Arizona republican., 1921-03-13

by the camera? And this is exactly what would happen without such q guide, carefully and scientifically pre- pared to fit in exactly with the lens possibilities of the average motion picture camera
 For instance at ten feet from the camera clear focus Is possible on ob- jects 3.S feet high by a space 4.6 wide This is about the scale used for close-ups
 Working Gut the Details.
 "After all this is done" continued Mir. Buckland, we get down to the details of a set I have 8 conference with our decorators and we plan the dressing of the scene, wall paper fur niture, flowers, etc.
 Here" he said, We come face to face with another problem which is all together peculiar to the pictures. As you see a photoplay on the screen all colors resolve into black and white or their gradations. Therefore when a set is prepared we must look at the wall paper and hangings to be used through a screen filter" of specially prepared blue glass. This brings the colors to their black and white values. And also it enables US to tell the di- rectors how to dress their people so that the principals will stand out against the backgroundi
 We have a corps of decorators who have been trained in our requirements and have become very expert in the work. So wide is the range of dec oration in motion pictures that when there Is q call for some one to take up the work in a commercial way the man or woman with our training is in a position to undertake really big things. Many of the interior artists now taking million dollar contracts in New York and Los Angeles are graduates of the Motion Picture Art Department"
 The Power of Suggestion.
 Even to moldings must we carry our careful search for the right thing. In the department we have samples of hundred different kinds. Because of the shadows they cast it is important that care be used in their choice"
 Now that we had reached the end of our convention, it occurred to me to. ask a question I know has long been in the minds of many of my readers.
 Do you fake much in preparing your scenes?" I asked MT. Buckland.
 eff you mean cheap, tawdry substi- tutions. mo-" was the reply. ~Long ago we learned that the camera is very sharp-eyed and that deviation from the real thing is quickly exposed. We must have real Chippendale furniture. real cIoisonne vases, real Dresden china and many things equally real
 There is, however, an extent to which we do fake, if you care to call it that We often suggest things in scene without actually showing them.
 "An excellent example of this oc- cured in The Flow Girl in which we showed typical South African scenes, both exterior and interior. A former resident of that colony wrote in to congratulate me on the closeness with which I had adhered to real life. Why he wrote. The ColontaPs house was wonderful. There was the bat tery of guns, just as we used to have them. There were the old Dutch 'chromos,' the only pictures we could buy. And on the table-by jove was bottle of Guinness stout and real old South African steins!'"
 "The reference to guns effects this account There wasn't rife on the set! We couldn't get the proper pieces-so we built a rack-and then placed it in the shadow so the sugges- tion of guns was there-but not the reality. This Englishman was so im- pressed by the things which did re- fleet South African life-that his minds-eye saw in the scene more than was actually present."