A syllabus for use in the training of secretaries for the motion picture industry

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A SYLLABUS FOR USE IN THE TRAINING OF SECRETARIES FOR THE MOTION; PICTURE INDUSTRY

A P ro je c t P re se n te d to th e F a c u lty o f th e S ch o o l o f E d u c a tio n The U n i v e r s i t y o f S o u t h e r n C a l i f o r n i a

In P a r t i a l F u lfillm e n t o f th e R e q u ire m e n ts f o r th e

D egree

M a ste r o f S c ie n c e in E d u c a tio n

by C a th e r in e C osson A ugust

1950

UMI Number: EP46254

All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.

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l£ J

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C . S' 3 &

Pro\-

This pr o je c t report, w rit te n under the direction of the candidate’s ad vi ser an d a p p r o v e d by him, has been pr ese nte d to and a c ce pte d by the F ac u lty of the S c h o o l of E du c at io n in par ti al fu lfi llm en t of the requirements f o r the degree of M a s t e r of Science in Education.

Date

. 4 ^ .....

Z T ...A . Adviser

Dean

TABLE OF CONTENTS CHAPTER I

PAGE INTRODUCTION

.....................................................................................

S ta te m e n t o f th e

p r o b l e m ............................................... 4

Scope o f th e p ro b lem P urpose o f th e V a lu e o f t h e

1

. ..................................................... 5

i n v e s t i g a t i o n .....................................6

s t u d y ................................... . .

.

• *

6

B a c k g r o u n d o f t h e a u t h o r ............................................... 7 P ro ced u res II

.............................................................................

7

THE INFLUENCE AND HISTORT OF THE MOTION PICTURE INDUSTRY AND THE MOTION PICTURE S T U D I O S ........................................................................ In flu e n c e

9

..................................................................................

Why t h e m o v i e s came t o

H o lly w o o d

. . . . .

M e t r o - G o l d w y n - M a y e r ........................................

W arn er B r o t h e r s

11 12

T w e n tie th C e n tu ry -F o x F ilm C o r p o r a tio n P aram ount P i c t u r e s

9

.

. 13

.......................................................14

................................................................... 14

C o l u m b i a S t u d i o s ................................................................. 15 U n i v e r s a l - I n t e r n a t i o n a l ..................................................15 S u g g e ste d P ro c e d u re s f o r i n s t r u c t i o n III

...

.

.1 6

THE MEN WHO MAKE MOTION P I C T U R E S ...................................19 The E x e c u t i v e s ' ...................................................................... 19 The P r o d u c e r s ........................................................................... 19

•

•

•

111

CHAPTER

PAGE The E x e c u t i v e P r o d u c e r .................................................... 2 1 P ro d u cers o f A p ic tu r e s

................................21

P r o d u c e r s o f B p i c t u r e s .................................................... 21 A s s o c i a t e P r o d u c e r s ...............................................................22 /

P r o d u c e r - Di*r e c t o r s ...............................................................22 D ire c to rs

.........................................

A s sista n t D ire c to rs

.........................................................

22 23

W r i t e r s ............................................................................................. 24 The S t o r y D e p a r t m e n t

.........................................................

S u g g e ste d p ro c e d u re s IV

.........................

25 26

THE PRODUCTION D E PA R T M E N T S.................................................... 29 R e s e a rc h D e p artm en t

.........................................................

P r o d u c t io n D ep artm en t

♦

29

............................................... 30

A r t D e p a r t m e n t ........................................................................ 30 P r o c e s s D ep artm en t M in ia tu re sh o ts

.........................................................

31

...................................................................

31

L o c a tio n D e p artm en t

.........................................................

P r o p e r t y D ep artm en t

. .

C a s tin g D e p artm en t

.........................................................

33

W ardrobe D e p artm en t

........................................................

34

M ake-U p D e p a r t m e n t

...............................

35

C a m e ra D e p a r t m e n t

.

32

.......................................... 32

. . . . .

..............................................................

37

S ound D e p a r t m e n t ................................................................... 3 7

CHAPTER

PAGE M u s ic D e p a r t m e n t ............................................................. F ilm E d i t i n g o r C u ttin g

......................................... 3 $

The L a b o r a t o r y .................................................................. 39 P u b l i c i t y and A d v e r tis in g D e p a rtm e n ts A d v e r t i s i n g D e p artm en t S u g g e ste d P ro c e d u re s f o r V

. . .

40

..........................................4 0 stu d e n ta c t i v i t i e s

•

41

STARS, AGENTS, PRODUCER ORGANIZATIONS, AND THE TRADE P A P E R S ...................................................................45 The S t a r s .................................................................................. 45 F a n M a i l D e p a r t m e n t .........................................................46 A g e n ts A cadem y o f M o t i o n P i c t u r e A r t s

•

47

andS c ie n c e s

47

A s s o c i a t i o n o f M o tio n P i c t u r e P r o d u c e r s , I n c o r p o r a t e d .............................................................. .

48

T r a d e P a p e r s ........................................................................49 S u g g e ste d p ro c e d u re s VI

.........................................................

49

SHORT SUBJECTS AND CARTOONS ..............................................

53

S h o r t s u b j e c t s ...................................................................53 A n im a te d c a r t o o n s

..............................................................

S u g g e ste d p ro c e d u re s

...................................

54 55.

STUDENTS1 BIBLIOGRAPHY................................................................................... 57 V II

GENERAL STENOGRAPHIC DUTIES ...............................................

59

P aram o u n t P i c t u r e s jo b d e s c r i p t i o n — s e c r e ta r ia l se rv ic e

...................................................

.

62

V

CHAPTER

PAGE S to ry o u tlin e

..............................................................................6 6

T r e a t m e n t .............................................

69

S c rip t

72

f o r m ..................................................................

V o c a b u l a r y ........................................................................................ 65 S u g g e s t i o n s a s t o how m a t e r i a l s may b e o b ta in e d

....................................................................69

S c r i p t s ............................................................................................. 69 S t o r y o u t l i n e ........................................

90

T r e a t m e n t s ...................................................................................9 0 S u g g e ste d p ro c e d u re s

.......................................... 9 1

C a l l S h e e t ........................................................................................95 S h o o t i n g S c h e d u l e ..............................

96

D a ily S h o o tin g S c h e d u le

...................................................

97

.........................................................

9$

EXECUTIVE STENOGRAPHIC DUTIES .........................................

1 00

S u g g e ste d p ro c e d u re s V III

M e t r o - G o ld w y n - M a y e r j o b d e s c r i p t i o n — w rite rs 1 se c re ta rie s S u g g e ste d p ro c e d u re s

.................................................... 1 01 ........................................................

107

The D i r e c t o r s S e c r e t a r y .............................................109 P aram oun t P i c t u r e s jo b d e s c r i p t i o n — d i r e c t o r Ts s e c r e t a r y S c r i p t B re a k d o w n

...................................

.........................................

. . . . .

110 120

CHAPTER

PAGE S u g g e s t e d p r o c e d u r e s ................................................

121

T he P r o d u c e r ’ s S e c r e t a r y a n d t h e E x e c u t i v e S e c r e t a r y .......................................................126 P a ram o u n t P i c t u r e s jo b d e s c r i p t i o n — p ro d u c e r’s se c re ta ry

................................

127

W arn er B r o t h e r s Job a n a l y s i s — e x e c u tiv e s e c r e ta r y

IX

...................................................

• 134

T r a in in g and e x p e r ie n c e

................................................ 1 42

P erso n al q u a lif ic a tio n s

.

....................................... 143

SUMMARY AND CONCLUSIONS............................................................1 4 4 C o n c l u s i o n s ..................................................................................... 145

BIBLIOGRAPHY.......................... .

.......................................................................... 1 4 3

A P P E N D IX ....................................................................................................................150

A SYLLABUS FOR USE IN THE TRAINING OF SECRETARIES FOR THE MOTION PICTURE INDUSTRY

CHAPTER I INTRODUCTION T o d ay i s t h e a g e o f s p e c i a l i z a t i o n . ists

We h a v e s p e c i a l ­

i n m e d i c i n e , i n l a w , i n e n g i n e e r i n g , a n d i n m any o t h e r

o f th e p r o f e s s io n s .

S p e c i a l i z a t i o n i s a l s o m o v in g i n t o t h e

s e c r e ta r ia l p ro fe ssio n . and l e g a l s e c r e t a r i e s .

C o u rse s a r e g iv en t o t r a i n m e d ic a l W o o d b u ry ’ s B u s i n e s s C o l l e g e o f f e r s

a c o u rs e i n t h e t r a i n i n g o f s e c r e t a r i e s f o r t h e m o tio n p i c ­ tu re

in d u stry . n Sam uel P . C apenA s a y s : One o f t h e s t r i k i n g s o c i a l p h e n o m e n a o f t h e l a s t c e n tu ry h as been th e in c r e a s e of s p e c i a l i z a t i o n . M ore a n d m o re t h e a c t i v i t i e s o f s o c i e t y h a v e come to re p re se n t a c o lle c tio n of e x p ert s e rv ic e s . E sta b ­ l i s h e d p r o f e s s i o n s h a v e b e co m e m o re i m p o r t a n t . New p ro fe s s io n s have sp ru n g u p . P ro fe ss io n a l p r a c titio n e r s h av e i n c r e a s e d i n num ber b o th a b s o l u t e l y an d r e l a t i v e l y . C o n s e q u e n tly i t h a s becom e n e c e s s a r y t o c o n d u c t p r o ­ f e s s i o n a l e d u c a t i o n on a d i f f e r e n t s c a l e a n d b y t o t a l l y d i f f e r e n t m e th o d s t h a n t h o s e w h ic h p r e v a i l e d a c e n t u r y ago. F o rm e rly , s t u d e n t s g r a d u a tin g from h i ^ i s c h o o l w ith

tw o y e a r s ’ i n s t r u c t i o n

in

s h o r t h a n d and t y p e w r i t i n g

s id e r e d th e m se lv e s a d e q u a te ly t r a i n e d to

con­

e n te r th e b u s in e s s

w o rld .

^ W. W. C h a r t e r s a n d I s a d o r a B . W h i t l e y , A n a l y s i s o f S e c r e t a r i a l D u tie s and T r a i t s (B a ltim o re : W illia m s and W i l k i n s C o m pany, 1 9 2 4 J , p . x i i i .

2 W i t h t o d a y ’ s k e e n e r c o m p e t i t i o n , m any s t e n o g r a p h i c s t u d e n t s a r e g o i n g on f o r a d d i t i o n a l a c a d e m i c t r a i n i n g th e

ju n io r c o lle g e s .

th e ir

in

They a r e g i v e n an o p p o r t u n i t y , i n

s e c r e t a r i a l p ro b lem s c l a s s e s , to l e a r n a b o u t t h e

d u tie s

o f s e c r e ta r ie s in th e d if f e r e n t f i e l d s .

t h e s e s t u d e n t s a r e c h o o sin g th e l i k e t o w o rk a n d a r e t a k i n g

fie ld

Many o f

i n w h ic h t h e y w o u ld

s p e c ia liz e d c o u rse s to

p rep are

th em f o r t h a t f i e l d . Many s c h o o l s o f f e r c o u r s e s i n l e g a l s e c r e t a r y s h i p m e d ic a l s e c r e ta r y s h i p , and c o u rt r e p o r t i n g .

E xcept f o r th e

c o u r s e o f f e r e d a t W o o d b u ry ’ s B u s i n e s s C o l l e g e , m o t i o n p i c ­ tu re

s e c r e t a r y s h i p h a s b e e n n e g l e c t e d , and t h e m o tio n p i c ­

tu re

in d u stry is

L os A n g e l e s a r e a . ta k e n

an i m p o r t a n t p a r t o f t h e econom y o f t h e T h is i s p ro v e n b y t h e f o l l o w i n g f i g u r e s

from t h e F ilm D a i ly Y earb o o k f o r 1 9 4 9 :^ H o lly w o o d S t u d i o I n v e s t m e n t

(e s tim a te d )

A v e r a g e M o n t h l y N um ber o f W o r k e r s A n n u a l H o lly w o o d P a y r o l l

(e s tim a te d )

F e a t u r e s R e l e a s e d i n U . S . M a r k e t i n 194&

$ 1 3 5 ,6 9 0 ,0 0 0 1 4 ,7 0 0

251 , 261,352 45 9

Not o n l y i s t h i s a g r e a t i n d u s t r y , b u t s t u d i o e m p l o y e e s lo v e t h e i r w ork.

