The Indianapolis times. [volume] (Indianapolis [Ind.]) 1922-1965, 1930-08-09
.%R0Hw00d Story
GSsses.s!s.n $50 m.sss.ss e. 8 Ernest lxNNL

between Frederick AtWooC ana the
I feminine lead.
This retake is absolutely un-
necessary if you ask me" Dan in
formed them. II saw the rushes
yesterday, and Collins had it just
about perfect; but Adamson, the
studio manager. couldn't see it.
He said he wanted Atwood a little
more ardent in his love making
said that was what Atwood's public
expected from him"
I He sighed. I'm beginning to be-
lieve Collins is the only one around
here with any brains. Adamson and
he went to bat, but Adamson won,
of course: he even threatened. so
Collins told me, to go right to the
producer.
II think Collins is getting out as
soon as his contracts up He and
Adamson hate each other's"-he
stopped and glanced swiftly at
Louise Watkins" intestines," he fin
ished.
Miss Watkins laughed. IT'S all
right, Mr. Rorimer," she said. I'VE
know what you mean, anyway" Dan
saw her raise her hand in greeting
to some one and he turned to be-
hold Atwood, who smiled broadly
and made his leiSurely way toward
them.
Atwood bowed and remained for
courteous remark or two, but hur-
ried away at Collins peremptory
call, to join the pretty young actress
in front of the camera.
The scene was one which per-
mitted some unusual camera effects.
The foreground represented the
roof of a New York Skyscraper. 1t
was night and Atwood and the girl
stood beside the guard-rail, looking
off across the city.
Some distance in the background
was another skyScraper in minia-
ture. One could Squint at it through
half closed eyes and well imagine it
was real. 1t was Of the modern set
back" type Of architecture, and there
was a cafe at the ground level,
surmounted by glittering electric
sign.
ID ORIMER said, They're sup
N posed to have just stepped out
of the penthouse apartment on the
roof. It's a swell scene; that build
ing in the background looks like a
million dollars in the picture.
81 understand it was drawn to
exact scale" He added, with grim
smile: 81 think the cameraman and
the stage carpenters will be the
heroes of this picture
Collins was rehearsing the actors
briefly. Presently he stepped back
and looked about him and nodded.
"All right, now; silence, everybody"
he said.
Some one with a loud voice
yelled: silence, pleased" and a
shrill whistle sounded, demanding
stiffness of every one within posi-
BILE earshot of the stage. Outside the
stage door a red light would burn,
barring admittance until the sound
recording had ended.
The actors began speaking, with
Collins watching and listening at
tentively Presently the girl hest
tated over word, spoke the wrong
one; and Collins said, "Cut!"
The girl looked chagrined, but
Collins gave her patient smile.
"A1l right, Mary he encouraged
her, try it again. Got it now?'
The girl nodded, and they went
through it again, this time without
any interruption.
1.-THE way it was originally, "
Rorimer informed Collier when the
sound-track number had been called
and recorded, Atwood says to her:
I think you and / could get along
great And the girl says: so do
l. And then he says: You
wouldn't mind, would you, if had
to pass up dinner now and then to
run out on an east side murder?
Hes a police reporter, you see,
and the line really had some Signif1-
canoe, because that's how he met
the girl, covering a murder story.
But Adamson insisted on put
ting all that blah about love"
He stopped abruptly, aware that
Paul Collier was grinning at him,
and he felt his face go red with
embarrassment.
Collier unfeelingly said, yeah,
it's a great life, isn't it? How
would you like to be covering muir
ders again yourself?"
ITO Be Continued)