Casper Daily Tribune Newspaper, February 9, 1924, Page 4

. i = 1 } =— = MILBA LLOYD WHO! DESIGNS ORIGINAL STATUARY FROM HER MODELS THE PLASTER Most Successful Began at the Bottom IGHTEEN vocations are open to women in motion picture studios. This is altogether apart from the professional work which women do for the screen. Inside the buildings which cover many acres of space on the Paramount lot in Holywood the brains and hands of scores of wom-' en are engaged in widely divergent tasks which carry forward the work of picture production. An Army of Workers, Everyone of the eighteen depart- ments employing women perform some function which is vital to the success ofa picture. Hairdressers, milliners, seamstresses, costume de- signers, set dressers, Grapers, script- girls and cutters, musicians and film splicers all haye their part to play. In addition to these, there are clerks, film re-touchers, writers, readers, gecretaties, stenographers and librarians employed. Practically all these branchts require special qualifications fdr those engaged. Very few of ‘the women began "studio work in the departments where they are now engaged. The general rule that you must begin at the lowermost step and climb ap- plies to practically all. Girls who fre now engaged as script-holders and cutters entered the studio through the stenographic ranks, Sev- eral of the scenario readers began in the same way. Among the ranks of the costume designers are women who began as dilligent seamstresses. Some of them gained entry through training in art schools where designing was taught. The two classes form, how- ever, distinct schools. The designer who began as a seamstress creates her costume by working with ma- terials directly upon the model. The art school designer works with pen- cil and crayon. The drapery pecially department requires of seam- needle ed class and d novice in the drapery department unless they have had previous train- ing in sewing heavy velvets and the other, stiff materials from which draperies are made. A Typical. Instance, To select only on> of a dozen script-girls and cutters who have succeeded, the career of Edith Wake- ng practically parallels most of the others. She began studio work in the stenographic department. In this way she familiarized herself with the manner in which motion pic- ture continuities are written. Dur- ing the making of scenes for the pic- ture with which she is working, she is always present on the set, noting slight changes made by the director and following the story as it is translated from paper to film. When the film {s finally completed it is her task to carry it into the cutting Tooms and there, from her knowl- edge of the story, cut the film in such a way that it tells what it has to say in the most direct and forcibie fash- fon. The reading department is no less arduous but the same devotion may be found among the women employed there. Here, too, may be found sey- eral workers who entered through the ranks of the stenographers. Franceline MacConnell is an out- standing example. Her work was ac- curate and dependable and she was chosen to act as secretary to a de- partment head. The Reading Department. Acting upon an impulse which probably came from the example of many about her, she began writing short stories for magazines. The things she learned through observ- ing studio story methods helped tre- mendously and in a short time she had made a name for herself among eastern publications. She was soon transferred to the reading depart- ment. Among the duties which she per- forms is the extremely difficut task of interviewing authors of scenarios. They are legion in number and it is very rare indeed that she finds one (5olden Gleonings~ ' CORNER OF THE UPPER | whose work meets with the require- ments of motion picture technique. She also reads a great host of what are known as “unprofessional and unsolicited” manuscripts. These are sent in through the mails as a rule. Almost invariably these manuscripts are returned. They are given every consideration but the scenario writ- er outside a studio ns a rule knows so little about motion picture re- quirements that the bulk of the ma- terial submitted is impractical or un- suitable. Other members of the reading de- partment keep abreast of the latest publications, Whenever a book or story is discovered with motion pic- ture possibilities, the reading de- partment writes a synopsis which is submitted to one of the production editors for perusal. Many of those employed in the reading department are ambitious to Become continuity writers. This field offers wider opportunities since it is from the work of the continuity writer that the director mainly takes his interpretation of the story to be filmed. As a rule, screen credit is given to the continuity writer. & The most essentially feminine of all the departments emplqying wom- en is the woman's wardrobe. Ethel P. Chaffin, the head designer and chief executive, is a quiet, efficient worker who, to use her own words, “was born with a needle in her hand.” Some of the greatest stars in filmdom have worn gowns which were conceived behind her thought- ful brow. * Fashions Not