^ (New Y ork':

T h is i s

show n i n t h e

fo llo w in g q u o ta tio n

D a ily Y earb o o k o f M o tio n P i c t u r e s , 3 1 s t E d i t i o n J . ‘ W. A l l o c a t e , 1 9 ^ 9 ) , P* 75 •

3 f r o m a b o o k by L eo

C . R o s t e n , who m ade a t h r e e - y e a r s t u d y

o f s t u d i o w o rk a n d s t u d i o p e o p l e : " T h is i s a • .

crazy b u s in e s s .I t ru in s

. I t d r i v e s youn u t s .

B ut I w o u ld n ’t

be

your d ig e s tio n d o in g a n y th in g

e l s e f o r t h e w o rld I A nd, f u r t h e r , The m o v ie m a k e r s l o v e t h e i r w o r k . The a c t o r s c o m p la in a b o u t t h e i r s t o r i e s and t h e i r d i r e c t o r s ; th e d i r e c t o r s c o m p la in ab ou t t h e p r o d u c e r s and th e s c r i p t s ; th e p r o d u c e r s co m p lain a b o u t t h e i r d i r e c t o r s a n d t h e i r w r i t e r s . . .B u t t h e y a l l l o v e m a k in g m o v i e s . T h e r e i s n o t e d i u m i n m a k in g p i c t u r e s , e x c e p t f o r t h e r e p e t i t i v e " s h o o t i n g " on s o u n d s t a g e s . 4 T im e , i n a r e c e n t a r t i c l e

on D a r r y l F . Z an u c k ,

p ro d u c tio n c h ie f o f T w e n tie th -C e n tu ry Fox, sa y s:

" . . .

f o r z e a l o u s M o v ie m a k e r Z a n u c k , t h e b e s t p a r t o f l i v i n g i s h i s w o r k " ; 5 a n d q u o t e s M r. Z a n u c k : I t ’ s s i l l y t o s a y m oney h a s n ’ t m e a n t a n y t h i n g — b u t i t h as n e v e r been th e p rim a ry c o n s id e r a tio n . A c t u a l l y , n o t h i n g h a s e v e r g i v e n me t h e g e n u i n e s a t i s f a c t i o n o f t a k i n g p i c t u r e s , s e e i n g th e m t h r o u g h and th e n g e t t i n g w o n d e rfu l re v ie w s . I lo v e w hat I ’m d o i n g 16

3 L eo C . R o s t e n , H o lly w o o d B r a c e a n d C om pany, 1 9 4 1 ) V P • 5 1 •

(New Y o r k : H a r c o u r t ,

4 Loc. c i t . 3 T im e , June 1 2 , 1 9 5 0 , p . 7 2 . 6 D a rry l Z anuck, in ch arg e o f p ro d u c tio n a t T w e n tie th C e n t u r y F o x , T im e , J u n e 1 2 , 1 9 5 0 , p . 7 2 .

4 In a s e r i e s o f in te rv ie w s w ith s tu d io it

w a s f o u n d t h a t m any o f t h e m , t o o ,

se c re ta rie s

lo v e t h e i r w ork.

An

o f t - h e a r d r e m a r k w as ” 1 w o u l d n Tt w o rk a n y p l a c e e l s e * g e ts in your b lo o d ;

It

o n ce y o u ’v e w orked i n a s t u d i o y o u ’ r e

s p o ile d f o r a n y th in g

e ls e .”

Many o f t h e s e s e c r e t a r i e s h a d

w orked i n t h e s t u d i o s fro m f i v e t o tw e n ty y e a r s . As one s e c r e t a r y s a i d , g la m o u r.

” The p i c t u r e b u s i n e s s h a s

E v e n t h o u g h some o f t h e

j o b s may b e u n i n t e r e s t i n g

o r ev en m o n o to n o u s, t h e a s s o c i a t i o n w i t h b i g nam es and b i g m on ey l e n d s t h e r o u t i n e w o rk a n a u r a o f i m p o r t a n c e a n d e n ­ c h a n t m e n t *IT B e sid e s th e w o rk i s t h e

g la m o u r, a n o th e r r e a s o n f o r l i k i n g

o p p o rtu n ity fo r re sp o n sib le

stu d io

jo b s a t e x c e lle n t

sa la rie s A n e ed f o r f u r t h e r i n f o r m a t i o n on m o tio n p i c t u r e s e c r e ta r y s h ip and th e te c h n iq u e f o r te a c h in g i t th e u n d e rta k in g

w ith

of th is

p ro je c t.

S ta te m e n t of th e

p ro b lem .

p ro m p te d

T h is p r o j e c t was c o n c e rn e d

(1 ) an i n v e s t i g a t i o n o f t h e d u t i e s o f s e c r e t a r i e s i n

t h e m o tio n p i c t u r e

i n d u s t r y a s d e te rm in e d fro m a s tu d y o f

jo b d e s c r i p t i o n s and jo b a n a l y s e s o f s e c r e t a r i a l d u t i e s fro m

7 S e e O f f i c e E m p lo y e e s I n t e r n a t i o n a l U n io n w a g e c o n t r a c t i n A p p en d ix .

5 t h r e e m ajo r s t u d i o s ;

and

(2) th e p r e p a r a t i o n o f a s y l l a b u s

o u tlin in g a co u rse of stu d y fo r t r a i n i n g s tu d e n ts fo r s e c r e t a r i a l p o s i t i o n s i n a m o tio n p i c t u r e s t u d i o . Scope o f t h e p r o b le m .

The p r e p a r a t i o n o f a c o m p l e t e

c o u r s e o f s tu d y f o r s e c r e t a r i a l t r a i n i n g was c o n s i d e r e d t o o e x te n siv e fo r a paper o f th is

n a tu re .

The c o m p l e t e c o u r s e

w o u ld n e c e s s a r i l y i n c l u d e m a t e r i a l s b a s e d o n t h e

"Seven

C a r d i n a l P r i n c i p l e s o f E d u c a t i o n " ^ f o r m u l a t e d b y t h e Com­ m i t t e e on t h e R e o r g a n i z a t i o n o f S e c o n d a r y E d u c a t i o n , w h ic h a re: 1.

H e alth

2.

Command o f f u n d a m e n t a l p r o c e s s e s

3*

W o r th y home m e m b e r s h ip

4*

V o c a tio n

5*

C iv ic e d u c a tio n

6*

W o rth y u s e o f l e i s u r e

7*

E th ic a l c h a ra c te r

A w e a lth o f m a t e r i a l h a s b e e n w r i t t e n and p u b l is h e d on h e a l t h , w o r t h y home m e m b e r s h i p , e th ic a l

c h a ra c te r.

a im o f t h i s

co u rse,

c iv ic e d u c a tio n , use o f l e i s u r e ,

and

N o th in g was fo u n d c o n c e r n in g t h e v o c a t i o n a l i.e .,

stu d io s e c re ta ry s h ip .

^ A u b re y A. D o u g l a s s , S e c o n d a r y E d u c a t i o n H o u g h t o n M i f f l i n C om p an y, 1 9 2 V }, p p . 3 3 ^ - 3 3 2 .

T h is p ro b le m

(New Y o r k :

6 h a s been lim ite d to

m a t e r i a l s on s e c r e t a r i a l d u t i e s w h ich

a r e p e c u l i a r and d i s t i n c t t o t h e m o tio n p i c t u r e P urpose of th e

in v e s tig a tio n *

in d u stry *

The p u r p o s e o f t h i s

i n v e s t i g a t i o n was (1 ) t o d i s c o v e r w h at a s t u d e n t , d e s i r i n g a s e c r e ta r ia l p o sitio n tra in

h im f o r t h a t p o s i t i o n ;

m a te ria ls in g .

in a s tu d io ,

in sy lla b u s-fo rm

A c c o rd in g t o

and

sh o u ld b e ta u g h t to

(2 ) to

g a t h e r and c o m p ile

fo r p r a c tic a l use in th a t t r a i n ­

T o n n e , t h e r e i s n e e d f o r m o re r e s e a r c h

in th e a c tu a l d u tie s o f o n -th e -jo b ste n o g ra p h e rs* ^

Job

d e s c r i p t i o n s and jo b a n a l y s e s o f s e c r e t a r i a l p o s i t i o n s w ere o b ta in e d from t h e s t u d i o s g iv in g t h e s e a c t u a l o n - t h e - j o b d u tie s • V a lu e o f t h e s t u d y * i n th e m o tio n p i c t u r e te a c h in g

T he t e a c h e r w i t h n o e x p e r i e n c e

i n d u s t r y and w ith no e x p e r i e n c e i n

such a c o u rs e i s

f a c e d w ith t h e p ro b lem o f d e c id in g

w h a t s h o u l d b e t a u g h t , w hen i t sh o u ld be ta u g h t •

s h o u l d b e t a u g h t , a n d how i t

T here i s a g r e a t d e a l o f m a t e r i a l i n t h i s

f i e l d , b u t t h e t e a c h e r o r s t u d e n t w ith no k n o w led g e o f t h e i n d u s t r y d o e s n o t know how t o make u s e o f i t .

9 H e r b e r t T o n n e , t!B l i n d S p o t s i n R e s e a r c h i n B u s i n e s s E d u c a t i o n , ” N a tio n a l B u s in e s s E d u c a tio n Q u a r t e r l y , M arch, 1 9 4 3 , p* 2 1 . ----------------------------------------------------------------------

7 B ackground o f t h e

a u th o r♦

Ten y e a r s ’ s e c r e t a r i a l

e x p e r i e n c e a t M e t r o - G o l d w y n -M a y e r S t u d i o s w o r k i n g f o r w rite rs, way f o r

d ire c to rs ,

p r o d u c e r s and e x e c u t i v e s p av ed t h e

o b ta in in g th e m a te r ia ls used in th e s tu d y .

The

e x p e rie n c e , to g e th e r w ith in te rv ie w s w ith s e c r e t a r i e s and th e h e a d s o f th e stu d io s, th e

s te n o g ra p h ic d e p a rtm e n ts o f th r e e

form ed t h e b a s i s f o r c h o o s in g t h e m a t e r i a l s and

s u g g e s t e d p r o c e d u r e s f o r u s i n g th e m i n t h e

c la ss ro o m *

T h is c o u rs e c o u ld b e t a u g h t i n an y j u n i o r c o l l e g e , c o l l e g e , u n i v e r s i t y , o r b u s i n e s s c o l l e g e i n t h e Los A n g e le s area*

The k n o w l e d g e a n d t e r m i n o l o g y u s e d i n t h e m o t i o n

p ic tu r e in d u s try a re v a lu a b le in r a d io , t e l e v i s i o n , th e t h e a t e r , and i n th e

v a rio u s a g e n c ie s h a n d lin g ta le n t*

A ll

t h e s e e m p lo y s e c r e t a r i e s i n t h e L os A n g e l e s a r e a . P ro ced u res* of m a te ria l w ritte n

T he d a t a came f r o m ( 1 ) a l i b r a r y s u r v e y on t h e m o t i o n p i c t u r e i n d u s t r y ,

a n a l y s e s and jo b d e s c r i p t i o n s

o f stu d io

(2 )

se c re ta rie s,

jo b

and

(3 ) m a t e r i a l s a c t u a l l y u se d by s e c r e t a r i e s on t h e i r jo b s* The m a t e r i a l w a s d i v i d e d i n t o n i n e c h a p t e r s : C h a p te r I c o v e rs th e r e a s o n s f o r th e s tu d y , th e p ro b le m , p u rp o s e , v a lu e and o r g a n i z a t i o n o f t h e s t u d y . C h a p te r I I

c o v e rs th e in f lu e n c e , h i s t o r y , and

m o tio n p i c t u r e s t u d i o s i n H o lly w o o d , w i t h s u g g e s t i o n s

a as to

how t o u s e t h e

in fo rm a tio n f o r

in stru c tio n a l

p u rp o ses• C h a p te r I I I

c o v e r s t h e men who m ake t h e

p ic tu re s,

w i t h s u g g e s t i o n s a s how t o u s e t h e m a t e r i a l f o r i n s t r u c ­ tio n a l p u rp o ses. C h a p t e r IV t a k e s u p t h e s t u d i o , and g i v e s s u g g e s t i o n s

v a rio u s d e p a rtm e n ts o f th e on how t o u s e t h e m a t e r i a l

fo r in stru c tio n . C h a p te r V t e l l s a l i t t l e

about th e

p r o d u c e r o r g a n i z a t i o n s , and t h e t r a d e

sta rs,

a g e n ts,

p a p e r s , a n d how t o

u se th e m a te r ia l. C h a p te r VI t a k e s up t h e g e stio n s

s h o rt s u b je c ts , w ith sug­

f o r u sin g th e m a te r ia l.

