Variety (Jun 1930)

IT VARIETY WecUiesday, June 86,1880 Preparation for Value-Savii^ Production Is F. N. s Safeguard By Hal B. Wallis (Co-Executive in Charge of Production at First National Studios) The outstanding: development of the present season is that the mo tion has been put back into motion pictures. The locale of a picture no longer presents any problem either in the mming or recording. Pictures have all the freedom of movement that they had in silent days. We show people talking while strolling through a park or riding horseback. There are no limitations. During May we had six pictures In production that were being Aimed on location—in the high mountains, on the ocean, and various other places. In the administrative end we have stressed complete preparation in every department well in advance of the starting date of a picture. There is no starting of pictures with a script partially completed. For instance, every picture we will make from now until August la completely prepared In script form. •It has been gone over and approved by the production heads, the writ- ers, the scenario department and the dlreptor, music and dance de- .partments «nd the sound depart- iknent know exactly what Is going to be required. . As a result we know how long the picture will be in production, when tiie scenes will be taken, and what tbe cost will be. The principal ac- tors and actresses are already se- ' lected a|td can be thoroughly pre- pared to give their best perform- ance, because they will not be re- ilUlred t6 rush in and try to memo- 'rlze their parts at the last minute. What is the result of this? , Wer one thing it means ~ better stories, more carefully prepared, v>rlth each' situation thought, out thoroughly. It gives s chance to strengthen and build each role to the maximum. No Money Wasted For a second thing it means that every dollar of the money spent goes into production value. There is no unnecessary waste and delay. Each picture receives its full value for the screen. To carry the schedule through each picture is followed day by day. There is a daily production meeting at 2 at which we go over exactly what is scheduled to happen, and what is going to be needed the next day. If we see that some change of plan, say some shifting In the se- quence of scenes Is necessary, every department has the jrest of that day to prepare for It. None will be caught short at 9 the following morning when shooting starts. Team Work The result of this system Is com- plete harmony between every de- partment Involved In the making of a picture, and between executives, director and actors. Variety Is the essence of our pro- gram this year. We have aimed to include the best lit every field of entertainment "The Bad Man,"- "Olrl of the Golden West" and "Woman Hungry''are outdoor west- erns of high calibre. "The Toast of the Legion" and "Bride d!t the Regiment" are coloi* ispeclals of great distinction in the field of mu-' slcal romance. Several Joe B. Brown pictures furnish the best in broad comedy. 'Xlttle Caesar" and "Mothers Cry" are straight. dra- matic stories of great power. As a result of this variety, the widest posail^le appeal is made to all classes of audience. Tomorrow's Film Fare By C. Graham Baker (Co-Production Executive, First National Studios) Once more, the story Is the thing. And this time the producers mean It Besides the story dominance In future First National programs, I forecast the following conditlonis:. 1. A balanced ration of enterta.ln- ment will be offered film fans, not r;'i! A surfeit of one or two types of picture. If 2. Far greater emphasis on script II preparation will characterize future |j product II 3. The handling of music In mo- ^1 tlon pictures will be reformed. Mu- || filc must not dominate plot but In- !i { Btead, be a supplementary and logl- i|>|:cally introduced element of the en- ij^^ tertainment, like the art of com- j|| position in photography, {if! 4. A great division between stage i'i fand screen play technique, giving the screen treatment a greater real- Ism and Intimacy. Balanced Program Expanding on these Ideas, It may be observed that the term "a bal- ^ i anced program" Is no mere empty figure of speech to filni producers, distributors and exhibitors. Suti- cess in the future lies hot. In imlta- I - tlon of successes, but In making I successful films of every type. If there Is to be an emphasis, it ( Will be on comedy, probably of the \ broad variety. As I see It, there are basically two kinds of motion pic- tures for entertainment, those tired folk can see at night and enjoy without much mental effort and those that leave a powerful im- pression. There Is a demand for each kind. We have "Top Speed" for the weary. Who wish to laugh and be diverted, .and "Mothui? Cry," for Instance, tor thode who wanr. to be touched and thrilled. I;t>;'^^^he trenl In script preparation I!!' l1 lil-l Is Kolng to have an Important in- fluence on the quality of future of- ferings. Hitherto, stage plays have often appeared "smoother" than films. This is because they were written, polished, rehearsed, re- pollshed and perhaps for five weeks tried out on the dog, and re-polished in the process. We cannot make p;>lctures that way, but we can polish ; and re-poUsh "scripts," given longer :jClitte and more effort. \'(. Place For Music I I think music will have