Argosy All-Story Weekly, May 17, 1924 — page 131: what you’re looking at

Machine-transcribed from the original scan — historical spelling and the odd misread are preserved.

THE EYE OF “ Nor mine—and Tuesday’s pay day.” “ That’s the spirit.” Ironically. “ Thanks.” Ironically. The scenario writer went back to his desk, and the head of the department dic- tated a polite letter to the New York office, congratulating it on the acquisition of the novel ‘ Village People,” and noting the suggestion that the name be changed to “ Village Passion.” A 8 dy 2S. VI. z Tue street scene which Alec Bonwell was preparing to shoot, was merely a plant shot to locate the various points so that the audience would understand the locale of the story. Bonwell addressed the new lot of extra people Haswell had summoned. “Now you folks are merely walking down the street intent on your various er- rands. This is a long shot fade in, follow- ing the first sub-title. Don’t notice Ken- neth Denton, except as you would any neighbor. He'll be coming out of the bank. Those of you who pass him, just nod and go on. There is no excitement in this scene, and nothing particular to register, so please don’t try to register any< thing, and above all don’t try to act. You over there, Miss—” ‘¢ Skinner,” Fred supplied. “ Miss Skinner, you will come out of the grocery store with a package under your arm. You will be thinking of anything which interests you. We'll say—” a slight smile raised the corners of his mouth— “of a nice young man—eh? Now you—” this to a heavy brunette—‘ are thinking that you'll have to hurry to be home in time to milk the cows, and you—” He completed his directions. “ Now, Fred, get them in position, and let them run through it.” Bonwell had to have them run through it five times before he could get the simple effect of people merely walking down Main Street at midday. All of the extra people except Myrtle were intent on making some impression on the camera so that their work would stand out and catch the eye of the motion picture public, or some one higher THE CAMERA, 281 up in Acme, Inc. Myrtle, doing as she was bidden, thought of a young man. She didn’t know any real young man, so she raked one up out of her dreams. He wasn’t a prince or a millionaire or of exceptional prowess in any line. He was just a nice young man—probably a clerk or something like that. He wouldn’t marry her, never probably even kiss her, but he would be a friend. That was the extent of Myrtle’s ambition in the masculine line—to have a young man for a friend. At last however, after five rehearsals, Bonwell felt justified in saying: ‘“* Camera!” The scene began. Kenneth Denton care out of the bank of which, in the story, he was president, bowed to one or two people he passed and walked sedately down the street. Myrtle came out the store dream- ing of the young man, The other extra people did reasonably as they had been told. (<4 Cut! ? The scene was over. Bonwell turned to the camera man. “Get it all right?” “I’m afraid we got a bad shadow when Mr. Denton came out of the bank, Mr. Bonwell. Jimmy—set a spot in the door- way to kill the shadow.” The property boy dragged a spotlight in- to the doorway, and switched it on. “ Better try the amber diffuser, Jimmy.” All right, sir.” On the next try everything appeared sat- isfactory. Then they took it again in order to have two negatives from which to choose the better, and then once again for the for- eign release print. The next scene would be an interior between the star and the heroine—the extras would not be needed. Bonwell said: “ Fred, have these people back on Thurs- day for the church sociable.” “Yes, chief.”” He turned to the extras. ‘“‘ All you people get dresses suitable for a church sociable? No? You surprise me. Well, see the wardrobe department. Oh, you have.” “ Yes,” Myrtle said. “ All right—better bring it over before Thursday and let me take a look at it.” Myrtle nodded, GO NOOK (C@