C h a p te r V II t a k e s up t h e d u t i e s o f s te n o g r a p h e r s in th e

sc rip t

d e p a rtm e n t, th e

sc rip t,

a n d how t o t e a c h

it.

C h a p t e r V I I I c o v e r s an a n a l y s i s o f d u t i e s o f t h e s e c re ta ry to th e w r i te r ,

d i r e c t o r , e x e c u tiv e and p ro d u c e r,

w i t h s u g g e s t i o n s a s t o how t o u s e t h e

in fo rm a tio n .

C h a p t e r IX c o v e r s t h e su m m ary a n d c o n c l u s i o n s .

CHAPTER I I THE INFLUENCE AND HISTORY OF THE MOTION PICTURE INDUSTRY AND THE MOTION PICTURE STUDIOS T h is c h a p t e r w i l l a tte m p t t o

( 1 ) g i v e some i d e a o f

t h e tre m e n d o u s i n f l u e n c e e x e r t e d b y H o lly w o o d , t h e h i s t o r y o f th e m o tio n p i c t u r e m o t i o n p i c t u r e s t u d i o s , and th is

in d u stry ,

(2 ) e x p la in

(3 ) l i s t th e

( 4 ) g i v e s u g g e s t i o n s on u s i n g

m a t e r i a l i n c la s s ro o m s i t u a t i o n s * The t e r m

"H o lly w o o d ", a s u s e d by R o s te n and o t h e r s ,

r e f e r s n o t t o g e o g ra p h ic a r e a b u t t o th e m o tio n p i c t u r e c o lo n y i n t h e Los A n g e le s a r e a ,

in c lu d in g a l l p e rso n n e l

c o n n e c t e d w i t h m o t i o n p i c t u r e m a k in g a n d t h e

s t u d i o s w h ic h

m ak e t h e m . In flu e n c e * w ood i s

As R o s t e n s a y s ,

im m ense a n d p e r v a s i v e .

"T h e i n f l u e n c e o f H o l l y ­

I t tra n s c e n d s d iffe re n c e s

i n la n g u a g e o r c u sto m e , a g e o r c r e e d He a l s o

says th a t

The A m e r ic a n p r e s s i s r e a d o n l y w h e r e E n g l i s h i s r e a d ; t h e A m e r ic a n r a d i o i s h e a r d o n l y w h e r e E n g l i s h i s c o m p r e h e n d e d ; b u t t h e A m e r i c a n m o v ie i s an i n t e r ­ n a t i o n a l c a r r i e r w h ich t r iu m p h s o v e r d i f f e r e n c e s i n a g e o r la n g u a g e , n a t i o n a l i t y o r c u s to m . . .T h ro u g h

Leo C . R o s t e n , H o lly w o o d B r a c e a n d C om pany, 1 9 4 1 ) "p• 3 5 5 •

(New Y o r k : H a r c o u r t ,

10 t h e m o v ie s , a F renchm an re m a rk e d , t h e U .S . h a s e ffe c te d a " c u ltu r a l c o lo n iz a tio n " of th e w o rld . And t r a d e f o l l o w s t h e f i l m s a s w e l l a s t h e f l a g . 2 R o s t e n p o i n t s o u t t h a t a f t e r t h e f i r s t W o rld W a r, d u r i n g w h ic h t h e m o tio n p i c t u r e

i n d u s t r y o f E u ro p e had

a lm o s t c o m p le te ly s h u t down, t h e s e E u ro p ea n f i l m b eg an an a t t a c k a tte m p t to

in te re s ts

on t h e m o r a ls o f H o lly w o o d i n a d e s p e r a t e

r e b u i l d t h e i r own i n d u s t r y a n d t o b r e a k t h e

n e a r - m o n o p o l y o f A m e r i c a n f i l m s o n t h e i r own a n d t h e w o r l d m a rk e t.

F o r e i g n m a n u f a c t u r e r s d i s c o v e r e d t h a t A m erican

ra d io s,

f u r n i t u r e , t y p e w r i t e r s , a u t o m o b i l e s , and s t y l e s

w e r e m a k in g v i g o r o u s i n r o a d s i n E u r o p e a n m a r k e t s a n d t h e p e o p l e came o u t o f m o v ie h o u s e s w i t h d e f i n i t e

p ro -A m erica n

ta s te s . In a d d itio n to sty le s,

th e

c u sto m s, t a s t e s ,

" th e m o tio n p i c t u r e

i n f l u e n c e o f A m e r i c a n m o v i e s on and d r e s s , C e c i l B . D e M ille s a i d

i s t h e g r e a t e s t m edium w h i c h t h e w o r l d

h a s had p la c e d in i t s

hands f o r e f f e c t i v e u se to b a n is h

w a r and t o b r i n g p e a c e . The g o s s i p c o lu m n o f L o u e l l a P a r s o n s a t o n e t i m e a p p e a re d in f o u r h u n d red new sp ap ers in t h e U n ite d S t a t e s ,

2 Ib id ., p . 7. 3 B a r r e t t C. K ie s lin g , T a lk in g P i c tu r e s J o h n s o n P u b l i s h i n g C om pany , 1 9 3 ? J » P • 2 3 6 .

(New Y o r k ;

11 E n g la n d , C an ad a, F r a n c e , C h in a , E g y p t, an d I n d i a . ^ 5 Some f i g u r e s f r o m t h e F i l m D a i l y Y e a r b o o k ^ w i l l g i v e a b e t t e r id e a of th e

s i z e and i n f l u e n c e o f H o lly w o o d :

H o lly w o o d F e a t u r e P r o d u c t i o n C o s t s f o r 1 94$ ( e s t i m a t e d )

$ 4 4 4 ,2 5 0 ,0 0 0

H o lly w o o d S h o r t s P r o d u c t i o n C o s t s f o r 1 945 ( e s t i m a t e d )

2 ,5 1 6 ,0 0 0

F e a t u r e s P ro d u c e d b y U .S .C o m p a n ie s i n 194S

432

U .S . F ilm T h e a te r In v e s tm e n t ( e stim a te d )

2 , 5 2 5 , 0 0 0 ,0 0 0

E x h i b i t i o n P a y r o l l i n 194& (e s tim a te d )

1 7 5 , 5 0 0 ,0 0 0

U .S . F ilm T h e a te r s G ro ss i n 1945 ( E x c l u s i v e o f F e d e r a l and S t a t e A d m issio n T ax e s) (e s tim a te d )

1 , 5 4 5 , 0 0 0 ,0 0 0

U .S . F ilm T h e a te r s O p e r a tin g a s o f J a n u a r y 1 , 1949

1 9 ,3 2 3

A v e r a g e W e e k ly A t t e n d a n c e o f U . S . F ilm T h e a t e r s i n 1945 ( e stim a te d ) Why t h e m o v i e s came t o

H o lly w o o d .

s t a r t e d m a k in g m o t i o n p i c t u r e s o v e r t h i r t y

9 0 , 0 0 0 ,0 0 0 T he men who y e a r s a g o cam e

t o S o u th e rn C a li f o r n ia f o r s e v e r a l r e a s o n s :^

^ R o s t e n , o£* c i t . ,

p . 9*

5 F ilm D a i ly Y earb o o k o f M o tio n P i c t u r e s , 3 1 s t E d i t i o n (New Y o r k : J1. W. A X i c o a t e , 1 9 5 £ ) , P« 75* 6 B e n j a m i n B . H a m p to n , H i s t o r y o f t h e M o v i e s (New Y o r k : C o v i c i - F r i e d e P u b l i s h e r s , 1 ^ J 1 7 ~ P P • 6 4 - 5 2 •

12 1*

To e s c a p e f r o m t h e M o t i o n P i c t u r e s P a t e n t

C o m p an y , a p o w e r f u l New Y o rk t r u s t w h i c h d i s c o u r a g e d in d e p e n d e n t c o m p e ti t io n b y s tr o n g - a r m m eth o d s; 2.

To e v a d e i n j u n c t i o n s a n d p r o s e c u t i o n s i n t h e

F e d e r a l c o u r t s i n c a s e s in v o lv in g in f r in g e m e n ts on t h e t r u s t ’ s p o o l o f m o n o p o liz e d p a t e n t s . th re a te n e d 3.

The p r o d u c e r when

c o u ld c r o s s th e b o r d e r to M e x ico . To t a k e

a d v a n ta g e of th e

ste a d y

su n s h in e , a

n e c e s s i t y i n t h e d a y s when m o v i e - s h o o t i n g t o o k p l a c e o u t of d o o rs. 4*

To t a k e a d v a n t a g e o f c h e a p l a b o r , c h e a p e x t r a s ,

and f r e e a t t r a c t i v e b a c k g ro u n d s .

I t was d i s c o v e r e d t h a t

w i t h i n tw o h u n d r e d m i l e s o f L os A n g e l e s t h e r e w e r e s p l e n d i d g e o g ra p h ic a l s u b s titu te s S ah ara D esert to

th e K hyber P a s s .

Some o f t h e s t i l l h ere;

f o r e v e ry phenom enon fro m t h e

p i c t u r e m ak ers o f t h e

o th e rs f a ile d

e a rly days a re

and a r e f o r g o t t e n .

T o d a y ’ s m ost

i n f l u e n t i a l and l a r g e s t s t u d i o s a r e a s f o l lo w s : M e tro -G o ld w y n -M a y e r. su b s id ia ry

o f L o ew ’ s ,

M e tro -G o ld w y n -M a y e r, p r o d u c t i o n

In c o rp o ra te d ,

i s h ead e d b y L o u is B.

M ayer a s E x e c u tiv e i n C harge o f P r o d u c t io n .

R o ste n s a y s

’’L o ew ’ s , w h i c h c o n s i s t s o f a p p r o x i m a t e l y 123 s u b s i d i a r y o r g a n i z a t i o n s i n t h e am usem ent b u s i n e s s , i s

k in g o f t h e

13 .

.

.m o tio n p i c t u r e

th is

in d u stry in A m e r i c a H e

d e sc rib e s

s tu d io a s fo llo w s: The f i l m s w h i c h o p e n w i t h t h e l i o n o f M e t r o G o ld w y n - M a y e r . . .ow e much t o t h e p e r s o n a l i t y a n d s t r a t e g y o f L o u i s B . M a y e r . M-G-M p r e f e r s e p i c s t o t a l e s , d ra w in g -ro o m c o m e d ie s t o d ra m a s , e l e g a n t background to s im p le . . . l o c a l e s . A ll t h i s i s to a l a r g e d e g r e e t h e w o r k o f M r. M a y e r , a s h r e w d , g i f t e d showman a n d a h a r d - d r i v i n g e x e c u t i v e , who h a s e m p h a size d P e r s o n a l i t i e s and P r o d u c tio n e v e r s i n c e M-G-M w a s f o r m e d ( 1 9 2 4 ) .& The p r e c e d i n g q u o t a t i o n , f r o m Leo R o s t e n , w r i t t e n

1941, is

s t i l l tru e

to a g re a t e x te n t.

in

S in c e th e ad v en t o f

D o r e S c h a r y a s P r o d u c t i o n C h i e f , M-G-M h a s show n a g r e a t e r d iv e rs ity .