Everything. Strangely enough, Ethel Chaffin: takes a keener delight in designing what are known as “character cos- tumes” than in“ designing fashions, This branch of the wardrobe work is far more important than the other. “We have two hundred calls for character costumes to eyery one for fancy or elaborate costumes,” she says. “People do not realize that it is Just as much trouble to dress a ragged scrub-woman in a suitably designed collection of, rags as it 1s to array a wealthy society woman. We will some time work It matters not how strait the gate, WARDROBE DEPARTMENT . for several days upon a ragged part in order to get something which will suit the director. Ethel Chaffin began her career with a course of training in an art school where she did modelling from life. Later she entered a dressmak- er’s and worked her way from the bottom to a responsible position. Set decorating is still another art where openings for women are found. Scenario Writing. Many distinguished women have established themselves in the scena- rio department. Among the names which stand out prominently are those of Beulah Marie Dix, Clara Beranger, Jeanie MacPherson and Doris Schroeder. Each of the four has adapted many famous stories for the screen or written bril- liant originals. Every picture made requires a certain amount of research work. Every ten years the story plunges backward into history adds to the amount of research work to be done. For this purpose the library exists. In addition to the works upon its How charged with punishments the scroll, shelves, close contact with the Holly- wood and Los Angeles libraries is maintained. Women of a high degree of culture are employed there under the supervision of Mrs. I) B. McGaf- fey, It is their duty to check and verify every question which may arise in determining detail for pic- tures covering all periods of history. Hair-Natural and Otherwise, It is impossible to follew the detail work done by each department, but a few more must have brief \descrip- tions. Hair-dressers are an impor- tant branch of studio work. Their work upon the natural hair is only & small part of what they do. When- ever wigs are worn, the hair dresser must be contstantly on the set or with the company on location to re- arrange the artificial tresses of poth men and women, A small staff of film-retouchers go over every negative.made for photo- graphs with a pencil, applying the delicate artist’s touches which make PTHEL CHAFFIN IN DESIGNING COSTUMES WORKS DIRECTLY UPON THE MODEL. ‘ing department. the photograph perfect. Elinor Mertz and Zelda Hamill, two of the retouch- ers, obtained their training for this department by entering the gallery of a commercial photographer where they slowly learned the art work which is required upon every nega- tive. They also took a course of les- sons in art-work and coloring. Girls are also employed in the film-splic- These take the film as it comes to them from the cutters and splice together the various scenes and sequences according to the tickets attached to each little roll. ¥ Every director employs musio in making his scenes. Usually the or- chestr#@ consists of a plano player and violinist. Usually, too, one is a girl. This branch of the studlo work is very interesting. Girls are em- ployed in the art department doing titling work, They also are employed as clerks, stenographers and mil- liners. Training School for Directors UNIYERSITY course for mo- A tion picture directors.” This is the only answer to the question: “Where is the coming generation of motion picture direc- tors to come from?” according to Vic- tor Fleming. “This is the day of the specialist in the motion picture industgy just as in other professions, The finished photoplay of today is as different from the two reeler of ten years ago as Egyptian hieroglyphics are from modern paintings. And just as the modern artist needs a ground work of elementary instruction, so the present-day director needs experi- ence, travel and technical training. Ten years ago he could get sufficient knowledge around a studio to make an old-fashioned thriller. But it is questionable whether he can learn through ordinary channels now how to make a super protluction of 1924. lam the master of my fate, I am the captain of my soul. —Wnm. Ernest Henley “For audiences of today can not be fooled. They demand art, subtleness and realism in photoplays. Pictures can only be made with thege qualities by specialized training. ‘With the growth of every profession has come higher education in that particular field. We have recently added to our university courses, departments of commerce and of journalism. Now we need a faculty of motion picture direction. “Most of the: successful directors ef today grew up with tl> industry. ‘They introduce new ideas and creat- ed a new school of dramatic art apart from the stage. “But the coming generation of di- rectors is deprived of our advantages. rectors s deprived of our advantages. A unlyersity course seems to be the only way in which the-future pro- ducer of photoplays can gain proper instruction, Of couhse practical ex- perience at the studio should be in- cluded in the work.