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170 Jes> Mr. DeMille the boss, mouth-to-ear, in the manner of a man about to dis- close the identity of a new ocean. For the circus picture, Burns grappled with the task of moving hundreds of extras and "bit" players to Sarasota for a six-week stay. But worse, he was not to pay more than $175 weekly in the face of the fact that most, under guild rates, earned $200 to $300. Burns was able to keep the figure at $175 or under by holding up the combined lure of Florida sunshine and DeMille prestige. Some years before, much secrecy was provided to protect well-known players who had taken minor roles in The King of Kings. They were artists whose pay ranged from $350 to $1,000 weekly, some working for as little as $25 a day to tide them over the dull season. Beards and flowing robes concealed their identity, and their names were not mentioned in the cast of characters. One of DeMifle's old hands, Art Rosson, a capable second- unit or location" director, foraged for years in out-of-the-way places to film unusual backgrounds. His first assignment was back in 1935, on The Plainsman. A small man with a world of patience, Rosson's eyes twinkle when he recalls efforts to meet the boss's specifications. "I don't remember a single time when he approved immediately any scene I ever shot," he says, "and of course he would jump up and down over what he felt were wasted dollars/' But most of Rosson s work somehow always appeared in the final footage. During the screening of considerable location footage which Rosson had shot for Unconquered, DeMille found more than usual to complain about, at one point severely rapping a par- ticular scene. tt l cannot understand why Mr. Rosson wasted his time," Mr. DeMille growled, addressing, not Rosson, who was sitting nearby, but the assembled technicians. "To put it plainly this has cost us a lot of money, and to make it even plainer, the scene stinks/'