The l a t e s t

p i c t u r e , r e v i e w e d i n T im e , 1!T he N e x t

V o i c e You H e a r ” i s l a r g e l y s u c c e s s f u l , o n i t s own t e r m s : a lo w common d e n o m in a to r o f e m o tio n a l a p p e a l . . .o n a lo w -b u d g e t ( $ 4 7 5 , 0 0 0 ) , s h o r t (1 4 d a y s ) s h o o t i n g s c h e d u l e t h a t a lm o st p a s s e s f o r a m ira c le i t s e l f a t a s tu d io t r a d i t i o n a l l y g e a re d t o c o s t l y , tim e -c o n su m in g , s ta r-s tu d d e d p ro d u c tio n .9 T w e n tie th C e n tu ry -F o x F ilm C o r p o r a t i o n .

Time s a y s :

" S in c e t h e w a r, 2 0 th C e n tu ry -F o x h a s c o n s i s t e n t l y l e d t h e fie ld

in th e q u a lity

7 R o ste n , 8 Ib id ..

of i t s

f i l m s , by th e v e r d i c t o f b o th

c it . , p. 61. p . 243.

9 T im e . J u l y 1 0 , 1 9 5 0 , p p . 7 6 - 7 8 -

14 t h e b o x o f f i c e and t h e c r i t i c s . " ^ m ent u n q u e s t i o n a b l y b e lo n g s t o d u c tio n b o ss of t h i s

stu d io .

C re d it f o r t h i s

a c h ie v e ­

D a rry l F . Z anuck, th e p ro ­ Time s a y s t h a t h e

h a s g o n e f u r t h e r t h a n a n y o n e i n H o lly w o o d i n b r e a k i n g down r e s i s t a n c e t o s e r i o u s , g r o w n - u p f i l m s w i t h c o n t r o v e r s i a l th e m e s. A man o f c o u r a g e , p h y s i c a l a s w e l l a s m o r a l , he i n s i s t e d on p r o d u c in g su ch p i c t u r e s i n t h e t e e t h o f a n g ry p r e s s u r e g r o u p s , a n d , so m e tim e s, t o t h e c o n s t e r n a t i o n o f h i s own b o s s e s i n t h e New Y o rk o f f i c e . He l o s t $ 2 , 0 0 0 , 0 0 0 o n h i s b i g g e s t f l o p , " W i l s o n " ( 1 9 4 4 ) , w h ic h p r e a c h e d a g a i n s t p o s t w a r i s o l a ­ t i o n i s m . . . .B u t w i t h s u c h f i l m s a s " T h e G r a p e s o f W r a t h " ( 1 9 4 0 ) , " G e n t l e m a n ’ s A g r e e m e n t " ( 1 9 4 7 ) , "T he Snake P i t " (1 9 4 3 ) - • •he p ro v e d t h a t s t o r i e s b a s e d on su c h th e m e s a s u n e m p lo y m en t, a n t i - s e m i t i s m , m e n ta l i l l n e s s . . . c o u l d p a y o f f on t h e s c r e e n . i l Param ount P i c t u r e s . o f p r o d u c tio n a t P aram o u n t. of p ic tu re s,

T h is s t u d i o m akes v a r i o u s t y p e s

and e a r n s b i g m oney f r o m t h e Bob Hope a n d B i n g

C rosby p i c t u r e s .

The H a l W a l l i s u n i t

s u c c e s s f u l w ith i t s

a t P aram ount i s v e ry

B u rt L a n c a s te r p i c t u r e s .

W arner B r o t h e r s . ru n t h i s

Y . F r a n k F re e m a n i s i n c h a r g e

J a c k L . W arn er and H a rry W arner

s t u d i o , w ith Jack L . W arner i n c h a r g e o f p r o d u c t i o n .

R o s te n s a y s t h e y e m p h a siz e "d ram a and m e lo d ra m a , f a s t - m o v i n g s t o r i e s w ith h a r d - s u r f a c e d c h a r a c t e r s i n m u sc u la r s i t u a t i o n s "T h e W a r n e r s ’ p i c t u r e s a im a t t h e p o w e r f u l r a t h e r t h a n t h e

1 0 T im e , J u n e 1 2 , 1 9 5 0 , p . 6 4 ^

T im e , J u n e 1 2 , 1 9 5 0 , p . 6 5

15 p le a sa n t#

• .s p e c ia liz in g

in e m o tio n s, n o t m anners; th e

s t u d i o p r o d u c e s v i r t u a l l y no s a g a s o f t h e C o lu m b ia S t u d i o s #

b o u d o ir

H a r r y C ohn h e a d s t h i s

." 1 2

stu d io #

C o l u m b i a p r o d u c e s some v e r y g o o d " A" p i c t u r e s , b u t t h e y sp e c ia liz e se ria ls,

i n ,fB l s ff*

T hey a r e t h e

o n l y co m p an y s t i l l m a k i n g

t h e "S u p erm an " p r o d u c t i o n s , on w h ich t h e y r e a l i z e

m o r e p r o f i t t h a n on t h e

"A" p i c t u r e s #

U n iv e rs a l-In te rn a tio n a l# L o u i s B# M a y e r , a n d Leo S p i t z

B i l l G o e tz ,

a re in ch arg e h ere#

s p e c i a l i z e i n g a n g s t e r a n d comedy f i l m s . recen t

s u c c e s s e s a r e "Ma a n d P a K e t t l e " ,

t u r e o f a t a l k i n g m u le ,

so n -in -la w o f

"T he K i l l e r s " ,

T hey

Some o f t h e i r "F ran ces", a p ic ­

from a s t o r y b y

M ark H e l l i n g e r , a n d "T he C i t y A c r o s s t h e R i v e r " . In a d d itio n t o th e m a jo rs, th e r e sm a lle r s tu d io s , o f th e se a re :

c a lle d

" in d e p e n d e n ts" .

C agney P r o d u c t i o n s ,

a r e a num ber o f Some o f t h e l a r g e r

I n c o r p o r a t e d , w i t h W illia m

and Jam es C agney P r e s i d e n t and V i c e - P r e s i d e n t ;

C h a p lin

S t u d i o s , w ith C h a r le s C h a p lin a s P r e s i d e n t;

E a g le -L io n ,

w i t h A u b re y S c h e n c k t h e E x e c u t i v e P r o d u c e r ;

e tc #

12 R o s t e n , £ p . c i t * , p# 244*

16 SUGGESTED PROCEDURES FOR INSTRUCTION In o rd e r t o

p erfo rm s u c c e s s f u ll y , t h e

u n d e r s t a n d t h e h i s t o r y and b a c k g ro u n d o f t h e w h ic h s h e w o r k s • th a t

A stu d y of th e

s e c r e t a r y m ust in d u s try in

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”a g e n e r a l k n o w le d g e o f p i c t u r e a c t i v i t i e s ” i s

re q u ire m e n t*

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C h a p te r I I o u t l i n e s t h i s b ack g ro u n d in fo rm a ­

t i o n v ery b r ie f ly *

Much m o re i n f o r m a t i o n w o u ld p r o v e v a l u ­

a b l e t o a n y s t u d i o e m p lo y e e *

F o llo w in g i s a s u g g e s te d p la n

f o r c la ss ro o m a c t i v i t i e s : I.

O b je c tiv e s: A.

To g i v e t h e s t u d e n t b a c k g r o u n d i n f o r m a t i o n o n th e m o tio n p i c t u r e i n d u s t r y *

B*

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C*

To d e v e l o p p o i s e a n d a s s u r a n c e .

D*

To d e v e l o p a command o f t h e f u n d a m e n t a l p r o c e s s e s .

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II*

A c tiv itie s : A.

Each o f t h e

f o l l o w i n g t o p i c s may b e t a k e n f o r

f u r t h e r re s e a rc h by a s tu d e n t. B*

T h ese t o p i c s c o u ld b e w r i t t e n up i n su c h form t h e y can b e k e p t i n t h e c la s s ro o m f o r r e f e r e n c e p u r p o s e s f o r t h e t e a c h e r and t h e s t u d e n t s .

C.

T h e s e t o p i c s may b e p r e s e n t e d t o t h e o r a l l y so t h a t a l l m em b ers o f t h e b e n e f i t fro m th e

III*

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B*

H i s t o r y o f th e m o tio n p i c t u r e

in d u stry *

S t u d i o s t o b e r e p o r t e d o n : -**3 A*

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research

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N am e, a d d r e s s , a n d t e l e p h o n e n u m b e r o f t h e s t u d i o .

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W rite rs under c o n tr a c t.

stu d io * o rg a n iz a tio n .

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e x e c u tiv e p e rs o n n e l.

CHAPTER I I I THE MEN WHO MAKE MOTION PICTURES W h il e e v e r y o n e w o r k i n g i n a s t u d i o h a s s o m e t h i n g t o d o w i t h m a k in g t h e m o t i o n p i c t u r e s , t h e f o l l o w i n g g r o u p s o f p e o p le a r e th e m ost a c t i v e l y p ic tu re s.

It

is

co n ce rn e d w ith p ro d u c in g

t h e s e men who g e t t h e

c re d it

fo r p ic tu re s

w hen t h e y a r e g o o d a n d a r e b l a m e d w hen t h e y a r e p o o r . is

t h e s e p e o p l e who r e a l l y The E x e c u t i v e s .

It

tfr u n ,! t h e p i c t u r e b u s i n e s s .

The e x e c u t i v e s o f t h e v a r i o u s s t u d i o s

h o ld t h e m ost im p o r ta n t p o s i t i o n s i n t h e i r They a r e i n c h a r g e o f a d m i n i s t r a t i o n ,

o rg a n iz a tio n s.

and a r e p r i m a r i l y con­

ce rn e d w ith b u s in e s s , f in a n c e , t h e a t e r s , and t r a d e p ro b lem s. Some o f t h e e x e c u t i v e s s u p e r v i s e t h e p r o d u c t i o n o f p i c t u r e s to

t h e e x t e n t o f p a s s i n g on s c r i p t s a n d f i l m s , a l l o c a t i n g

b u d g e ts ,

and a u th o r iz in g th e p u rc h a se o f s t o r i e s .

The P r o d u c e r s . p ic tu re .

The p r o d u c e r a c t u a l l y m a k e s t h e

J e s s e L asky s a y s :

I n h i s h a n d s l i e s th e s u p e r v i s i o n o f e v e r y e le m e n t t h a t g o e s t o m ake u p t h e f i n i s h e d p r o d u c t . . . . [ H e ] m ust b e a p r o p h e t and a g e n e r a l , a d ip lo m a t and a p eacem aker, a m is e r and a s p e n d t h r i f t . He m u s t h a v e v i s i o n te m p ere d by h i n d s i g h t, d a rin g g o v ern ed by

20 c a u t i o n , t h e p a t i e n c e o f a s a i n t and th e i r o n o f a C ro m w e ll.1 The p r o d u c e r g u i d e s t h e

first

in ­

c e p tio n as a b a re s to ry id e a to th e f in is h e d p ro d u c t.

He

has i t

w ith in h is

h undred d i f f e r e n t

p i c t u r e fro m i t s

pow er t o

im p ro v e o r r u i n a p i c t u r e a t a

p o in ts .

R o ste n

says:

He s h o u l d p o s s e s s t h e a b i l i t y t o r e c o g n i z e a b i l i t y , th e knack of a s s ig n in g th e r i g h t c r e a tiv e p e rso n s to th e r ig h t c r e a tiv e s p o ts . He s h o u l d h a v e a k n o w l e d g e o f a u d ie n c e t a s t e s , a s to r y s e n s e , a b u sin e ssm a n f s a p p ro a c h to t h e c o s t s and m e c h a n ic s o f p i c t u r e m ak in g . He s h o u l d b e a b l e t o m a n a g e , p l a c a t e , a n d d r i v e a v a r i e ty of g i f t e d , im p u lsiv e and e g o c e n tric p e o p le .2 R o sten a l s o

s a y s t h e p r o d u c e r s p o s s e s s m o re p o w e r

t h a n a n y o t h e r g r o u p i n t h e m o v ie c o l o n y , a n d t h a t t h e i r p o s i t i o n d e p e n d s m o re u p o n f r i e n d s h i p a n d k i n s h i p — a n d l e s s upon d e m o n s tra b le m e r i t .