Its place, bat the film is not opera. The beauty of music will contribute to the enjoyment of films as-the beaiuty of graphic art architecture aiid na- ture, seen through photography, contribute—Incidentally. Thei film uses these arts, but It Is not paint- ing, architecture, or evein primarily nature photography. It Is a vehicle for story-telling. l!he actor, who can submerge bis own personality In character deline- ation win be inote tfaan -ever in de- mand.; /the story will be the domi- nating- factor, and in the future players will be tailored to stories, not the reverse. Screen treatment of a story must not follow stage precedents. We sit In a theatre and enjoy a stage play as a bit of art and entertainment seen across the footlights.. The talk- er, to compete, must take the spec- tator on the stage with it; let him shake hands with characters, talk with them, live a suitable part in the plot That Is why the talker characteri- zation must be realistic and logical. Every spectator of the most suc- cessful and entertalnlnsr type of talking picture has a part In. the plot, because of the perfection of the illusion created. He doesn't admire or condemn the talker as art; he enjoys It or con demns It as life. "Brief Stories" Out "Brief Stories" la no more, the re action to the mag being too brief. MAX SLOTT Mgr. Orpheum TK'eatre, Chicago Announcement of the Intended "Dally Aviation News," has decided McGraw-Hill to change Its publlca tlon policy on Its air trade mag, "Aviation." The publlcaUon be comes a monthly with the August issue, with the weekly publication date to be replaced with a business report on the air Industry, called "The Aviation News." TURN TO PACE 75 OnS SKINNER o.k;sTAU[ers By Otis Skinner A recent statement of mine that the motion picture will never anni- iillate the BtfvkisiDg stage has been so misquoted ak' to indicate my lack of faltb In the talking film as a con- vincing art form. Such a conclusion has never been mine. The talking film is more than an experiment; it is a permanency. Its excellence is hot yet at its peak. Further and more convincing devel- opeinenta In Its mechanical projec- tion are bringing it constantly closer to, popular acceptance. But this \ establishment of Its value does not necessarily constitute the death of the drama we have been brought up on. It is not to the Interest of the talking film to de- stroy It If it could, any more than It would be for the news reels to destroy the events they chronicle to the ear and for the eye. The speaking theatre Is the work shqp where experiments In play making are carried on., When one realizes how appallingly few of them ever achieve success, the great wonder is that they are ever car- ried on at alL But still they do go on and when they do succeed they are ready material for the talking film which can carry their excellence not to the few thousands that see them In their original form but to millions in every comer of our land, and other lands as welL The Road Dead As far as the region we were wont to call The Road la concerned, it Is a territory of the past and with no future for.the traveling organiza- tions that fiourlshed a decade or so ago. The residents of this region of thousands of lesser cities are still avid for dramatic exhibitions and are getting them In the number of fine plays that now may be brought to them by means of this wonder of our age—the speaking film. ■■ It may be readily seen that they are the salvation of the small town, whereas In the great cities they are an In creasing factor as welL It Is a far cry from the cheaply sentimental appeal of the early films to such a completely satisfying pic ture as 'DlsraelL'* This Arliss film owes^not a little of Its success to an adherence to the established form of the drama—the maintenance of the story's essentials and the ellml nation of details which; though pos sibly Ingenious and amusing In themselves, clog the swift movement of dramatic action. The last Barry- more picture shows an advance of this sort The motion picture direc- tor Is learning the wisdom of sus talned scenes—unfettered by a se quence of fiashea of episodic action that are more disturbing than lUu minatlng. New Technique It Is the newer technique or rather this old teciinlque of the drama that the picture director Is using with more and more effectiveness. And with the especial advantages ove: stage conditions that bound the old theatre—such as great movements of masses of men aqA beasts—still available In this ifftrer form, It would appear that the future of the film both silent and audible, holds limitless possibilities. In my revivals of old successes of my repertory In the legitimate thea- tres on my tour, I am sometimes asked why I have never revived one (Continued on page 26) First National s Honor Rofl First National Has Always Had the Big Ones Its honor roll year by yean 1917—"My Four Tears In Germany," by Ambassador Gerard 1917—"Tarzan of the Apes" 1917— Charlie Chaplin's Million QoUar Contract 1918— "Pershingr's Crusaders." 1918—Mary Plckford in "Daddy liong Liegrs" 1918—Charlie Chaplin In "A Dog's Life" and "Shoulder Arms" 19ld—"Auction of Souls" 1920—"The River's End" 1920— "Tol'able David" 1921— "The kid" 1921—"Passion." 1922— "Smilln' Through". 