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Round the Studios 395
way to London by nightfall. As the sun moved round in the heavens the linen and canvas sets — three-ply and plaster were unknown in the studios in those da3-s — had to be moved also, so that the light coming through the glass walls might shine on the actors. Most shots were made at a range of twenty-live feet and the reason that players in those early films wore the same costume throughout a picture was simply that otherwise they would have been unrecognizable. Thus, the villain generally wore a dashing black costume from beginning to end of a film, and the country squire a suit of loud checks.
When the sun did not shine shooting in the studio was perforce held up. On those occasions the company would cheerfully dash off to London to take an " interest " film of some thrilling incident such as the boat-train steaming into Waterloo.
One of Hepworth's most successful early " feature-films " was the famous Rescued by Rover. This epic was more than 250 feet long, a monster of its period. It featured " Rover," " Heppy's " own collie dog, which became d figure of world-fame and was Rin-Tin-Tin's predecessor by many years.
Had it not been for the war Walton studios might easily have become the film-centre of the world, for it was not until England was forced to send her film-makers to fight that Hollywood came into its own. Films continued to be made at Walton spasmodically throughout the years of the struggle, and the Government of the day ordered the production of more than one propaganda film at Walton, of which The Belgian Refugee was a typical example.
In 1922 Archibald Nettlefold's organization moved into the studio and produced there until, three years ago, the present studio was built on the site of the original " Heppy " garden studio.
There is now a spacious sound-stage, equipped with all the paraphernalia of up-to-date talkie-making. Dressing-rooms, scener37-docks, carpenter's shops, private theatre, and sound-apparatus are all modern and wellfitted. Most of the more important independent companies have rented the studio for their productions in the past few years and some fine films have come out of Walton.
But the visitor to the studio will notice a strange link with the past in the midst of all the prevailing modernity. In one of the offices, adjoining the floor, and actually the kitchen of Hepworth's old house, there is a wall bearing a row of wooden pegs.
Those pegs bore the strips of Hepworth's film, as it hung to dry, in 1S98.
Wembley
Associated Sound Film Industries, Ltd., Raglan Gardens, Middlesex.
N October, 1929, the studios of British Talking Pictures, which stood on the verge of what had once been the Wembley Exhibition, were completely destroyed by fire. Before the end of the year a new studio had already begun to rise from the ashes of the old and finally took shape as the Wembley headquarters of Associated Sound Film Industries, Ltd., generally known as " Wembley Studio."
It is a finely-designed studio, constructed primarily for one production at a time, with approximately 10,000 square feet of floor-space available