.

.th a n t h a t o f any o th e r

g r o u p i n H o l l y w o o d .3 The, p r o d u c e r s a r e p r o b a b l y - t h e m o s t m a l i g n e d g r o u p i n H o lly w o o d .

R o ste n g iv e s u s t h e

e x a m p le o f ,ft h e p r o d u c e r

who k e p t r e m a r k i n g t h a t a d i r e c t o r w a s s t u b b o r n . o b je c te d .

The d i r e c t o r

, W hat d o y o u w a n t me t o d o — b e a y e s - m a n ? 1

Leo C . R o s t e n , H o lly w o o d B r a c e a n d C om pany, 1 9 4 1 ) , P* 239* 2 Loc. c i t . 3 I b i d . , p . 278

(New Y o r k : H a r c o u r t ,

The

21 p ro d u cer r e p lie d ,

f N o, n o , n o — b u t y o u c o u l d a t l e a s t

a g re e w ith m e. f T h e r e a r e m any d i f f e r e n t c a t e g o r i e s o f p r o d u c e r s , lis te d

h e r e i n o r d e r o f t h e i r im p o rta n c e * The E x e c u t i v e P r o d u c e r *

He g e t s t h e

c re d it,

g iv e s

t h e f i n a l v e t o a n d o k a y , b u t d o e s n o t w o rk c l o s e l y w i t h e a c h i n d i v i d u a l p i c t u r e , a s he may h a v e a s m any a s f i v e o r s i x p i c t u r e s i n p r o d u c t i o n a t one t i m e . p ic tu re s, and l e s s

T h e s e may b e tTA,r

i m p o r t a n t and e x p e n s i v e , o r !lB f s rT, u n i m p o r t a n t e x p e n siv e ,

or b o th .

P ro d u cers of A p ic tu r e s *

T h e s e p r o d u c e r s w o rk w i t h

and u n d e r t h e e x e c u tiv e p ro d u c e rs and s u p e r v is e a g ro u p o f a s s o c i a t e p r o d u c e r s u n d e r th em . P ro d u cers of B p i c t u r e s . th irty

B’s a y e a r.

T hey t u r n o u t tw e n ty to

T h e s e may b e d o n e i n t h e l a r g e r s t u d i o s

o r th e in d e p e n d e n ts and s m a lle r s t u d i o s .

tfB r y a n F o y o f

W a r n e r s ( s o m e t i m e s c a l l e d K in g o f t h e B ’ s ) a n d S o l W u r t z e l . .

.

. a r e b e s t known i n t h i s

^ I b id ..

p.

241.

5 Ib id ..

p. 261.

c a t e g o r y . "5

22 A s so c ia te P ro d u c e rs .

T h ese p r o d u c e r s w ork u n d e r

h i g h e r p r o d u c e r s , s u p e r v i s i n g t h e w r i t e r s on t h e and s c r i p t ,

sto ry

and t h e a c t u a l p r o d u c t i o n .

P ro d u c e r-D ire c to rs. a c h ie v e d s u f f i c i e n t

T h e s e a r e d i r e c t o r s who h a v e

im p o rta n c e to be g iv e n f u l l p r o d u c tio n

a u th o rity . Sydney F r a n k l i n ,

R o b e rt L e o n a rd , A n a to le L it v a k ,

a n d O t t o P r e m i n g e r a r e w e l l know n i n t h i s D ire c to rs.

c a te g o ry .

N ext in im p o rta n c e in th e

stu d io

se t-u p ,

and m ost im p o r ta n t o f a l l t o th e p i c t u r e ,

is

S u p e r i o r p i c t u r e s a r e p i c t u r e s w h ic h t e l l

su p e rio r s to r ie s

i n a s u p e r io r m anner.

th e d ir e c to r .

R o ste n s a y s :

H o lly w o o d ’ s e x e c u t i v e s a r e d i s c o v e r i n g t h a t t h e d i r e c t o r s who know t h e i r c r a f t , who a r e a t t u n e d t o t h e r e q u i r e m e n t s o f t h e s c r e e n , who w o rk i n f i r s t ­ hand c o n t a c t w i t h a c t o r s , s c r i p t s , c a m e r a s , and c u t t e r s , who h a v e g o n e t h r o u g h t h e s t o r y m i l l o f W e s te rn s , p o t b o i l e r s , c o m e d ie s, a c t i o n p i c t u r e s , f a r c e s , t r a g e d i e s , a n d m u s i c a l s a r e t h e k e y men o f th e m o v ie s. The l e a d i n g d i r e c t o r s know how t o d e l i v e r th e g o o d s. T h ey a r e t h e c e n t r a l c r a f t s m e n of th e sc re e n . T h ey h o l d t h e c r u c i a l p o s i t i o n b e tw e e n i d e a s , s t o r i e s , b u d g e ts , a c t o r s — and t h e f i n a l m o v ie w h i c h a p p e a r s o n t h e s c r e e n . I t is t h e d i r e c t o r who t e l l s t h e s t o r y on t h e s c r e e n .6

^ Ib id * >

p . 2^4*

23 R o ste n t e l l s

us t h a t

The d i r e c t o r t a k e s s c r i p t , a c t o r s , c a m e r a m e n , t e c h n i c i a n s , an d d i r e c t s t h e m , i n t h e l i t e r a l m ean­ in g o f t h e w o rd , f u s i n g th e p a r t s i n t o a s i n g l e p a t t e r n w i t h a p o i n t , a p u r p o s e , a c e n t r a l th em e • . . .T h e m o v ie w r i t e r c r e a t e s a s t o r y , b u t t h e m o v ie d i r e c t o r c r e a t e s a m o t i o n p i c t u r e . I . . . He m u s t g a u g e t h e t e m p o o f s c e n e s , s e n s e t h e r h y t h m o f e p is o d e s so th e r e i s f l u i d , c o n tin u o u s l i n e to th e u n fo ld in g o f th e s t o r y . He a n d h e a l o n e c o n t r o l s t h e d r a m a t i c v a l u e a n d t h e Ms t o r y l i n e " o f a f i l m . 7 K ie slin g

says,

H o w e v e r d i f f e r e n t t h e y may b e i n d i v i d u a l l y , a l l d i r e c t o r s m e e t on o n e common g r o u n d . T h ey a l l a r e s p e c i a l l y a n d a c u t e l y s e n s i t i v e t o t h e d ra m a o f l i f e , f o r t h e y a l l h a v e t h e same c e n t r a l h o b b y , a n e n th u s ia s tic a b id in g i n t e r e s t in p e o p le . A good d i r e c t o r can n o t be a g ro u ch o r a r e c l u s e . He m u s t h a v e an i n s a t i a b l e l o v e f o r , and i n t e r e s t i n , h i s own k i n d . And e v e r y d i r e c t o r , w h e t h e r h e w i l l g ad m it i t or n o t , i s a p r a c t i c i n g p s y c h o l o g is t. A ssista n t

D ire c to rs.

The a s s i s t a n t d i r e c t o r i s

o f t h e h a r d e s t - w o r k i n g men i n a s t u d i o . th e

se t,

and i s b y t h e

a w o rk in g d a y .

He s e l d o m l e a v e s

s id e o f t h e d i r e c t o r e v e ry m in u te o f

W eeks b e f o r e t h e p i c t u r e s t a r t s h e b r e a k s

down a s c e n a r i o i n t o

s p e c ia l re q u ire m e n ts f o r w ard ro b e,

a c t o r s , b o th p r i n c i p a l s an d m in o r p l a y e r s , tie s ,

m akeup, l i g h t i n g , c a m e ra s ,

7 Ib id .,

one

s e ttin g s ,

p ro p er­

sound e q u ip m e n t, and

p. 230.

& B a rre tt C. K ie s lin g , T a lk in g P i c t u r e s J o h n s o n P u b l i s h i n g C o m pany, 1 9 3 7 ) , P • 1 56*

(New Y o r k :

24 lo c a tio n s*

He m i g h t w e l l b e t e r m e d t h e

o f t h e p r o d u c t i o n t o w h i c h he i s W rite rs*

lia is o n

o ffic e r

a ssig n e d *

Sam G o ld w yn h a s b e e n q u o t e d a s s a y i n g t h e

a u t h o r i s t h e m ost i n d i s p e n s a b l e r e q u ir e m e n t f o r a good p ic tu re : A g re a t p ic tu r e h as to s t a r t w ith a g r e a t s to r y . J u s t a s w a te r c a n ’t r i s e h i g h e r th a n i t s s o u r c e , so a p i c t u r e c a n ’ t r i s e h i g h e r t h a n i t s s t o r y . . .N o t e v e n C l a r k G a b l e a n d M yrna L o y , e x c e l l e n t a s t h e y a r e , c o u ld c a r r y th e s t o r y o f P a r n e l l . The p i c t u r e was an e c h o in g f l o p . 9 The w r i t i n g p r o f e s s i o n i n t h e m o t i o n p i c t u r e i n d u s t r y is

c h a r a c t e r i z e d b y m any t y p e s o f w r i t i n g .

T here a r e w r i t e r s

who w r i t e m a i n l y o r i g i n a l s t o r i e s , w r i t e r s who s p e c i a l i z e i n w ritin g tre a tm e n ts ,

c o n t i n u i t y w r i t e r s and d i a l o g u e w r i t e r s ,

a s w e ll a s gag w r i t e r s . fro m i t s

Some w i l l f o l l o w a s t o r y t h r o u g h

b e g in n in g , b u t m ost s c r e e n p l a y s a r e c o n s t r u c t e d by

m o r e t h a n o ne w r i t e r . c re d it to

’’Gone W ith The W in d ” g a v e s c r e e n

s e v e n te e n w r i t e r s . ”^

R o ste n sa y s t h e w r i t e r s a r e t h e s t o r y - c a r p e n t e r s o f H o lly w o o d — t o u g h - s k i n n e d , p r a g m a t i c — who mock t h e i r c o l l e a g u e s i n a r e f r a i n w h i c h i s f a m o u s i n t h e m o v ie c o l o n y : ’’T h e y r u i n

9 R o ste n , ££♦

c it.,

10 I b i d . , p . 3 1 1 .

p p . 316-317*

4

your sto rie s* T hey m a s s a c r e y o u r i d e a s . T h ey p r o s titu te your a rt* T h ey t r a m p l e o n y o u r p r i d e . And w h a t d o y o u g e t f o r i t ? A f o r t u n e *rtl l Time q u o t e s a w r i t e r , a s f o l l o w s : ffYou h a v e a b u n c h o f t a l e n t e d , s e n s i t i v e w r i t e r s who g e t n o ego s a t i s f a c t i o n o u t o f t h e i r w o r k . A sto iy co m e s o u t o n t h e s c r e e n a c o u p l e o f y e a r s l a t e r b e a r ­ in g a lm o s t no r e l a t i o n t o w h at t h e y w r o t e . They o n ly w o rk a b o u t h a l f a y e a r , y e t t h e y w a n t t o f e e l t h a t t h e y ’ r e d o in g so m e th in g i m p o r t a n t . So t h e y t a k e u p t h e c a u s e o f t h e p r o l e t a r i a t * tf 12 R o ste n s a y s th e

one m a jo r p o i n t o f c o n t e n t i o n b e tw e e n

w r i t e r s and p r o d u c e r s i s t h a t t h e p r o d u c e r w a n ts t o p o p u la r t a s t e ;

th e w r i t e r w a n ts t o

im p ro v e i t .

d u c e r w a n ts to

e n t e r t a i n th e a u d ie n c e ;

g ra tify

"T he p r o ­

th e w r i t e r w a n ts to

m o v e , i n f l u e n c e o r e n l i g h t e n t h e p u b l i c . ” 13 T h e r e a r e w r i t e r s on l o n g - t e r m c o n tra c ts , c o n tra c ts.

from o n e - p i c t u r e d e a l s t o Fam ous p l a y w r i g h t s ,

c o n t r a c t s and s h o r t fiv e

or seven y e a r

s u c h a s S o m e r s e t Maugham,

Hugh W a l p o l e , Ben H e c h t , G e o r g e K a u f m a n , S a l l y B e n s o n , a n d n u m ero u s o t h e r s h a v e a l l b e e n l u r e d t o H o lly w o o d . The S t o r y D e p a r tm e n t.

