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254 Yes, Mr. DeMilk is no good. What's the next part of the duel? Who wins that? The next time Sebastian does the same thing and he wins, and the audience says hurrah! and Holly does nineteen spins on one foot and the audience gasps. What are they saying to each other? What are the things that make an audience interested in the scene? What are the reactions of the people below? The audience doesn't know what it's about. To hold your motion picture audience's interest in the duel is what is difficult to write. You see that happen there. Holly does something, you see Sebastian say 'Jesus!' and applaud, and then he does fifty flips. I don't think it makes any difference who wins the first round. If you get over they're fighting a duel, you're damned good. What's going on elsewhere? What's the act-the feature? What's going on underneath? Writer: I haven't shown the circus yet. DeMille: I wonder whether your audience is interested, be- cause they think Holly and Sebastian are in a Hollywood studio turning over on invisible wire. That's what they'll think, unless you show the circus. Before shooting could start on the circus story, a way had to be found to light up the Big Top with enough amperage for the hungry color cameras. At enormous cost, clusters of small "cold lamps'* were devised, and hung on the circus poles. They gave the cameras enough light and also permitted them to shoot upward at the aerialists—an angle that was impossible under the old system of Klieg lights manned from catwalks above the sets. Unglamorous though it was, the innovation marked a brilliant technical milestone for Paramount and Technicolor engineers, whose highly sensitive new film made possible for the first time filming of action under the circus tent. DeMille had to gauge the Ringling circus's production time against his own, arrange players' commitments to dovetail with the circus schedule. These two items alone constituted a small