Brownsville herald. [volume] (Brownsville, Tex.) 1910-current, 1930-08-05
%%A6zl4u00d. S. Story

RNAAG&N W 4aAA1
shooting a restaurant scene. and an
extra girl playing q waitress was
supposed to come on and pick up a
tray. Well, the table had been under
the lights for a little while-and
did she drop the trayl It was hotter
than fire. She said a few things,
too"
What caused Dan Rorimer 10
smile now was the fact that after
three or four days Of being treated
like q visiting celebrity he had
been abruptly forgotten. The see
mario chief, showing him TO the
little office. had said. We'll, Rori-
mer, this IS yours. I'm sending in
a bunch Of scripts; you can study
them TO see how it's done. Wen be
making you work pretty soon-and
this Is a fine little place to sweat"
Rorimer nov looked about him. A
fine place 70 sweat! A fine place to
SIT and wonder II they never ex-
pected to see you! Four plain walls,
adorned with a few framed pictures
Of movie celebrities. A door L one
end. q window at the other: be-
side the window. his desk.
Someone now stuck his head In
at the door. 1t was Gregg. the c e
mario chief.
He said, II suppose you're ready
to give them a hand-you knew
that Murray was sick?
Yes" said Rorimer. I'm darned
glad to get to work"
Gregg smiled. He was gray and
well groomed, with a lined cheek
and a perpetually worried look IN
his eyes. from frequent tits with
the studio manager. You may get
more than you're looking for" he
said. Il just wanted 70 warn you
about one thing: don't get sore II
they ask you TO make changes IN
your story. Maybe / don't need TO
tell you that"
Il hope not" said Rorimer.
wei it's not pretty TO write q
nice magazine story. or a book. and
have somebody kick it all around
for you. But try to remember that
the production of a talking picture
is an expensive proposition; this
one will run more than $4,000 a day
and it'll probably exceed its bud
get at that. Collins is the direc-
tor"
so I heard" said Dan. Collins
was the director who had been so
pleasant to him his first day at
Continental.
When he makes a suggestion"
Gregg said, its usually a sound
enc"
I've heard he's very good" said
Dan. I've got only m kick;
why"
Gregg interrupted with a patient
smile. Why did they give your
story TO Atwood2 Between the two
CT us. even Collins squawked a lit
re when Adamson did that. But
Atwood's got a costly contract. and
we've got to keep him busy. Be-
sides. he won't be as bad as you
think: he's a trouper, whatever
they say about him"
BY midafternoon Rorimer had
reason "a think even more highly
"a 114.4iAA guilty GEfIAdA tAlACN
during reaearsals the director had
stopped everything and. turning to
Dan. had shown where the chang
ing or a line here and there would
improve the dialogue. Once II had
added a laugh 70 a scene in which
a laugh was needed greatly. IT had
relieved the tension OF a long nerve
vr,~kir- @eo-rerre
Collins said he believed RI long
End thorough rehearsals. 1T cuts
down the retakes." he explained. He
nr'ded himself a little on his repu-
fafion for quick productions.
Dan made his chances RIGHT on
the sets. Collins. remarking that he
was quick and INTELLIGENT and tacile,
cnce voiced his approval.
you seem 10 know what It's all
about" he said. Good dialogues
the thing Ever write anything for
the stage?'