The s t o r y d e p a r t m e n t

e x e c u t i v e o f f i c e w h ic h h a n d l e s t h e d e t a i l s

11 I b i d . ,

p . 310.

12 T i m e . J u l y 1 0 , 1 9 5 0 , p . 19« 13 R o s t e n , o £ . c i t . ,

p . 307*

i s an

o f b u y in g s t o r i e s ,

26 a rra n g in g fo r th e p r ic e , sto rie s,

h irin g w rite rs ,

and t o o f f i c e s , d i c k e r i n g

new s t o r i e s p u b l i s h e d t o

f o r p l a y s , and s u b m ittin g

e x e c u t i v e s and p r o d u c e r s a n d d i r e c ­

t o r s fo r t h e i r a p p ro v a l. a d iffe re n t t i t l e

a s s i g n i n g th em t o

The h e a d o f t h i s d e p a r t m e n t c a r r i e s

in th e v a rio u s

stu d io s.

I n so m e , h e i s

S t o r y C h i e f , and i n o t h e r s , S t o r y E d i t o r . T h is d e p a r tm e n t c a r r i e s a g r e a t d e a l f o r m a in ta in in g f i l e s tu re s,

o f sto ry

i d e a s a l r e a d y m ade i n t o

p ic ­

a n d f o r t u r n i n g down s t o r y i d e a s s i m i l a r t o p u b l i s h e d

books or sh o rt s to r ie s , It

to

a v o id l a w s u i t .

i s th e r e s p o n s i b i l i t y , o f t h i s d e p a rtm e n t a ls o t o

keep tr a c k to

of re s p o n s ib ility

o f th e

sto ry p ro p e rtie s

owned b y t h e

s t u d i o , and

k e e p a r e c o r d o f t h e o p t i o n s on c o n t r a c t s f o r w r i t e r s a n d

p ro p e rtie s. SUGGESTED PROCEDURES I*

O b je c tiv e s: A.

To g i v e s t u d e n t s k n o w l e d g e o f n a m e s o f i m p o r t a n t men i n t h e m o t i o n p i c t u r e i n d u s t r y .

B.

To g i v e s t u d e n t s an a p p r e c i a t i o n

of th e r e l a t i o n

e a c h s t e p i n m a k in g a p i c t u r e b e a r s t o

th e o th e r s .

C.

To s t i m u l a t e i n t e r e s t i n p i c t u r e - m a k i n g .

D.

To d e v e l o p command o f t h e f u n d a m e n t a l p r o c e s s e s .

E.

To d e v e l o p p o i s e a n d a s s u r a n c e .

27 II.

A c tiv itie s: A.

T he m o s t i m p o r t a n t

of th e

r,A,f p i c t u r e s c u r r e n t l y -

r e l e a s e d m ig h t b e r e p o r t e d on t o

th e

c la ss ,

g iv in g

th e fo llo w in g in fo rm a tio n :

B.

1.

S t u d i o w h ic h p ro d u c e d i t .

2.

C ost o f th e p i c t u r e .

3*

S ta r s in th e

4*

D ire c to r of th e

5*

W r ite r g iv e n c r e d i t f o r th e

C u rren t

p ic tu re . p ic tu re . sc re e n p la y .

T,BW p i c t u r e s w h ic h a r e p o p u l a r c o u l d b e

r e p o r t e d on t o t h e

c la ss ,

g iv in g such in f o r m a tio n

as:

C.

1.

C ost o f p i c t u r e .

2.

S h o o tin g t im e .

3*

Box o f f i c e a p p e a l .

4*

P ro d u cer o f p i c t u r e .

5*

D ire c to r of p ic tu r e .

The m o t i o n p i c t u r e s e c t i o n o f t h e

d a ily p ap ers

c o u ld b e u se d a s a s o u r c e o f i n f o r m a ti o n f o r s h o r t r e p o r t s on t h e a c t i v i t i e s 1.

E x e c u tiv e s

2♦

P ro d u c e r s

3*

D ire c to rs

4•

W rit e r s

o f th e p ro m in e n t:

28 D*

The l i f e

o f Van Dyke,-^** o n e o f H o l l y w o o d ’ s

g r e a t e s t d i r e c t o r s m ig h t b e re v ie w e d f o r th e c la s s . E.

S h o r t s k e t c h e s o f t h e w o rk o f n o t e d n o v e l i s t s a n d p l a y w r i g h t s who a l s o w r i t e f o r p i c t u r e s m ig j i t b e r e v i e w e d f o r t h e

F.

The w o rk o f d i f f e r e n t s t y l e s and te c h n iq u e s ,

c la ss .

d ire c to rs ,

a n a ly z in g t h e i r

c o u ld b e g iv e n f o r c l a s s

re p o rts. G*

S u c h m a t e r i a l s a s se em w o r t h k e e p i n g m i g h t b e k e p t i n w r i t t e n form f o r c l a s s r e f e r e n c e .

H*

One s t u d e n t m i g h t b e i n t e r e s t e d

in

c o n ta c tin g

an im p o rta n t w r i t e r o r d i r e c t o r f o r a t a l k t o th e

H o lly w o o d

19487•

c l a s s on m a k i n g m o t i o n p i c t u r e s .

R o b e r t C annom , Van Dyke a n d t h e M y t h i c a l C i t y , ( C u lv e r C i t y , C a l i f o r n i a : M urray an d G ee. I n c . .

CHAPTER IV THE PRODUCTION DEPARTMENTS F o llo w in g i s

a s h o r t d e s c r i p t io n o f th e re m a in in g

d e p a r t m e n t s o f a s t u d i o h a v i n g t o do w i t h t h e p r o d u c t i o n o f a m o tio n p i c t u r e .

The s i z e o f t h e d e p a r t m e n t s i s

d e p e n d e n t upon t h e num ber o f f e a t u r e p i c t u r e s r e l e a s e d e a c h y e a r , and v a r i e s fro m s t u d i o t o

stu d io .

H ow ever, e a c h d e p a r t m e n t m akes a m o st i m p o r t a n t c o n trib u tio n to th e

p ic tu re .

R esearch D e p a rtm e n t.

R e se a rch m ust b e c o m p lete d

o r a t le a s t o u tlin e d b e fo re a s e t, p ro p e rty

i s m ade.

o r a c o stu m e , o r a

The r e s e a r c h d e p a r t m e n t w i l l h a v e

t h o u s a n d s o r m ore b o o k s o f i t s

o w n, i n c l u d i n g

e n c y c lo p e d ia

a lm a n a c s , t r a d e d i r e c t o r i e s , and n a v a l and m i l i t a r y

re g u la

tio n s

answ er

of v a rio u s

c o u n trie s .

I t m ust b e p re p a re d to

a n y q u e s t i o n w h ic h a r i s e s a b o u t a n y p e r i o d .

K ie slin g say s

To p r e v e n t b r e a k s i n t h e c o n c e n t r a t i o n o f a u d i e n c e m em b ers, m ore t h a n a q u a r t e r m i l l i o n q u e s t i o n s on c u sto m s and m a n n e rs a r e a n s w e re d e ac h y e a r b y s t u d i o re s e a rc h d e p a rtm e n ts. So t h o r o u g h i s . m o d e r n m o t i o n p i c t u r e r e s e a r c h t h a t t h e p e r c e n t a g e o f e r r o r s w h ich reach a fin is h e d p ic tu r e i s i n f i n i t e s i m a l .l

^ B a r r e t t C. K ie s lin g , T a lk in g P ic tu r e s J o h n s o n P u b l i s h i n g C om pany, 1 9 3 7 ) , p p • $ 3 - 8 4 •

(New Y o r k :

30 Such t h i n g s a s s la n g e x p r e s s io n s and s t y l e s

o f d r e s s and

f u r n i t u r e a r e a l l c a r e f u l l y checked to a g re e w ith th e p e rio d

o f t h e p i c t u r e by th e r e s e a r c h d e p artm e n t b e f o r e

th e w ard ro be i s

sta rte d

o r t h e s e t s m ade*

P r o d u c t io n D e p a rtm e n t * r e s e a r c h d e p a rtm e n t i s

At th e

sam e t i m e t h a t t h e

p a s s i n g on t h e s c r i p t a s t o

a c c u ra c y , th e p ro d u c tio n d e p a rtm e n t i s o f a l l th e v a rio u s th e

scen es o u tlin e d in th e

in to

th e

i s a sse m b le d .

From

p ro d u c tio n c a lle d

Many d e p a r t m e n t s e n t e r

p ro d u c tio n p h a se .

A rt D e p a rtm e n t.

T h is i s

come i n c o n t a c t w i t h t h e

th e p ro d u c tio n .

one o f th e

f i r s t d e p a rtm e n ts

s t o r y and one o f t h e l a s t t o

A fte r th e budget is

d i r e c t o r b e g in s h is w o rk .

He i s

s e ttle d ,

th e u n it

le a v e

art

a c o m b in a tio n o f a r t i s t ,

a rc h ite c t,

and i n t e r i o r d e c o r a t o r .

o f a l l th e

scenes,

rig h t

cost

sc e n a rio .

in ch arg e of s e e in g t h a t e v e ry th in g

fo r in th e s c r ip t

to

f ig u r in g th e

p r o d u c tio n d e p a rtm e n t i s a s s ig n e d th e

m a n a g e r , who i s

its

He w i l l m ake r o u g h s k e t c h e s

g e t t i n g d o o r s , w in d o w s, a n d s t a i r s

in th e

p l a c e s f o r t h e d ra m a tic a c t i o n o f th e m o tio n p i c t u r e .

When t h e s e h a v e b e e n o k a y e d , b l u e p r i n t s a r e m a d e , t h e n m i n i a ­ tu re

s e ts to

ex act s c a le a re c o n stru c te d to

c a tc h th e m is ta k e s .

The h e a d d r a u g h t s m a n o f t h e a r t d e p a r t m e n t t h e n a s s i g n s men t o draw t h e c o m p le te d p la n s f o r each s e t , a l l

f ig u r e d w ith an

31 eye t o

th e le n s

w o rth le ss i f

it

of th e

cam era.

The m o s t a t t r a c t i v e

cannot be p h o to g ra p h e d .

set is

I f a se t is

so

c o n s p i c u o u s a s t o a t t r a c t a t t e n t i o n aw ay f r o m t h e d i a l o g u e o r a c tio n , th e

p l a y w i l l l o s e some o f i t s

d ra m a tic f o r c e .

The s e t s a r e o f t e n f u r n i s h e d a s c o m p l e t e l y a s h o m e s . They a r e w ir e d f o r la m p s , and p ip e d f o r g a s a n d w a t e r . A ll t h e l a r g e r s t u d i o s h av e a num ber o f p e rm a n e n t o u t d o o r s e t s w h ic h t h e y u s e and r e u s e y e a r a f t e r y e a r . T h e s e i n c l u d e New Y o r k s t r e e t s , W e s t e r n v i l l a g e s , E u r o p e a n c itie s ,

and o u t d o o r t a n k s w i t h s h i p s r e s t i n g on w h e e ls t o

r o l l a lo n g th e b o tto m o f t h e t a n k . P ro c e s s D e p a rtm e n t. t u r e m aker to

film

A p ro c e s s sh o t a llo w s th e

a c t i o n and s i t u a t i o n s w h ic h o t h e r w i s e

w o u ld b e i m p o s s i b l e b e c a u s e o f n o i s e , A p ro cess shot is

p ic ­

tra ffic ,

or d an g er.

m ade b y g e t t i n g a p h o t o g r a p h o f t h e d e s i r e d

b ack g ro u n d , p r o je c tin g i t

on t h e

p ro cess sc re e n ,

g r a p h i n g f o r e g r o u n d a c t i o n and t h e

and p h o t o ­

p r o j e c t e d b ackground

sim u lta n e o u s ly . M in ia tu re s h o t s . o f th e

T hese a r e s h o ts ta k e n o f r e p l i c a s

o r ig in a ls done in m in ia tu r e .

m in ia tu re scen es is

One o f t h e m o s t d i f f i c u l t

th a t o f a sh ip a t s e a .

