Evening star., 1933-08-06

Joan Crawford and Franchot Tone.
II not, you'll have to take a seat with very
small minority.
However don't ever. become too envious OF
those you see making love on the silver screen.
II isn't fun-it's hard work Long, tedious
hours often are spent in trying to photograph
q love scene which will appear convincing.
As proof of that statement listen to Joan
Crawford who has been loved by dozens OF
men while the cameras and microphones re-
corded their every movement and word.
Real love is a matter Of God-given instinct
says joan Every boy and girl learns this
technique by racial inheritance. 1t comes easy
because 1t is inborn. But making love on the
screen is work 1t requires years to master It,
Probably nothing comes easier to a man and
woman than making love under the proper
conditions. There's nothing they have to learn
Everything they say and do is almost mstinctiVe
or did you know that already?
However, making love to a person to whom
YOU are strongly attracted and making love to
q person whom perhaps you actually dislike
are two widely separated functions.
Another thing, have you ever suddenly run
across couple deeply engaged in that gentle
art of love-making? If so, did it ever appear
particularly serious to you? Ordinarily sucn
incidents are screamingly funny to all except
those directly involved. To them it Is most
serious.
THAT is the difficult point screen players
| must make in their love scenes. They must
make millions of spectators believe that those
scenes are most earnest.
In enlarging upon her previous statement
Miss Crawford declares
Love making in real life is a gradual process.
Sometimes it extends a period of years.
It's development is ofttimes imperceptible. Its
final Towering quite frequently surprises even
those it touches.
"Of course all love doesn't come gradually.
believe that there very definitely is such a
thing as love at first sight. In such instances
there IS gradual build-up.
However, love-making Is the most natural
thing in the world for two persons who are in
love. They don't have to know anything about
it and need no training in technique.
Needless to say, the screen there can be
no casual and easy approach. Neither do you
often find the principals actually In love with
each other
"Since every motion picture is limited to an
hour and half at the most, there Is little
footage to picture the characters Of the prin-
cipals so that the audience can more easily
grasp their reactions to the love motif.
"In the hour and a half allotted us, we must
make the audience like both the characters as
individuals, make them fall in love and make
the audience like their romance. That means
condensation. 1t means that we have to tell
our tale with broad, impressionistic strokes,
rather than the slow detail which marks the
course of most real life love affairs.
therefore, the seemingly spontaneous love
you see on the screen must be very carefully
planned and very carefully directed in order to
give the effect of spontaneity. Nobody in the
audience ever must be conscious Of the care1ui
technique which has to be back of love
scen2 on the screen. The moment any one
senses this technique, the romance becomes
unreal and artificial.
~ A IL who play love scenes in pictures arrive
at the theater for the preview in very
tense and nervous condition. I speak for all
screer lovers I think when I saw that all