1922— Jackie Coogan In "Oliver Twist" 1923— "Mighty Liak' a Rose," Dofothy MackalU 1923—'Tlamlng Touth" 1923— ^"Potash and Perlmutter" 1924— "Black Oxen" 1923— "Anna ChrlsUe" 1924- ^"The Sea Hawk" 1924— "Classmates," Richard Barthelmesa 192B-r."Wlnds of Chance" 1925— "Soul Fire" . 1926— "Quo Vadis" 1926—"The Greater Glory** 1926-:-"The Lost World" 1926—"The. Amateur Gentleman" 1926-<"Klk|," Norma Talmadge 1926— "Men of Steel" 1927— "The Private Life of Helen of Troy" 1927— i'The Patent Leather Kid" 1928— "The Barker" 1928— "LUac Time" 1929— "Weary River" 1929—"The Divine Lady" 1929—"His Captive Woman" 1929—"The Squall" 1929—"Paris" 1929—"Drag" 1929—"Toung Nowheres" 1929— "No, No, Nanette" 1930_"Son of the Gods" 1930— "Sally" 1930—"Song of the Flame" 1930—"Bride of the Regiment" 1930—"The Dawn Patrol" F. N. €is Star Maker since First National Pictures en- tered tiie production field In 1923, a number of the most successful mo- tion picture stars have been devel- oped In the studios of that com- pany. Among the First National' players who have achieved top-line success as box-ofilce favor^es. are Richard Barthelmeai?, Dorothy Mac- kaill, Loretta Y.oung, Douglas Fair- banks, Jr., and Bernlce Claire. During the past eight years Barth- elmess has consistently added to his following. His first memorable pic- ture was "Broken Blossoms," fol- lowed a few years later by "Tol'able David," winner of the first Photo- play Medal as the best picture of the year. Since then his career has been marked by such notable suc- cessto as "The Patent Leather Kid," "Weary River," "The Noose," 'jPrag" and "Son of the Gods," all of which, according to reports from the coast, he will surpass in "The Dawn Patrol,'' an epic of the air, now In production. Mackaijl Gets Break Dorothy MackalU's first break, was In "Mighty Lak' a Rose," a sympathetic story produced by Ed- win Carewe. In this characteriza- tion Miss MackalU proved her apti- tude for screen acting and since then has Improved steadily In a wide variety of parts. Some of Miss MackalU's more notable piroductlons are "The Barker," "His Captive Woman," "Hard to Get" "StrlcUy Modem" and "The Flirting Widow." In "Bright Lights" she has what promises to be the finest character- ization of her career. Miss MackalU's voice registers particularly weU on the talking screen. Another player carried to stardom is Loretta Toung, one of the most appealing of the younger actresses. After a series of minor roles, Miss Toung began to show her true abil- ities In "Scarlet Seas," In support of Richard Barthelmess. The prom- ise held out by Miss Toung's acting In this and other pictures was more than fulfilled In "Fast Life," a sen- sational depiction of the younger generation with Miss Toung, Doug- las Fairbanks, Jr., and Chester Mor- ris In the leading roles. As a lead- ng player In "The Road to Para- dise," "The Right of Way," "The Truth About Touth," and other productions. Miss Toung will have an Important place In the First Na- tional line-up during the coming season. The Rise of Fairbanks, Jr. Douglas Fairbanks, Jr., came Into prominence with the advent of talk- ing pictures. He scored his first outstanding success in "The Barker" and followed with equally notable performances In "Fast Life," "The Forward Pass," "Loose Ankles," "Sin Flood" and "One Night at Susie's." In "The DaWn Patrol" he has the part next In Importance to that created by Barthelmess. Bef nice Claire, prima donna of the musical comedy stage, was an Imme-. diate success In the First National production of "No, No, Nanette," "Spring Is Here," and now in "Soiis of the Flame," the colorful operetta. BROADWAY VITAPHONED Actors from All Shows Recruited and Go to Broadway d ; By Sam Sax (Chief Executive of the Eastern Vitaphone Studios If you stand at the gate of tha Brooklyn Vitaphone Studio Ions enough, you'll meet every actor on Broadway. This studio leads all others In recording the bright light stars for talking pictures. Every Broadway playhouse la scouted for new screen personalU ties. Once spotted, there Is no trouble In getting the talent - From the big stars to the bit pla^er^, they all realize that the Vitaphone shorts have proven the "open sesame" to feature pictures for most of tho legit players now. In HoUjrwood. Many of these Vitaphone Va- rieties reach the screen with casta compeu-able with Broadwioiy shows. Classic example Is "Taxi Talks," a two-reeler, ^hlch has Mayo Methot, Roger Pryor, Spiencer Tracy, Kath- erlne Alexander and Evelyn Knappi, Another. "The StUI Alarm," was taken from "The Little Show" with the original cast Intact. Fred Allen, CUfton Webb, Harold Moftett and Alan Vincent. Goes to Any Town The result . Is that every town boasting a wired house can glimpse the faces once restricted to New Tork and the big road towns. The stars are not doing this just during; lay-offs either. They come down to Brooklyn on their free -after- noons and are back to Broadway for the evening performances. Besides the player, Vitaphone Is after the "name" writers, too, using scripts by Lardner, Kaufman, Herb Fields, the Hattons and others. The bulk of the scripts, however, Is turned out by a staff of directors and writers continually busy pre- paring material for the shorts. Murray Roth, director-ln-chlef, hu Arthur Hurley and Roy Mack di- recting, with Harold Levy as musi- cal director. The authors Include Stanley Rauh, Burnet Hershey, Wallace Sullivan and Neville Flee- son.