Talking pictures : how they are made and how to appreciate them (1937)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




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 Once when Mary Pickford was taking scenes at a small railroad station near a main automobile highway, it took twenty motorcycle officers to handle traffic. Careful attention to sanitary conditions is necessary in order to maintain the health of a company on location. The slightest carelessness may have serious consequences. At times work of actors and technicians has been seriously affected on location because someone failed to supply sufficient bottled water. It is a wellknown medical fact that people when traveling are more disturbed by a change from their accustomed drinking water than from any other single cause. Director W. S. Van Dyke gives much of the credit for the success of his Arctic picture, Eskimo, to the chef of a big Hollywood hotel. He says, "I took him along because I knew that after fourteen months in bitter cold and desolation only a fellow who could make corned beef taste like lobster a la Newburg was capable of keeping thirty-five men from individual and collective murder!" "Going on location' ' has social values which shrewd producers have been quick to recognize. Work within a studio is necessarily very businesslike. It is on locations that players, director, and staff become better able to appreciate one another as human beings. Leading men find their "close-ups" are improved when they come to know the cameraman, not just as an adjunct to the camera, but as a person who also has flesh and blood and sensibilities. Stars discover that the director who works with stern discipline on a studio stage is not a martinet, but a [ 194]