Was Seventeen, was twenty-one, to work hard to catch up. to worry about: take care of itself. never forgot the lesson,532 + Appendis: such a shortage of tens, and ‘on carrying it indefi hose people are no of sketches With che sees you go through the same process: of the sets, the head of the Are Departm [Special-Effects] Department, because ye part naking sets i in trick work. In abrmost all pictures of im today, theze are from ren toa hud of the many problems connected wit won't bore you with the other pe mld be built, resched che other ins such as stage space, sl ing of the picture co aya aspects you are trying to g ‘or does nor know what you are tal ‘And then you get into the set-dee ing, which 1¢ sor generally ooking at it, making such changes as yo chin} alvisal structed, alter the walls are up and 1 would rathei s, and whatnor, the scr ly adhered to. Sometimes Appendise - $33 anges are nee judgmentAPPENDIX THE FUNCTIONS OF THE PRODUCER AND THE MAKING OF FEATUR given by Sclanick na Cohendio erty extension fil ‘ith the Hurenm of Modeon rt, to say, bbe producers, I dh of the business.‘must go into the make-up of a producer produce of they sible for fiix - 531 530+ Appendise Appondi film, but eo si he two feet close-up," ete W there"—"Gee me is quive differ passing, the weeks been nt days th ing the sho ) because around any way you saw fit S be pur 1; maybe the the scene was taker r scene inserted, and eve sd wit But in talking pictures you are nearly the range of poss silent days, And story or the adapta- ose producers—the py 1 story’ Ww n by Sequences or chapters. [like we form say, are gone. Your rected properly, no cutting wi substantially you ca retakes can save you, A picture is usual or 8 star may come in and ich a story. But more ¥ Story Department or in the e story ides ducers mind. He searts, from that, co sele with vod We treatment or the out- ments, That process may see of pictur \wrong in the selection of the532 - Appendix Appendie «$33 y Possibly because you are consi . because the scenes just ae you are on the wrong track your treatm taking, you ate not worcied so such id ith a conference with the head of fon of subseque hes means that yem is painted in by ly takes. built The deci days, a director was per- ey can be saved on nite to print up as es nf exch scene ashe saw fit, so thac you had 4 projection room and sitting scene. It was so overdone simultaneously, arrived at 3 ue the red the spectacle of prod! five and ne is photographed from several c's say, ten. The angles i nges as you iT would rather have jose processes a iek-andl-534» Appendix: oy recut the sequence... Us have been wi laced in close-up, medi chose rough sequences means your rough of your picture, he lase day's sho: The only ehings tha w hen stare Your cating conferences, at your picture is edited tees and which you dub behind the dial would obviously be a costly process ro make views. Then you would h 59 you we stk muse ae Ge ned easter er andor ‘Then, after you have completed yo id the sound effects process of thiry-forty-, or ply the projection of the film on a large stage, wit the recording hoo ters in which you preview, to permit you 101 rately. The picture is ke final stage, when you ae al because you don't dare cur ne ngis Cast OF CHARACTERS Compiled by Rudy Beblmer and Clifford McCarty isting includes peop! book. Actors hroughour el and producer (Chieage, 4, The Pajama Game, 1954) Modern Art Film Library, 4, 1947-1054 (From Here to ducer, 1954-1956 (Love Le a Charge of Production at Twen: ‘AUBIN, Gent Acrstock, L. 1930s, ASHTON, Wi Art= foe ae Bs yeaa eeaigeng NOR Tb HHP IE z acy anes: renner beg he STE, ee ee : sie tah mat senna ph Sorts a a imac Cations gorge omwecek one UPR EE : ie. gone eas ae ae eer ees i mcencucunae e * ; Seca egp bees en RD - coneaape neeeuseensoal ae pinbtpn fep se 9 i eet ok avr gets ANC es aor use aa com = EEPEEeeEEePH aoc a ier am it Poet ae Hf pee eet ae cr el Soe ae CREED Hf Spee eeeeee ‘ = = aaueeeaat eee sate rca | He . eaters sm RIE aera Eviennnveat124 + Memo from David O, Selenick horsemen and all—going headlong over the side of the bridge. Per- haps we should get shots on location shooting down into the water horses going down, just as we are going to do for Rupe n location or into a tank, 'm not sure whether this can be done without being cruel to the animals, and if this is true, maybe there is some way of tricking it, getting the horses going over on the stage: a fake horse going over down from the camera), with an actual man on his back, fa as it nears the water, (It seems to me this could be do: cruelty, but this, oo, should be checked.) In any event, I think there are simply stunning effects to be ob tained if we give the idea some thought. In fact, P've been thinking that while we're at it, we might as well do the thing up brown, (In- cidentally, don’t forget that we have to pers i shots of Zapt and Fritz in the lead)... is is charge could turn into one of the most outstanding things i the entire picture, and I don’t think we should waste the opportu- nity to at least try to get somerhing that's outstanding. ‘The expense of doing it properly as against doi