hollywood technicians and players needed to make Trader Horn, and for a similar length of time he was above the Arctic Circle for Eskimo, with a staff of equal size.
For foreign locations there are endless complications of passports, interpreters, vaccinations, income tax clearances, local labor laws, transportation of food, the protecting of delicate films against excessive temperatures, dryness, or humidity, and various other difficulties. But Van Dyke contends that a location in darkest Africa, with all its complications, is preferable to one anywhere within Southern California, for there are few "movie fans" in darkest Africa! There he is able to work without interruption from a curious and investigating public.
Police protection is very essential to any picture making outside the walls of the studio. The news, "The movies are here," spreads rapidly over a countryside.
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