When they have finished the art department in conjunction with the property and drapery departments “dress” the set. This is the working of fixing it up and making it look like the real thing.
In the meantime the picture is being cast. Probably the star and leading man are already chosen. Then the casting director makes the list of all the actors, actresses and “extras” needed in the production of the picture.
He refers to his files and calls upon the people he needs, either upon those in the stock company which most studios of size maintain, or from the numerous agencies who manage the players.
His selections are then submitted to the director and the production manager for O. K.
In the meantime the location department has secured a list of the exterior scenes required by the picture. The location man refers to his files containing pictures of every likely location within a reasonable distance of the studio. He must find waterfalls, open road and a large field.
He selects these locations, being sure that the physical action of the story can be played in those he selects and then submits them to the director. If the director has a reason for not liking any of them, the location man must jump into his automobile and tour the countryside for suitable substitutes to his first selections.
Then the director starts to work. The production department must watch him and have the next setting ready for him on time so that not a day will be wasted. If more than one or two companies are working in the studio there may not be room to erect the next setting. Then, perhaps, if weather permits, the director goes out on location.
Thus he is obliged to jump from one place in the story to another. He may be shooting scenes in the last part of the picture on one day and scenes in the first part a few days later.
All this is the routine work that must be gone through with the production of each picture.
Then the temperament of the actors and actresses comes in—comes in very strongly for that matter. If the director be working with a female star she may complain as to her leading man.
TRUE AND PENETRATING CHARACTERIZATION FEATURES WIN DE MILLE'S “MISS LULU BETT” ]
“THE LOST ROMANCE,” A PICTURE DIRECTED BY WILLIAM DE MILLE, BEARS THE SAME TRUE RELATION TO THE UPPER CRUST OF THE SOCIAL PIE AS “MISS LULU BETT” DOES TO THE MIDDLE PART ]