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Problems of the Art Director — Lei sen 79
thing else is better. A director under the pressure of his work, thinking of action, is not considering the set or the material adjuncts of his production. Therefore, when he asks for something, it behooves you to be sure that is what he wants and whether somethingelse is better. In The Volga Boatman De Mille found that most Russian interiors are decidedly French in design. He submitted some that were almost Russian comedy in character, and he wanted French. He felt in this country that the people wanted to see Russia as they believed Russia to be. One Russian character in that picture on the first set said: "That is the most perfect Russia I have ever seen." There wasn't actually a Russian thing in it. In the selection of wardrobe, particularly in a period production, for example, Pickford's production of Dorothy Vernon of H addon Hall, an Elizabethan costume is very cumbersome, and it is generally hard for an actress to wear almost any kind of costume. An American actor will say: "Don't I look like a damn fool?" And they wear that attitude in the picture. The public take the same attitude, so we must simulate the period to create an illusion of the period without being ridiculous. There was only one costume in the picture that was actually Elizabethan — that of Queen Elizabeth. Clara Ames had studied the part, and her costumes were about seventy-five pounds apiece in weight, but when she appeared we felt as though we were in the presence of Queen Elizabeth. She made herself the part. In the other parts I simulated the period. I made the people keep the costumes on, whether they worked or not, so that they got used to them and overcame their self -consciousness. I did the same thing in Robin Hood. Gentlemen wore chain mail all day and finally loved it! They carried fourteen foot spears and broke their necks for a few days falling over them and finally found out how to handle them. In The King of Kings I carried a stock company of twenty men and twenty women. They were hand picked for their ability to wear clothes. In the forty days we had we put on those people every costume in the production until they knew backwards how they were to be put on and worn. Therefore, when we got to the time of the production, my forty stand-bys or assistants were assigned so many of the extras, and they dressed the people and showed them how to wear the clothes, and^it overcame the difficult of their looking as though they had walked into a rag bag. That is very disastrous to the production. If I remember correctly, this happened in a recent stage production. Those things