Show pf fc i U l VJ u uj j u v rna o v J U 9 In z t rs aiu a w w o vii I IH HOW HOWl O W WU THE E. E Mcc MOVIES E. E S A- A ARE RE MADE ec ii The Prod Producers Producer's the o Reels e Part Go Round in Making gI I J Film Producer t t Must Be Person of o Many Talents for He Is Creator Author r. r J 1 Surgeon Actor and an M Above All a Business BusinessMan BusinessMan BusinessMan Man Trained in the e Practice of o Economic Administration f ATS off of to the tIle moving picture director director di dl- HATS rector It la is lie he who really mak makes s the reels go round Sometimes the director Is 13 called the prof pro f ducer Then he is aptly termed for tor he produces pro duces the I play produces the authors author's Ideas and then some produces a complete photodrama photo photo- 1 drama o out t of a n few sheets of manuscript manuscript- in short produces the goods Stars may come an and d stars ma may y go fashions fash d I ions In lu film plays may zany change companies luny merge develop Into great trusts or go z out of or business but the moving picture c director goes on oil so to speak for tor forever ever ver lie tic lieis lieis is indispensable He tie Is the creator of ot the 4 entire structure of the photoplay frond froni the time the scenario leaves the authors author's feverish fever ish bands hands until the finished film Is flashed 11 before Its night first-night audience And yet the director Is a modest nabob He seldom appears In the limelight and Is r rarely known outside a n few small cIrcles In n his own craft cratt He lie Is perpetually busy 4 and would have bac no time to s swagger with a 11 F cane can and tell how good he is even CIl if it h he e had bad badan hadn an n egotistic Inclination Lambasting the Brain Child 4 After liter It has been accepted by the ferocious pIa play reader the authors author's scenario 4 I Is turned over o to the director if IC an dui immediate imme imme- 1 diate production has been or ered From I t that at time on i It Is s completely at hi his mercy The author if It he Is experienced In him film craft genera generally stays s 's miles s aWIl away t during ry rythe nj the period of ot production el else e h he c ma may find 1 his brain child being d decapitated amputated un u fated and dissected b hr by a director who has bas hasan an 11 clad armor heart henrt a aI The first filst thin thins thing a director I does docs after he hei i has n assimilated the story of or the pla Ilia play as written is to stud study its locations The Tho ml h r locations are arc places where herc outdoor scenes s f 9 may be staged such mch as in n II J park on the beach In tt a crowded street treet or ur on a It moun The director Is a foe of ot locations locations loca Joca If It they are too difficult to se secure secure cure c or r ruo too 00 widely separated I Expense is nothing to an nn author Nor Norare Norare or are ure time and d distance t nce Ills Ima Imagination knows no shackles In a n reel one play he may inns transport his characters from the Atlantic Atlantic At At- lantic Ocean to the swamps of Arkansas by bJ t I W w YD P 0 6 1 fl 4 A li a S 'S r tY r r mA r L Lr J r I-I I J rl r. r I e I J o r J FOr FOCI'S a mere twIst l of a u typewriter shift lever It is the dut duty of oC the director to trim these wild imaginings to a a safe sane and Inexpensive Inex- Inex l lens pensive lense e basis Only on ou great features Is mone money thrown away like liI c water nil lilt stories to the contrary In staging u a reel one play the director alms aims t to 1 lessen expense which largely means time con consumed in III the production b by bringing the tho locations as close oc to together as ns possible al nt least so 10 that the they are arc separated sepa sepa- separated rated LJ by brief automobile 1 trips In Jn making mak tank- fug ing ill three or Ii pictures of ur greater Ic dimensions dimensions di di- l the necessity of compressing locations lo 10 catkins Is less Iso important Comb the Streets for Actors comes the assigning of or parts purls to the actors and mul at nt the directors director's com com- mand Sometimes h he hI changes the entire plot revises a character In the play or leaves it out altogether ethel because e there is no n available n player to lit tit the type called for fOI forby forby lJ by the author As s e explained h by Director I F. F Baker of or the company compan I types can cnn no lon longer er be manufactured with ith the aid of the costumers costumer's and ond wigmakers wigmaker's wig ig makers maker's rs r's art The types t pes must be from real ral life if it the they are arc to be convincing The camera tells plain truths ruths particularly as to make up up and the movie moie public imbUe has hits grown n rown too keen to accept the artificial No Xo longer longcr ma may old age agu be he simulated IJ by a few tew pencil lines JInes a abald abald bald wi wig and whiskers rs galore Nor h b by the stuffing of or a Ii pillow beneath be- be neath the waistline A As for supers no matter what types are arc called for the clor feels confident ent that he can cnn go out on III the street and pick lIck out the cr very cry people he wants from the passing passim crowds lie He wants people that look the part be the they politicians laborers laborer shoppers coal conI miners or 01 pink lea devotees All 11 he requires o of them is to net act natural to he be them themselves ehe For this work real ical people are arc much preferred to actors from the legitimate legit legit- stage who above p o all things seem to object to acting natural Then comes the writing of or plots There is a scene plot for or the builders b carpenters and scenic artists which tells them In III few words just what interior settings are to be created and set up There is a property plot detailing all the articles of or furniture household goods art objects kitchen wa ware re fresh flowers and other items Hems which dress s the Intel InterIor lor