| Show td kt I 4 I 4 2 March 311 1910 ik i2ribune Ijt1t Sunda) Morning t ' f' 11 ' f1 CI II 1 ! 1 - ': II lir 1 I 1 ' ritin)iii) V li j tii tfik N i i i I t 1 1 At 0t- ilE"') i:: i S 1iiit N 1:::i 1'7 ‘ - '- 1 ii it : 4 ii I II - 17a 1:1 (rir (! )11 - Litl' i N) t 4 L - 4 --Li - - t t - t g - 1 - - - i 4 ' :e 1 - t ir ' 4 i 1 ) iiie e 4 1 : i0 'r- f iat:k:4 rt - ? ' 1! - t :I ' 'ij' Fi''''-- t 11144 i '1': ' :'1 1V14 l't r° ' "'''1 '' F '''''1 1V "11:44 Et' t - ' A il ''''' -T I ' '' ' 16 — - ' tf''7-- ' - t 1 '''' ' ‘ ' 1 :e i - ‘ - ''ot't 1 i I 0 1 I I" t k d ' - t' ' ' ' 4' - - ' - '11'0' - ' :2 ' ' - ' 001 ' 44" - I Nr 0 ' 1' I i 4 0' jp N A 1 i effAA 1404 c ' 1471' ''''-'- '' ( ) ' ' r'' i 1 i ' v 1 ' ' L - kr oe x i i - - - '' r 'Is 4tri 'to' - I 1 ' - ') itt ' 4 ilk I ( a'''° J ' '- 1 rr- - 1 3'4'4 ft I ei ' '' 0 N d 1 : '‘ k ' '' "' 1 - Yi4KIti to 4 A ' ' ft' ‘ :7 1 i t ' i 1 I - '''''41m8'"'1- w I! ' 41- ! - kg1- k It ji - t i I 11- ' tc 776"1' I iZ r ii 1 1 r'' 111 1 i ' ' - I i ir ' i ' - -- —oat --I ' k ' ''''''' 1 - 4 1 f t - 't I ‘ k ik ' I ' 4 i - 0 ' t i ? ' i 1 ' ' i i i - 1 i I I I ' i - 4 : ' ! t - : i - I - 1 I ' ' i 1 ? ' t - i ' - '' :e7 ' - t -- --- ' :: - -- ' A ' I1 - 11 t - ° 7' f - ' 1 - r ' A F i re- $' r - ' i - ' - - -- 'I ''''' I - ' t " k' '' A''''''11' ' --- l':- t :' ' I ' 'A - '1 Itt i - ' y) : ' ' - — - --- ' - ' - - v - ''" 7- ? ir'V 44 - 4 : 5 'X'r P4 ' ' ' t L ' agri44104W - - - ' - ' ' r Vt - ' 7 ':' 1 I S' - i ' 0'- -' ' ' -- — - It all seems very mystifying until you get a glance like this one from behind scenes I ) p By Lucie Neville 1- I I IOLLYWOOD movie magi have been flg- out some fancy April for the 1011N Not all of it is funny but most of it's thoroughly mystifying except when viewed from behind the scenes Ghosts stalk graves talk tiny humans plot and prevail against giants In pictures now in pioduction or shout to reach the screen The Little Man Who Wasn't There has become one of Hollywood's busiest actors Through advances in color pho- Tlir tography little pink elephants and grevn gorillas can become delirious reahtles in celluloid Making a mountain out of a molehill may be child's play for the -pocus experts but many Of the tricks they use are bewildei ingly complicated Mot Of the studios Ftll carefully "bectetx" cloister the guard wizards It their labotatories and firmly try to exclude all visitors from hocus- the These pi erautions "proceiis" stages ere intended to preserve the public's illusions the theory being that fans dont like to know when or how they're being fooled—on April 1 or any other day A growing notion in Hollywood hmiever is that the public already knows when it is beillrg fooled end that it would be vastly more pleased and Impressed with pictures if it had an idea of how diMcult and costly the illusions' really are rpm I fiankeit and biggest Joh of trickery ever filmed is the forthcoming "Dr Cyclops" Ernest Schoedsick director and heed achemer of the fantasy would be the last man iit Paramount to tell you that the It's jut pseudostory is remarkable scientinc 'hokum tailored to flt the idea of modern Lilliputians trying to kill a giant hoedsack who made the sensationally successful "King Kong" laid out many tougher problems for himself IR "Dr Clops" because Its In Technicolorists themlechnicolor selves said many of the things couldn't be done Schaedsock taught them some lessons The picture shows how two men and a girl penetrate the Brazilian jungle and end a mad scientist who has found a way to reduce the cote of living things To prevent their return to civilization with his seeret h he shrinks them 'to their In that condinormal proportions tion they have a series of desperate adventures An effective ocene is When Pipo a dog belonging to one of the vietims finds himself towering above hitt master lie looks down at the man In apparent bewilderment and uttei I I distressed little cry The way we got that" said Schoedriack "was to tethitr a white rat near this dog who's well trained and tell him not to touch it The pooch quivered and whined as he watched the tat which of course wasn't in the one-fift- picture" The three tiny people are frightened by the ominous inspection of on ordinary rooster and later they'fl terrified by the scientist's cat which to them looks twice as big as a tiger "We tried out the loggwt oincriest I woo d" looking tomcats in Holly Schoed sa rk recalled "Mint of 'um just went to sleep or purred Finally s: al we found a real tough guy who hated everybody and particularly disliked a certain electrician This fellow would make a rarzberry noise and the cat would crouch and snarl horribly We got some marvelous stuff to use in the trick scenes" Some of the Plet were built in duplicate detail except that one would he normal site for scenes in is hich the scientist eppears alone and another would be done in such huge