Bisbee daily review., 1907-08-25

! studio are called, in the trade, a pic. ture," or if very long. a production. ' l The street scenes were taken on one day and the studio scenes on another perhaps, but they will all be cemented into one continuous film and shown
 at the same time.
 Films are never shown to you as i they are made, but the faulty pieces
 are cut tut. In making up comic films ] they have to cut out lot of the orig inal For instance, if they want a
 man to fall from the top of a tower
 into a tank of water and get up un- hurt, they take a picture of him in \ the act of jumping from the tower, l tbut he never jumps), and then they do down below and take his picture as he jumps off a board six feet high, | into the water. The two are cement ed together and when you are shown the moving film, you see the man jump and then you see the water
 splash below and yeg are certain that he has made the leap. It is easy to l fool you with a moving picture film. Such a picture as "Cohen's Hard ! Luck is a quite simple one, and will take only 10 minutes or so to run off.
 
 hired for the work, even when it is
 a case of a mob and are reheared | until perfect before the machine is called into requisition to take the pie lures on the film. All the properties" used are also rented for the occasion and the scenes for the studio work are painted by scene painter regu- , larly and constantly employed and a1o 1y,lN ;- and whites. In "Cohen's Hard Luck" | the suit worn by the thief was pur- chased. not rented. and in reality, there were two, just alike, which are | still owned by the picture company, one to represent tie clothes before shrinking and the other after shrink ing. The shrinking" was produced ] by a tailor who actually cut down
 the trouser legs and COatsleeves. The ! shrUTken vest was made by sewing 1 elastic braid along it's inside edges. It will thus be seen that the busi- ness of making moving pictures is a large one. requiring a large plant. There are only six such plants in the United States, and in the present flourishing condition of the industry they are rushed with business. Each COnCeEHS Has us SLuulOS, hidChIhS shOps-fOr they manufacture ma chimes as well as films-dark rooms for development that occupy whole floor and business offices, where the pictures are shown to purchasers just as they are later to the public. One studio, in which the studio work for "Cohen's Hard Luck" was done, Is supplied with 16 electric arc lights or 2,OO0-candle power each, and of a spe- cial construction, which gives more of the actinic rays than any other. This makes the best-lit studio in the world, with a total light of 32,OOO- candle power. and 24 such lights may be used at once if desired. This gives a light having all the strength and quality of daylight and for many kinds of work it is preferred.
 Another studio is built upon the roof. and, though it also has plenty of lamps, it affords means of using day light and daylight shadows when out door effects are needed in pictures which could not be taken on the streets. Each of these studios is real iy completely equipped theater. with a stage, scene painter, carpenters and mechanics. Each has also a manager. who is an expert in all branches of the business. He generally devises the picture which is to be taken and stage manages the rehearsals and it's final production before the machine
 Such a picture as "Cohen's Hard Luck" which was staged and produc- ed by Wallace McCutcheon. costs about $2OO in the hire of actors and properties and accessories. The Gyp- sy's Revenge" a much longer picture made by the same concern, and recent ly very popular. was done at a cost of about S1 600. Nearly 100 actors and dancers were engaged in some of the scenes. and. besides much studio work, there was also out-of-door work, with real horses and wagons and tents, at Fox Chase. It took about three days to rehearse these outdoor scenes and full day to take them with the machine
 When thrown on the screen the pie ture, to be entirely satisfactory. should be without break throughout the scene. Spectators have, however, sometimes noticed sudden and unex- plained changes in the position of figures in the picture. This is due to something happening during the act ing of the picture which is not desir- able to show. such as the careless walking of some studio employ in front of the machine. the inadvertent getting out of the range of the pie tlre of an actor at a time when he should be in it, and the like. If the situation is such that the whole scene can not be re-enacted the undesirable bits are cut out and the fresh ends of the film thus made cemented to- gether. Put the result is never good and for that reason the rehearsals are always most complete.
 For strip that runs for three or four minutes and has much action in 1t. such as a boxing match or fight, the rehearsals, taking place immedi- ately before the machine that is to be used, last for two or three hours, or until the stage manager is entirely satisfied that all the actors are per feet. The stage manager is just as much in evidence during the taking of the picture as during it's rehearsal. | He does, of course, keep out of the eye of the talking machine.