The Waterbury Democrat., 1937-04-26
In
 Hollywood
N PAUL HARRISON

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 HoIlywood.--AlI over the lot: Press correspondents are likely to view with cold scorn most of the movies which are filmed about newspaper Bife.
 They are always picking small technical flaws which are of nc moment in the story, and they re- sent pictures which show report CTS and editors racing around and yelling about scoops and generally behaving like a bunch of high school journalists on the after noon that their weekly goes to press.
 If newspaperinen were per- mitted to write and produce a pie tlfre about their craft, the re- porter-actors would all be indo- lent, cynical, dry-witted fellows with sensibilities deadened to real-life drama. The public never would accept such picture as authentic, and 1t would be quite right, because good reporters do get excited about big stories.
 Pat O'Brien is the fast-talking managing editor, and Joan Blon- dell is his star reporter, in pie t1re at Warner Brothers called "Angle- Shooter" It adheres pretty closely to the usual pattern, and correspondents visiting the set are noticing that there is good deal of running around and yelling, and that the typewriters are perched up on desks instead of or typewriter stands, and that there are too many cute signs and notices around the city room.
 All over the room are reporters and rewrite men busy at their stint. Curious to see a sample of celluloid journalism, I took half filled sheet of copy from type writer. It reads like this:
 Now is the time for all good men, and women too, you dopes, to come to the aid of the party. There's Dick Foran. Hello Dick old scout old scout. Ghngmmjs- mm8jnfbbcnv and so on. I wish they would get this scene.
 'Thomas Murray, out of the west, came out of the west. And into your hat. Warner Brothers First. Hooray, hooray. The quick brown Warner Brothers jumped over the lazy Twentieth Century Fox. Blondell never blows up in her lines, but O'brien does, gfhh Ettshdnk l, 1,/chshhgn ,.
 They were all writing stuff like that. Over in corner where the art department is supposed to be, artists were hunched over their boards filling sheet after sheet of paper with grotesque caricatures of other players. One man was practicing nudes. Another was painstakingly copying panel from an Alley Cop cartoon.
 No Breaks
 Leslie Towards stand-in, Dick Foster, sits and watches attentively as the star goes through a comedy scene with Eric Blore. Fosters lips move as Howard speaks because they have gone over the lines together and the stand-in knows the role.
 He has been doing this for five years, through 13 pictures-ever since they met one night at the Cocoanut Grove. Foster gave How ard a drink from his flask and they fell to talking; and pretty soon the star commented that they looked somewhat alike and offered a job.
 Foster was elated then, because he was an actor trying to get a start in Hollywood. But now he observes little bitterly that no St@nd-in ever gets a break. He said, "After listening to Howard, and watching him, and going over scripts with him, and being coached by him, I believe I've got better-than- average training. Who cares? Mo- body! I'm stand-in."
 This is Leslie Towards last pie ture on his Warner contract. Then he goes to Walter Wanger for a pie ture called "Stand-in"-and Foster won't get break in that one, either. Thereafter Howard plans to produce and star in his own pictures.
 Gloomy friends are trying to show him the error of such an ambition, pointing out the sad fates of other actors, among them Charles Ray. Howard says his case is different; he won't invest any of his own  Younger Every Day
 They're shooting 'The Life of Emile zola" in reverse sequence so that Paul Muni can use his fine set of real whiskers as an old man, clipping them shorter as he plays the earlier scenes.
 An attendant circumstance is aid- ing the realism-as an old man, Muni must wear 8 heavily-padded vest to make him look stout. This upho holstery, under the hot lights, is making him lose weight.
 He probably will have lost 12 or 15 pounds by the time he reaches kf1e SeuuenceS in which he is q. lean