Evening star., 1934-01-07

have to do is get a story, have a few
players go through the necessary mo-
tions and speak few lines to be
corded by the camera and microphone,
and there's the picture
If only it were that easy, what snap these
studio executives would have! There would be
no more gray hairs, no nervous breakdownS no
enforced vacation trips to Europe or other fa--
Off places
Unfortunately the making of a picture is a
complicated procedure. 1t wouldn't be SO bad
if everything went according to schedule-but
that never happens
There are at least hundred things which
can go wrong before film finally is completed
and ready to put into a theater. And some of
these naishaps always crcp up.
Even that wouldn't be bad if there were
only one picture to worry about. But most
executives have anywhere from 10 to 60 pic
lures year to worry them. And in the final
analysis everything which happens during the
course of production rests upon the directors
shoulders.
That's why an executive who can turn out
consistently good films is worth his weight n
platinum So few can do it.
JUST to illustrate the problems which con-
- front studio executive, how about follow
ing the production of Dancing Lady" the
latest film of Joan Crawford and Clark Gable,
right from beginning to end? It's typical ex-
ample of what goes on behind studio walls day
after day.
The story of this picture really starts about
q year ago when the tale began running in a
national magazine. The story attracted at
tention; furthermore, it presented a background
for q musical production and musicals were
just beginning to enjoy new wave of popu-
larity.
So the screen rights to Dancing Lady, were
purchased by Metro-G o-Goldwyn-M Mayer. David O.
draU fno fock xNf
putting it on the screen. The story seemed 10
be a perfect vehicle for Joan Crawford and
Clark Gable Consequently those two were set
for the leading roles.
A little work was required the story to
make it more suitable for Joan and Clark
nothing important, but little changes here and
there. Two scenarists. Allen Rivkin and P. j.
WOlfSOn, were assigned this task.
A director had to be selected next so that
he could work with the writer's in putting the
story in final shape for the screen. Robert
Leonard drew this assignment.
Story conferences began Immediately and The
script gradually was shaped into a tight dra-
matte plot which could be woven into a musical
production without losing the narrative thread
in the song and dance interpretations. Instead
of detracting from the story. the musical num-
bers had to be part of it and add to it.
A TTENTION was then turned to casting the
~ picture.
Dozens of actors and actresses were conSd-
cred and tested with the final choices being
Franchot Tone, May Robson, Winnie Lightner.
Ted Healy and his "stooges," Gloria Foy Art
Jarrett, Grant Mitchell and Maynard Holmes.
Weeks later, after the picture actually was
under way, it was decided to have Fred Astaire
do dance with Miss Crawford and to have
Nelson Eddy sing number in the finale
The first major upset came just the actual
shooting of the picture started. Gable was
stricken with appendicitis and had to submit
to an operation. That meant that he would
have to spend several weeks in the hospital
Immediately other men were tested for the
leading male role. Selznick delayed things as
long as possible, but delays at this stage of the
pensive cast had to be paid whether they
worked or not. Finally, another actor was
substituted for Gable and production went
ahead.
Four days later it stopped again The
substitute just wasn't right for the part. It
was Gable role. The four days work had
to be scrapped and the company had to wait
for Gable, regardless of expense.
In the meantime production went ahead
Everything it was possible to shoot without
Gable was filmed.
In other words, while Joan and Franchot
Tone were making the scenes of the beginning
Of their courtship, the musical department and