scenes c ns Also such implements as revolvers rc paia parasols rn spyglasses hypo I I needles and other aids to the production prop pro duclion o of the modern drama The h costume plot glut is complicated or simple according to the age ose ancient or modern in which th the plu play is to be placed Military plays necessitate the gathering of ot numerous uniforms correct In detail and the unions Impedimenta of the profession of oC arms Costume pings s 's or of historical orIc ll periods such Stich as IlS the Elizabethan 1 of or colonial eras erns n mo Ie envy y n to secure Plays s 's of periods In iii any mr decade within the last century are tro difficult to co costume lt because of the frequent changes ts t's In male mule and female attire t lIre since Wa garb gaib rh went out of fashion Sometimes the production Is Js delayed for weeks because costumes must be he secured In distant cities E Every week great reat crates of ot costumes are aie delivered across s the thc country from New and Philadelphia to Los Angeles n ele garments which may be worn for forone forone forone one or 01 t two o WS short Scenes scenes and then theu thrown into the bc discard a Plays of the tho current period give I c the director di dl- rector no costume worries worries' whatever It Is Isone Isone one of ot the duties of ot the actor or 01 actress to be dressed dieted correct in every wery detail detail de de- de tail tall wI without hout the need of ot suggestions or corrections corrections corrections cor cor- by bI the InH busy man who gives Ives the orders Some Somo directors have ha a Ii costume code In assigning their parts to the company com com- pany For Instance P T B. B means a Palm Bench Beach outfit P A A A. means that the prior actor shall appear In a n Prince Albert with silk sUI hat spats scarf cart gloves and cane to match C 0 A A. A orders a cutaway suit with ele ele- gauchos of dress to complete the effect E is the symbol of ot evening e dress lre formen formen for formen men and women For the lady star E means that she must turn to the reI welcome come task of looking lookIng- her ber best for tor tho the great grent movie public to public to b begin ln work at S a n. n in an or earlier with the a assistance of ot her maid arranging ar- ar ranging langing her s i and finishing every cery detail of ot her ller elaborate toilet tonet in time for tor forthe forthe the first rehearsal at nt 9 fl Zero for Bath Styles B n Is short n and nd snappy for business clothes It might nJ also 0 stand fur for standing suit stilt but in view of this years gears beach Leach modes anodes n according to Mr Baker this might better be Indicated by the letter Jetter O 0 Scenery costumes and properties are arc made rend ready by separate corps of oe experts In the modern film plant these details are I brought to completion with the certainty of ot clockwork When the director gives I es the Th The M Movie e F. F Fan H Has f 11 fir e oVie an a as s Said Thumbs Down f for or th the e A Artificial efe I fl 0 l di n and the r Up Make-Up an Yf Director to o Win 7 Applause Must Gather 1 i Actor tor Types to Ji Delineate Characters r o of a Drama S fV r order that certain scenes shall be ready on I I L the floor at a certain time he arrives to find And the interior sets ets built the properties t correctly placed and the lights re ready dy to be r. r i Ignited by electricians In front of ot the t first set to be used the camera man has bas f placed his machine and has measured distance dis dIg f tance e and the effect of lights through his finder Z I The company Is ready rendy too too In costume and mal make They with the eup appear punctuality punctuality pune- pune tn lIt of ot factory workers Temperament is not considered as an excuse for tor delays The rhe director must begin his work on the minute for e every delay Is costing the factory fac tory tort money In the expense of the powerful powerful power power- ful 11 lights in the salaries of ot mechanics and ande e extra tra people who ar are paid by the hour l ill 0 and not Dot the least by the use of or valuable floor space space which m might ht otherwise be utilized util r r h i l I 7 ill b by another director with his company t 1 and scenic settings A If r r J fl f ill r. r A scene Is Js first read to the principals I J l t Ill I who are re reto to take part Generally the thc description de de- I of ot the action fiction Is short taking up nil but from three to five lines of ot typewritten manuscript Sometimes the players are permitted to read t the e scene themselves hes for better enlightenment l j The Seriousness of Fun f Then lien the part of at each fach artist In the scene i 4 WI J I rIl li Al is s rapidly Illustrated by bJ the director w who ho f l enacts It himself If It he thinks there will be beany II II ft I any difficulty in driving It Into the Intelligence Intelli fA Ih i gence ence of ot his talented No amusement amusement amuse amuse- J I ment It U caused when a 8 stout burly director plays s 's vividly the cb character of oC a shy In In- gentle genue in her first love Joye affair After vim vim- g coyly and casting his eyes ejes downward I jf lu in a manner girlishly demure he be snaps snap his II fingers and instantly becomes the gruff g energetic en en- l J Iq i l boss bos of or the Ule company I lIIA A l motion picture scene scenA is like a piece bli IJ 11 of at music explained Director Baker Every Ever rr l f raf lUJO J t part of it must he be played in the same sym sm sympathetic pathetic ke key or tempo or the effect will be lost lost its Its realism banished One actor or actress out of ot kc key although apparently doing his bis proper share will wreck the time 1 scene A swift comedy scene may bo be ruined I because one character does not grasp the slapdash slap spirit or tries to preserve e the Individuality Individuality In In- of his t type pe The latter atter defect p I is also fatal to serious dramatic dramatic scenes |