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The Sets Are Made
fishing schooners which operate dangerously on the Grand Banks, in the path of onrushing passenger liners.
Chinese cooks will install their native stoves. Icemaking engineers will place equipment to freeze the surface of immense skating rinks.
The activities of a unit art director, and of the individual artisans who aid him, are limited only by the imaginations of the authors who wrote the stories which are being translated into picture form.
For the earthquake in San Francisco the sets had first to be designed. Then engineers — experts in stresses and strains — were asked for their contributions. It was carefully figured whether a pushing, pulling, or lifting strain had to be applied to make the wall or floor of a building buckle or break in an authentic "earthquake" manner. When these places of break were determined, material resembling mortar, but not cohesive, was placed between the bricks, so that when strain was applied the wall would give way. Hydraulic lifts or ropes attached to powerful pulleys or other forms of leverage were placed, out of view of the camera, to provide that strain.
This presented unusual problems, but even the smallest set requires the close, expert attention of many different trained hands. The making of sets is a complicated, fascinating enterprise.
Every day of the year the "set board" in the construction department of a big studio offers a challenge to the imagination.
A typical recent list of such settings included: "Interior of Captain Disko's cabin, schooner We're Here," "Exterior of slave trader's compound," "Outer office of
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