Chapter XX
“STEALING” AN EXTERIOR
Explaining how directors sometimes film scenes on busy streets in broad daylight without passers-by becoming aware of the fact.—An amusing incident that arose when one director endeavored to “steal” a succession of rather dramatic scenes
A FRENCH TOWN WAS BUILT FOR “THE FOUR HORSEMEN” MERELY TO BE DESTROYED
A SCOTCH VILLAGE ON LONG ISLAND! ERECTED FOR “SENTIMENTAL TOMMY,” DIRECTED BY JOHN S. ROBERTSON. IT IS A TRIUMPH ARTISTICALLY BUT PROVED A FINANCIAL FAILURE
Chapter XX
One of the most difficult details of production that confronts the director in the ordinary routine of affairs, is that of “stealing” exterior scenes. Those who have consistently attended picture shows are well acquainted with the exterior scenes, the illusion of which is spoiled, by the gaping and laughing spectators on the side lines. And then on occasion a street scene will be found that has been filmed right in the midst of heavy traffic and not one of the many people in the scene as much as award a sly gap to the camera.
This effect of realism is produced when the director goes to the trouble of “stealing” an exterior. In “stealing” the director has his camera “blinded.” There are various sorts of blinds used. A taxicab or limousine provide effective blinds. The cameraman can get in with his instrument and shoot the scene going on on the sidewalk and at the same time remain unnoticed before the majority of passers-by who would otherwise donate to themselves the roles of spoil-spectators.
Sometimes a truck loaded with packing cases can effectively conceal the cameraman and his instrument at the same time affording an unobstructed focal distance between the camera and the scene to be filmed.