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The routine attached to a director's task before he begins actual production.—Also some instances of stellar temperament, which, though mildly amusing in their relation, are something akin to tragedy in their enactment

Chapter III

Before going further into the requirements of actual directing and the methods employed by certain directors, the various processes through which a scenario goes before the actual work of production starts, can be noted with benefit.

The scenario writer finishes his manuscript and the director goes into retirement for a day or two to study it and to put it through the test of visualization.

In the meantime other copies of the manuscript have been placed with the various departments of production of the studio.

The production department receives a copy. It is the duty of this department, first of all, to estimate the cost of the picture. So a “scene plot” is made. This consists of the description of each interior “setting” and exterior “location” called for in the story. A list is made as follows:

Interiors

Ball room

Kitchen

Living room

Cafe

Etc., etc.

Exteriors

Waterfalls

Open road

Large field

Etc., etc.

After the description of each interior and exterior are placed the numbers representing the manuscript scenes that are played in each interior and exterior.

The cost of production is then estimated. The production manager, the head of the studio, a man who strives to combine the ability of a business man with the feeling of an artist, perhaps sees a way whereby the kitchen scenes can be transferred to the living room. This will eliminate the cost of erecting the kitchen setting.

Details such as this attended to, he will then give orders to the art and property departments to start on erecting the first setting. This is usually the one in which the greatest number of scenes are enacted.

The art department makes plans for the setting. When these are passed they are given to the boss carpenter who sets his men at work on the actual preparation of the set.

When they have finished the art department in conjunction with the property and drapery departments “dress” the set. This is the working of fixing it up and making it look like the real thing.

In the meantime the picture is being cast. Probably the star and leading man are already chosen. Then the casting director makes the list of all the actors, actresses and “extras” needed in the production of the picture.

He refers to his files and calls upon the people he needs, either upon those in the stock company which most studios of size maintain, or from the numerous agencies who manage the players.

His selections are then submitted to the director and the production manager for O. K.

In the meantime the location department has secured a list of the exterior scenes required by the picture. The location man refers to his files containing pictures of every likely location within a reasonable distance of the studio. He must find waterfalls, open road and a large field.

He selects these locations, being sure that the physical action of the story can be played in those he selects and then submits them to the director. If the director has a reason for not liking any of them, the location man must jump into his automobile and tour the countryside for suitable substitutes to his first selections.

All rather hard and serious work.

Then the director starts to work. The production department must watch him and have the next setting ready for him on time so that not a day will be wasted. If more than one or two companies are working in the studio there may not be room to erect the next setting. Then, perhaps, if weather permits, the director goes out on location.

Thus he is obliged to jump from one place in the story to another. He may be shooting scenes in the last part of the picture on one day and scenes in the first part a few days later.

All this is the routine work that must be gone through with the production of each picture.

Then the temperament of the actors and actresses comes in—comes in very strongly for that matter. If the director be working with a female star she may complain as to her leading man.

TRUE AND PENETRATING CHARACTERIZATION FEATURES WIN DE MILLE'S “MISS LULU BETT”

“THE LOST ROMANCE,” A PICTURE DIRECTED BY WILLIAM DE MILLE, BEARS THE SAME TRUE RELATION TO THE UPPER CRUST OF THE SOCIAL PIE AS “MISS LULU BETT” DOES TO THE MIDDLE PART

“What's the matter with him?” the director will ask. “Can't he act?”

“Yes, but he is not quite tall enough,” answers the star, “why can't I have So-and-So from my last picture?”

“Well, So-and-So is busy on another picture just now, sorry,” answers the director.

“I won't work without him,” this from the star.

Of course she will work without him. She has to. The director knows this. So does she. But he has to handle her diplomatically, to say the least.

He would like to come out and say: “You will work with any leading man they give us.” But he doesn't. He knows the temperament of the feminine star.

He summons all his reserve to his rescue and speaks to the lady in cooing words. He brushes her ruffled fur the right way. Exasperated husbands might take a fine example from him.

After a few minutes talk he has succeeded in convincing the lady that Such-and-Such has So-and-So beaten eighty ways as to general ability, furthermore, his contrasting complexion shows her off to much better advantage.

Then the star, thoroughly convinced, cheers the director up with such an answer as: “Oh, all right, if you insist, but I did want So-and-So.”

She wouldn't dream of giving in and showing the director he was right. The director doesn't get such satisfaction. But if he's wise he doesn't bother about it.

And so the work of production can go on. One day while the director is working in the cafe setting, which may be erected to represent a Parisian cafe an extra will come up to him and tell him that it is all wrong.

“Because,” he will say, “I've been in a cafe in Paris.”

“Well, were you in all the cafes of Paris?,” the director will politely ask.

“No, but this one didn't have—”

“Back to your place then, please,” answers the director if he maintains his diplomacy and poise and retains his anger.

Another extra will have too much makeup on. The director must know how makeup photographs, what its effects are with people of various complexions and under certain lights.

The extra will resent being sent back to the dressing room and told to alter his face. It is a reflection on his ability. Another case where diplomacy is demanded.

And so finally the director gets everything working smoothly. He gains the confidence of the star and the leading man. He shows the extras that he knows his business and is perfectly able to look out for it, without their assistance.

The only trouble is that just about at this point the director has finished the picture.