ly would not, I think you will find, be much, because you could do an awful lot of these shots in a single day, and we have ro get the horses and men anyway. We also have Tean’t see how extra expenses would run into much more than the film and light- ing bill, and T chink we might get an exciting climax to the attack sequence (parclon me—escape sequence), if we use our heads To: [Director of Photography James Wong] Howe — May 5, 1937 ce: Messrs. Wright and Ginsberg. Dear Jimmy, On my departure for New York, I want to send you a few words about the remaining scenes to be sliot on Zenda, While they consti- tute only a few days’ work, the photography of these scenes is ab- per was played by Douglas Faisbanks Je prompted me to assign hi feel that this sce really her one scene, and while I think we have done well serving the position of Rassendyll [Colman] course vantage, Task you to believe that with this though permit you to get some rea that will give us an and near the pe ance of sibst exterior sets that are buile on aight photography that will not hesitate shadows at the same time on faces beautiful photography quality in the love scene down the path the stagy app € stage; to give us re 0 lose figures in. de 1OW the importance of 1 dicated by the twi lly lavia showing in the hhas devised for the end of the scene, bos July 21, 1937 Tsend you herewith copy of the R Sidney How: temnoon, re ciation Scene on which George Cukor, and myself worked most of this af- nts, rather than n that there is any other motive that has to it As I said €0 you on the ph is necessarily and basically a Flavia scene-— in pre~ in the scene, it of to be written, and should be played, to Flavia's best ad- in mind, and hough any mistaken not126 + Memo from David 0. Selanick without any prompting from anyone whatsoever, I be folly not ro take advantage of the fact that I have under contract, and available, a man who is generally conceded to be one of the finest directors in the world, and certainly unquestionably the best director of women in the world. He is also a man witha great sense of the style of a book and of a picture, as has been best evidenced by his work, including Little Women and David Copperfield ‘There is the further advantage to be gained in Cukor directing the scene of your becoming acquainted with his style of direction, because on various occasions in the past when I have discusset with you as a possible director for yourself, you could not express an opinion because you were not familiar enough with his work to judge how you would get along with him and how you would like his style of work. This gives us the ideal opportunity for you to find out, so that in any fature discussions you will know him. This I ad~ vise you in advance—that you will find him the exact reverse of Van (Van Dyke], in his painstaking attention to subtleties and in making clear to the performers exactly how he thinks the scene should be played. If by any chance you are unhappy at having George direct the scene, we can discuss it after the rehearsal; although I should rather that you said nothing about this, because I should not like so im: portant and outstanding a director as George, who is after all doing us a great courtesy, to feel that there is any question of his being on trial T think he would be stances, to go ahead, and I should frankly hate to lose scene; and I mention this only because in the final ana you to be as happy about everything we do jointly as I like to feel you have been to date, Bear in mind that I am going to extra ex- pense on a picture chat is already terribly costly, and I cert would not do this if I did not feel that there was a great deal to be gained from what I feel George can give the scene. In fact, I feel that the improvement is going to show itself much more through the direction than through our rewrite and rearrangement Jam depressed at feeling any slight unhappiness on your part over the program for this retake. I am only making it in the desire thac Zenda shall be just as fine as it possibly can be, and I have no al- { ; Selsnich Futernational «127 yment. I know that are sick of it—but your own feeling should give you some idea of how sick of it I am, But I forget this in che realization of how im- {0 you and to me that the picture be right. And at least }e consolation of knowing that Madeleine will 8 soon as this scene is finished, and that there is not an- JUNE 12, 1937 ED SHOOTING THIS MORNING, YOU WANTED. G TO GET IT, AND HE IT ON YOUR OWN HEAD. NNETT OR I RETURN TO JUNE 29, 1937 1 VERY STRONGLY, AS STORY AND i SOME UNCON Cause oF ‘TURE BECAUSE OF ANY ARE TO LOSE FORD, pet] TODAY AND... FEEL ‘THaT We MusT [BE MAKING ONLY aE CAN MAKE ANY PIC- IRECTOR'S ENTHUSIASM, AND IE THIS MEANS WE SUPPLY COOP WITH AS FINE A DIRECTOR AS POS- 'Y STORY JUST BECAUSE IT IS LIKED BY A MAN WHO, 1 AM WILLING TO CONCEDE, 1s ONE OF EST DIRECTORS INT D, BUT WHOSE RECORD FROM GOOD. I SAW “WEE WILLIE WINKI {ER NIGHT AND IT IS ANYTHING BUT A GREAT PICTURE, AND IF YOU WILL ANALYZE FORD'S ECORD INE REALLY GREAT WHICH CERTAINLY COULD NOT BE -TERMED A |, AND A COUPLE OF GOOD PICTURES THAT DID FAIRLY SUCH As “THE LOS!