The last part of the scene was interrupted also. The actor made up as the policeman interfered with the hero and heroine as per the scene but as he was questioning the heroine as to the identity of the young man a real policeman appeared on the scene and questioned the made-up policeman as to his own identity. The masquerading cop told the real article that a motion picture was being taken and for the love of the director not to look round at the camera.
The policeman sensed the situation and obeyed orders and as a result the scene appeared on the screen as if two policemen had entered into an argument as to what disposition should be made of the drunken man.
Of course, when the scene was done the real policeman was not in the least averse to accepting a slight reward for his good services.
Chapter XXI
THE IMPORTANCE OF THE ART DIRECTOR
Artists are entering field of motion picture production both as directors and art directors.—Advice of the art director should be sought on exterior scenes.—A few words of Maurice Tourneur
Chapter XXI
Many artists have found the field of motion picture directing exceedingly attractive. The majority of them have entered the new field in the capacity of art directors, planning and supervising the construction and the dressing of the settings. Several others have graduated from such posts to the positions of directors.
Perhaps the artistic side of picture production is the one which had developed less than any of the others. For a long time art directors, interior decorators and artistic designers were unknown elements in a motion picture studio. The early picture public demanded sensation and action. When an interior setting was used furniture was thrown in it indiscriminately. The more, the better. Grand Rapids and Louis IV furnishings were thrown in regardless. An early biblical picture showed the scene of the last supper with the assembled Apostles seated in a variety of modern furniture from the factories of the middle western states.
It is only of comparative recency that real artists and architects have entered the production field. Today all the larger studios have extensive art departments that co-operate with the director and his staff in the preparation of the settings. Accuracy distinguishes the majority of the work of these departments. Errors in period pictures are seldom to be discerned even by the most watchful.
But as yet the art director has failed to put in an appearance where he is needed quite as much as in the preparation of the interior settings; I refer to the exterior. Beautiful as are many of the exteriors seen in the modern pictures they often lack the proper balance. Any art student could tell you and point out where the composition of many exteriors is faulty.