H o a d ley s a y s ,

A m i n i a t u r e s h i p i s b u i l t w h ic h m u st f l o a t a t t h e sam e d e p t h a n d b e h a v e i n a s t o r m e x a c t l y a s a l a r g e lin e r does. When t h e m i n i a t u r e i s f l o a t e d i n a t a n k ,

32 e l e c t r i c f a n s s u p p ly th e g a l e , and soap added t o th e w a t e r p r o d u c e s s e a foam . The d i f f i c u l t y i s t h a t t h e m i n i a t u r e l i n e r r o l l s and p i t c h e s much f a s t e r t h a n a r e a l o n e , a n d t h e w a v e s r o l l i n much f a s t e r . To c o r r e c t t h i s , t h e c a m e r a i s s p e e d e d u p , a n d when p r o j e c t e d a t a n o rm al r a t e , t h e a c t i o n i s slo w ed dow n, and t h e w aves and s h i p p e r f o r m i n a n a t u r a l m a n n e r.2 L o c a tio n D e p a rtm e n t. p ic tu re

L o c a tio n r e f e r s to

any m o tio n

s e t t i n g , b u i l t o r m e r e ly s c e n i c , w h ic h r e q u i r e s a

d i r e c t o r t o move h i s s t a r s , p r o p e r tie s o u ts id e th e su ita b le

cam eras,

stu d io .

lo c a tio n s as n e a r th e

P ro p e rty D e p a rtm e n t.

sound e q u ip m e n t, and

T h is d e p a rtm e n t f i n d s stu d io a s p o s s ib le .

K ie slin g sa y s t h a t

P r o p e r t i e s a r e a n y p h y s i c a l l y m o v ab le a r t i c l e s u se d to p ro v id e a tm o s p h e ric back g ro u n d f o r s ta g e o r s c r e e n p l a y s , o r w h ic h a r e h a n d le d b y p l a y e r s d u r i n g t h e p h y s i c a l a c t i o n of such a p l a y . The t e r m w a s f i r s t u s e d i n t h e t h e a t r e i n t h e 1 5 t h c e n t u r y .3 A l a r g e s t u d i o w i l l h a v e a b o u t 3 5 0 ,0 0 0 a r t i c l e s , r a n g in g from p in s t o

L o u is Q u in z e f u r n i t u r e .

O th e r p r o p e r t i e s

w i l l i n c l u d e m en u s o f a l l p e r i o d s a n d c o u n t r i e s , p o l i c e w a r r a n t s fro m d o z e n s o f c o u n t r i e s , m o rtg a g e s , m a r r ia g e lic e n s e s ,

in k w e lls ,

com bs, m a tc h e s ,

e tc .

The p r o p e r t y man

i s m a in ly o c c u p ie d w ith th e p h y s ic a l c a re o f th e

p ro p e rtie s,

2 Ray H o a d l e y a n d Roman F r e u l i c h , How T h e y Make A M o tio n P i c t u r e (New Y o r k : T hom as Y . C r o w e l l C om pany, 1 9 3 9 )> pp.

2 3 - 29 ”.

3 K ie slin g ,

op. c i t ., p . 101.

33 how t o u s e t h e m a n d w h e r e t o p a rtm e n t i s

f i n d th e m .

The r e s e a r c h d e ­

re sp o n sib le fo r t h e i r a u th e n tic ity .

The c l e v e r n e s s o f a p r o p e r t y man d e p e n d s s o much on e x p e r i e n c e t h a t he d e v e lo p s c h i e f l y b y t h e a p ­ p r e n t i c e m eth o d . B oys e n t e r s t u d i o p r o p e r t y d e p a r t ­ m e n t s a b o u t t h e a g e o f 16* F o r some y e a r s t h e y m o v e , d u s t , w ip e , and p o lis h heavy f u r n i t u r e . When t h e i r f a m i l i a r i t y w ith th e h u n d red s of th o u sa n d s o f o b je c ts w i t h w h i c h t h e y a r e s u r r o u n d e d i s s u f f i c i e n t , t h e y go on a p r o d u c t i o n s e t a s a s s i s t a n t p r o p e r t y man .4 C a stin g D e p a rtm e n t.

R o u g h ly , i n e v e r y p i c t u r e t h e r e

a r e a p p r o x i m a t e l y t w e l v e wp r i n c i p a l s ” , t h e c h a r a c t e r s a b o u t whom t h e m e c h a n i c s o f t h e or th re e

o f t h e s e a r e c a l l e d !,s t a r s 11, t h e

p la y e rs” . to th e

s to ry re v o lv e .

Some o f t h e

The l e a d i n g tw o o th e rs " su p p o rtin g

su p p o rtin g p la y e rs a re under c o n tra c t

s t u d i o , a n d some a r e f r e e - l a n c e p l a y e r s , w h i c h m e a n s

n o t un d er c o n tra c t to any s tu d io . It fill

i s th e

d u ty of th e c a s t i n g d i r e c t o r to

th e p a r ts of a l l c h a r a c te rs e x ce p t th e

d e p a rtm e n t h a s c ro s s -in d e x e d f i l e s and a c t r e s s e s , f i l e d wom en” , " p a t h e t i c

" c a s t” or

sta rs.

T h is

o f h u n d red s o f a c to r s

u n d e r such c a t e g o r i e s a s " p a t h e t i c

c h i l d r e n ” , and h u n d r e d s o f o t h e r c l a s s i ­

fic a tio n s . . I f th e file s

c a stin g

d ir e c to r c a n 't f i l l

o f h i s own s t u d i o , h e c a l l s

4 I b i d . , P- I l l

th e

p a r t fro m th e

C e n tra l C a s tin g .

C e n tra l

34 C a stin g i s c ia tio n

a n o r g a n i z a t i o n f o r m e d a n d ow ned b y t h e

o f M o tio n P i c t u r e P r o d u c e r s .

The d i f f e r e n t

w h i c h a r e m e m b e rs o f t h e a s s o c i a t i o n p a y f o r t h e o f C e n t r a l C a s t i n g , w h i c h k e e p s on f i l e

A sso­ stu d io s

expenses

nam es and t e l e p h o n e

num bers o f th o u s a n d s o f e x t r a s and s u p p o r t i n g p l a y e r s . a v e ra g e p la c e m e n t o f C e n tr a l C a s tin g i s

The

u n d e r f i v e hun d red '

p e r d a y , b u t t h e p e a k may r e a c h n e a r l y t h r e e t h o u s a n d . 5 W ardrobe D e p a r tm e n t. o f u tm o st im p o r ta n c e .

C o stu m es f o r a n y p i c t u r e a r e

K ie slin g say s:

The g r e a t e s t l i n e s o f d i a l o g u e e v e r w r i t t e n l o s e t h e i r e f f e c t i f t h e s e t t i n g b e f o r e w h ic h t h e y a r e s a id i s n o t in k e e p in g w ith th e h i s t o r i c a l p e rio d o r th e s p e c i f i c in c id e n t c o n ce rn e d . And e v e n i f t h e s e t t i n g be a c c u r a te , th e r e i s s t i l l a l o s s of d ra m a tic f o r c e u n l e s s c o stu m e s a r e c o r r e c t f o r p e r io d and i n c i d e n t . . . . T h a t i s v^iy i n s p i r e d d e s i g n e r s who can i n c r e a s e d r a m a tic v a lu e s w ith t h e i r co stu m e s h av e b e c o m e among t h e m o s t i n d i s p e n s a b l e a n d h i g h l y p a i d t e c h n i c i a n s o f t h e c i n e m a .6 The d e s i g n e r may c r e a t e

c l o t h e s f o r a m o d e rn s t o r y

o r f o r a d a n c e num ber o r p e r i o d p i e c e . graph w e ll a re c h o se n .

Dye e v e r t s may t r y

t i n t s f o r a c e r t a i n c o stu m e b e f o r e t e s t s g iv e s th e b e s t p h o to g ra p h ic

5 H o a d l e y , 0£ . c i t . , ° K ie slin g ,

o jd

.

C o l o r s w h ic h p h o t o ­

c it.,

e ffe c t.

p . 37* p . 112.

a dozen d if f e r e n t

r e v e a l w h ic h t i n t

35 "In over f if ty

f The G r e a t Z i e g f e l d 1 , f o r t y

c o stu m e s r e q u i r i n g

y a r d s o f l i g h t m a t e r i a l e a c h w e r e u s e d . 11?

Gown d e s i g n e r s p r e p a r e w a t e r - c o l o r s k e t c h e s o f i d e a s a n d go o v e r t h e s e w i t h t h e

s t a r , d i r e c t o r , and p r o d u c e r .

T he s e l e c t i o n s a r e m ade a n d a l l b u b f i n a l f i t t i n g s m ade on fo r m s w h ich a r e t h e to

e x a c t s i z e o f t h e p l a y e r and k e p t up

d a t e b y p a d d in g o r rem o v in g p a d d in g . P ro p e r a c c e s s o r ie s a r e a s im p o rta n t a s th e

its e lf.

c o s tu m e

E very w ard ro b e w i l l have h u n d red s o f sh o e s o f a l l

s t y l e s and s i z e s , b e l t b u c k l e s , h a n d b a g s , c o stu m e j e w e l r y . M a l e m e m b e rs o f t h e u n le ss i t

is

a p e rio d

be fu rn ish e d to

c a s t s u p p l y t h e i r own w a r d r o b e ,

p r o d u c t i o n w h en c l o t h e s w i l l h a v e t o

th e m a s w e l l .

Many c o s t u m e s a r e k e p t on h a n d i n t h e w a r d r o b e d e ­ p a r t m e n t s , b u t m any a r e r e n t e d f r o m W e s t e r n C o stu m e C om pany, a n d o t h e r c o stu m e c o m p a n ie s .

M ost i n dem and a r e m odem

c o stu m e s o f p o lic e m e n , am b u lan c e and t a x i d r i v e r 's , d o c t o r s , n u r s e s , an d o t h e r s w h ic h a r e a p a r t o f t h e m o d ern s c e n e .^ M ake-U p D e p a r t m e n t . d iffic u lt

M o tio n p i c t u r e m ake-u p i s

so

t h a t m ak e-u p a r t i s t s m ust s e r v e an a p p r e n t i c e s h i p

7 Ib id .,

p . 11 5*

° H o a d le y , o £ . c i t . ,

p . 42.

36 f o r s e v e r a l y e a r s b e f o r e t h e y a r e a l l o w e d t o w o rk on im p o rta n t a ssig n m e n ts*

The m ake-up a r t i s t s a r e r e c r u i t e d

fro m t h e m ost i m a g i n a t iv e e m p lo y ees o f b e a u t y sh o p s and c o sm e tic f a c t o r i e s . fo rm er a c t o r s ,

Many o f t h e

p a in te rs

l e a d e r s i n m ake-up a r e

or s c u lp to r s .

A se e m in g ly p e r f e c t

m a k e - u p may p r o v e u n s u i t a b l e when t e s t e d b y a c t u a l p h o t o g ­ rap h y .