scale that the adventurers appear to be only a foot tall In many scenes of course Dr Cyclops and his tiny guests P Ppetir together—by grace of tri4 photography For example they ar hiding under a big chair as the mad scientist opens a door and enters the room But the acientist and the door are not there they're only being projected on a screen and rephotogrophed as the carret a shoots past the little hero and heroine i in its boo- the movies are going in for extremes of realism and fantasy The latter are actually combined in one inyittinrek—"Our Town" the Thornton Wilder play that won a Pulitzer Prize WHILE glamoranguishes " dolr fm Itroadw ay The story is an earthly narrative about normal life and death in At the same time Grover's Cortier the manner of telling it in decidedly unearthly or vAVeklrluor Mum ylt” inti n v - - - r Nt A t1 $ k - - I Ir - ' 1 '' ' : - 1 - - 1 1- v r k i - tIvoirsimir-11-11- - i if t 1 t - -- - i ' 4 4 A 1 t I - 0 --- " t - - e 0 - I '' ' s1 te"-- ghost would haunt overtime if shapely Lynn Bari above were Miss Bari's gun play makes a ghost of Warner Baxter in the around spectral picture "Earthbound" Even more creepy is the picture "Dr Cyclops" in which a mad scientist reduces people to Lilliputian stature One of his victims Is Janice Logan under the scientist's boot at left Any One sequence will illustrate something of the technical the girl lies in her home at the point pf death She looks at ancestral portraits on the walls and these pictures shuffle together to form a group of people staring down at her She looks at the patchwork quilt on her bed sees it dissolve into a shill-laxpatterned panorama of farm fields and moving along 'a road toward a cemetery is a funeral procession She goes along At the cemetery some of the tombstones are seen in the same arrangement as the ancestral pictures were in her bedroom In the dull light and rain the headstones become the pmple themselves and Emily II among them being welcomed (It isn't all as tragic as it sounds And the girl doesn't die as she did in the play) fmily ly an earlier day Emily in her life she is not seen as a translucent spook because that effect She's might be considered comic merely lighted differently than living WHEN " es people around her Sometimes she actually has been put Into the scene by the process of "double printing"—two different films combined into a third Another device used was a movable ceiling which slid around so that hidden overhead spotlights illuminated her not the rest of the cast In making "Earthbound" Warner Raster has spent most of his time facing black velvet drops and talking to himself Made a ghost by Lynn Bur Es revengeful gunplay he must of haunt the scene for the film until wrongs are righted The studio is using a new method In this film which it thinks will revolutionize the ghost Industry because it can film requires no double-printin- g any shot any ordinary carpus It's on Invent)"" Mina Flora Twentieth-IL-- 4 rltecial effects wi74rd who lias liven fooling tanS for nearlY 20 years lie says it really is dime with mirrors—actually art arrangement of three-quarte- rs mirrored prisms In front of the camera lens The ghost emotaeAsaaygatrMosmt tha eblraecaki drop several Mt where the live player is acting The prisms register both images so that seen through the camera eye l the ghost is in the set too—deflnitely visible yet To further the illusion a spectral player wears whiter make-u- p lighter coloreci clothes nt go for tricks" said "A stunt that lasts only a few seconds on the screen may be worth thousands of dollars in en- tspEOPLE always Wizard Flora tertainment value" Tricks in the "Topper" movies were rudimentary he said with tolerant amusement No real ghosts like Baxter will be Way they made it appear that Constance Bennett's specter was drinking from a glass was too easy: attached tiny wires to the glass tilted it slopped the camera took out a few drops of liquid with an eyedropper shot a few more inches of film as the glass slowly tipped removed mots liquor and so on until it was empty then slowly returned the glass via wires to the bar Only took a couple of hours Commonest trick is the "process shot" or "transparency" It's used in 90 per cent of all motion pictures to provide realistic and otherwise unavailable backgrounds such la a Paris street the pyramids or the busy Singapore waterfront Players work and are photographed in front of a huge translucent screen on which by projection from the rear aPPears whatever scenery is desired Thus in "Oeronlmo" the opposing whiles hnd redskins never saw each The Indians were photographed on location banging away at the air Clashes tidal ‘waves arid other violent scenes are done with miniatures —not because they are cheaper but because a toy plane or train can crack up worse than a teal one - 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