J a c k Dawn s a y s t h a t

m o s t o f o u r u n p l e a s a n t s u r p r i s e s come f r o m r e f l e c t e d lig h t. We know w h a t t o e x p e c t f r o m t h e s p e c t r u m o f t h e d i r e c t l i g h t . . . b u t when t h a t l i g h t h i t s som e­ t h i n g r e d , s a y a r e d d r e s s , i t r e f l e c t s w i t h an i n ­ c r e a s e d am ount o f t h a t c o l o r . . . R e f l e c t i o n s from a r e d d r e s s o n t h e c h e e k s o f a n a r r o w f a c e m ake t h e s e c h e e k s a p p e a r s a l l o w on t h e s c r e e n . 9 D i f f i c u l t i e s a r i s e w hen p h o t o g r a p h i n g a p l a y e r w i t h a v ery f a i r If

th e

sk in in a

scene w ith a d e e p ly tan n e d p la y e r .

cam era m a n u s e s e n o u g h l i g h t t o p h o t o g r a p h t h e t a n n e d

f a c e , th e f a i r th e lig h t is appear b la c k .

s k i n w o u ld a p p e a r t o b e c h a l k y w h i t e .

cut to

s u it th e

fa ir

s k i n , th e d ark

th e tan n e d o ne.

G e n u is e s i n m ak e-u p ad d and s u b t r a c t a g e ,

la c k

s k i n w o u ld

So t h e m a k e - u p a r t i s t m u s t d a r k e n t h e f a i r

s k i n and l i g h t e n

faces to

If

lo o k o r i e n t a l , and g iv e t h e

illu s io n

of i t •

9 K ie slin g , o£. c i t . ,

p p . 1 5 1 -1 5 2 .

change

of fa t or

37 C a m e ra D e p a r t m e n t *

The c am e ra m a n i s c o n s i d e r e d

n e x t t o th e d i r e c t o r and w r i t e r i n th e m o tio n p i c t u r e m ak in g .

im p o rta n c e of

H o a d ley s a y s :

He m u s t know t h e f u n d a m e n t a l s o f o p t i c a l p h e n o m e n a , m u s t b e a b l e t o g a u g e t h e a m o u n t o f l i g h t a n d t o know how t o a d j u s t h i s c a m e r a f o r i t . He m u s t know a r t i s t i c c o m p o s itio n . As w r i t e r s w o rk w i t h w o r d s , a n d d i r e c t o r s w i t h p l a y e r s , he w o r k s w i t h a m o r e e l u s i v e m ed iu m — lig h t. He p a i n t s h i s s c e n e w i t h l i m i t s a n d s h a d o w s . . .E f f e c t i v e p h o to g ra p h y i s a lm o st e n t i r e l y a m a tte r o f p ro p er l i g h t i n g . I t i s used n o t o n ly to b r in g out t h e b e a u ty o f t h e s t a r , b u t t o c r e a t e d r a m a tic m oods. S o f t l i g h t i n g . . . i s e m p l o y e d when t h e mood i s o n e o f te n d e rn e ss. H a rd , h a r s h shadow s c r e a t e an im p r e s s io n o f d ra m a , m y s t e r y , o r im p e n d in g p e r i l . 10 So i m p o r t a n t i s any but t h e i r f a v o rite

h e t h a t m any s t a r s r e f u s e t o c a m e ra m a n s h o o t t h e p i c t u r e s .

Sound D e p a rtm e n t. p i c t u r e m a k in g .

p ic tu re s.

S ound i s f a i r l y

N ot u n t i l 1 9 2 7 w a s i t

ta k e n n e a rly fo r ty

have

y e a rs to

p erfect i t

recent

p ra c tic a l.

i n m o tio n I t had

f o r u s e i n m o tio n

K ie slin g b e lie v e s t h a t

m any o f t h e i m p o r t a n t a d v a n c e s i n s o u n d r e c o r d i n g m i ^ t have been d e la y e d i n t h e i r in c e p tio n had i t n o t b e e n f o r L a w r e n c e T i b b e t t . . .w ho b r o u g h t t o t h e im m a tu re a r t o f so u n d r e c o r d i n g a v o i c e w h ic h p u t t o o m any d e m a n d s o n t h e e q u i p m e n t o f t h e t i m e . I n o r d e r t o r e c o r d h im a d e q u a t e l y a n d t o make p o s s i b l e a s a t i s f a c t o r y r e p r o d u c t i o n of. a m a rv e lo u s v o i c e , r e s e a r c h e x p e r t s w orked t w e n t y - f o u r h o u r s a day t o c o r r e c t th e f a u l t s fou n d i n t h e b a s i c p r o c e s s . ! !

! 0 H o a d le y , o g . e f t . ,

p p . 5 2-59*

!■*■ K i e s l i n g , j a g . c i t . , p p . 2 0 5 - 2 0 6 *

3S B efo re sh o o tin g s t a r t s , th e s c rip t

t h e sound d e p a rtm e n t g e t s

and n o t e s w hat e f f e c t s a r e n eed ed *

e f f e c ts a re not in th e

I f th e se

l i b r a r y , th e y a re m a n u fa c tu re d .

S o m e .o f t h e

sound e f f e c t s c o n t a i n e d i n t h e l i b r a r i e s a r e

th e

of f i r e ,

c ra c k le

k isse s,

m ade f r o m c r a c k l i n g

c e llo p h a n e ,

s i p s , b e l c h e s , and o t h e r s . M u s ic D e p a r t m e n t .

P la y in g m u sic u n d e r a sc en e i s

c a l l e d u n d e r s c o r i n g , and w ith th e

c o m in g o f s o u n d , t h i s

p r o c e s s h a s d e v e l o p e d new m e t h o d s a n d new i m p o r t a n c e . m u sic m ust b e i n s e r t e d u n d e r d i a l o g u e th e

e m o tio n a l r e a c t i o n

so t h a t i t

The

in c re a se s

s t a r t e d b y t h e w o rds w ith o u t i n t e r ­

f e r i n g w ith th e w o rd s. The m u s i c m u s t b e c a r e f h l l y

s e l e c t e d f o r tw o r e a s o n s ,

one b e i n g t h a t a p i e c e o f m u s ic c a n n o t b e u s e d w h ic h was com posed a f t e r t h e

p e rio d

of th e s to ry .

in v o lv e s m u sic a l c o p y r ig h ts . becom e i n p u b l ic fo r f if ty

A second re a s o n

M u s i c a l n u m b e r s do n o t g e n e r a l l y

d o m a in u n t i l t h e i r c o m p o s e r s h a v e b e e n d e a d

y e a r s or m ore.

For a l l o th e rs ,

r o y a l t i e s m ust b e

p a id . F ilm E d itin g o r C u t t i n g . m eans a r r a n g i n g an d r e a r r a n g i n g a n g le

s h o t s , a n d w h o le s c e n e s t o

d ra m a tic

e m p h a sis.

F ilm e d i t i n g ,

or c u ttin g ,

c l o s e - u p s , m edium s h o t s , g i v e t h e s t o r y t h e maximum

39 F ilm e d i t o r s h a v e d i f f e r e n t m eth o d s* a sse m b le th e

p ic tu re u n til i t

m a j o r i t y m ake w h a t i s g iv e s th e

is

n e a r l y c o m p l e t e , b ub t h e

c a l l e d a d a y -b y -d a y rough c u t .

c u t t e r a rough id e a o f th e

and g i v e s t h e

Some do n o t

T h is

p ro g ress of th e s to ry ,

p ro d u c e r and d i r e c t o r a q u ic k c lu e to

its

w e a k n e s s e s , w h ic h c a n b e c o r r e c t e d b y r e v i s i n g t h e s c e n e and r e t a k i n g i t .

K ie slin g

says,

W hat i s c a l l e d t h e " f i r s t p r e v i e w c u t " i s p u r ­ p o s e l y o v e r le n g th so t h a t b y r e s t l e s s n e s s and r a t t l i n g o f program s th e a u d ie n c e i n th e t h e a t r e s e l e c t e d f o r t h e p r e v i e w may sh ow t h e p r o d u c e r w h e re t h e y t h i n k t h e p i c t u r e i s d u l l and w h e re i t d r a g s . 12 The a v e r a g e p i c t u r e a r e a b o u t n in e h undred t o The L a b o r a t o r y . A fte r th e it

is

p o sitiv e

is

e ig h t to te n r e e l s ,

and t h e r e

one t h o u s a n d f e e t t o a r e e l .

T h is i s w here t h e f i l m

i s d e v e lo p e d .

p r i n t h a s b e en p r i n t e d and d e v e lo p e d ,

in s p e c te d f o r b o th

s o u n d an d p h o t o g r a p h i c q u a l i t y .

I n one s t u d i o . . . t h e r e a r e e le v e n g i r l i n s p e c t o r s fo r p h o to g ra p h ic v a lu e s . T h is g iv e s eac h g i r l a b o u t tw e n ty -fo u r p r i n t s o f each p ic tu r e to p r o je c t in a c l o s e t - l i k e ro o m w h i c h h a s a s m a l l s c r e e n a t i t s f u r t h e r end. D e sp ite th e f a c t t h a t each g i r l se e s e v e ry p h o to p la y tw e n ty - f o u r tim e s , she can s c a r c e l y w a i t u n t i l t h a t f i l m com es t o h e r n e i g h b o r h o o d t h e a t r e , f o r sh e n e v e r h e a r s w hat t h e p l a y e r s a r e s a y in g . . . sound r e c o r d i n g i s c h e c k e d s e p a r a t e l y i n t h e so u n d d e p a r t m e n t .1 3

12 I b i d . .

p . 223.

13 I b i d . ,

p . 224.

40 A bout tw o h u n d r e d f i f t y

p r i n t s a r e m ade o f e a c h

p i c t u r e t o s u p p l y A m e ric an t h e a t e r s • P u b lic ity and A d v e rtis in g D e p a rtm e n ts.

I n some

s t u d i o s t h e s e a r e tw o s e p a r a t e d e p a r t m e n t s , a n d i n o t h e r s th e

sam e d e p a r t m e n t t a k e s c a r e o f b o t h p u b l i c i t y a n d a d ­

v e rtisin g .

I t m i g h t n o t seem t h e r e i s

p u b lic ity

much d i f f e r e n c e i n

and a d v e r tis in g , b u t th e y a r e q u ite

s e p a r a t e and

d is tin c t♦ The p u b l i c i t y d e p a r t m e n t s u p p l i e s s t o r i e s a c tiv itie s ,

o f stu d io

w ith i l l u s t r a t i o n s , t o th o u s a n d s o f n ew sp ap ers

and m ag a zin es in a l l

p a r ts o f th e w o rld .

So much a t t e n t i o n i s f o c u s e d on f i l m p l a y e r s by t h e i r a p p e a ra n c e s on t h e s c r e e n s o f t h e w o rld t h e a t r e s t h a t t h e i r co m in g s and g o i n g s h a v e becom e " n e w s " .' W hat t h e y do a n d w h e r e t h e y g o i s o f i n t e r e s t t o m i l l i o n s . • .T o g i v e a n i d e a o f t h e e x t e n t o f n e w s ­ p a p e r a n d m a g a z i n e dem and f o r d a t a a b o u t f i l m p e r s o n ­ a l i t i e s , o v e r 300 d i f f e r e n t n e w s p a p e rs , m a g a z in e s , and t e l e g r a p h i c new s s y n d i c a t e s m a i n t a i n p a id r e ­ p o r t e r s i n H o lly w o o d t o g a t h e r s u c h m a t e r i a l . Much o f th e e f f o r t of a s tu d io p u b l i c i t y d e p a rtm e n t i s expended to d is c o v e r ite m s f o r t h i s im p o rta n t g ro u p , r e s p o n s ib le f o r a t l e a s t 60 p e r c e n t o f th e f i lm n e w s s e e n i n t h e p e r i o d i c a l c o lu m n s o f t h e w o r l d . ^ A d v e rtis in g D e p a rtm e n t. s e p a r a t e d fro m th e

Ib id .,

I f th is

d e p a rtm e n t i s

p u b lic ity d e p a rtm e n t, i t

p p . 12 2-123

p re p a re s th e

41 a d v e r t i s i n g c am p aig n s W it h t h e h e l p o f t h e

f o r n e w s p a p e r s , and b i l l b o a r d s • p u b lic ity d e p a rtm e n t, i t

c o n te s ts or sta g e e x h ib its * tra ile rs*

may r u n

I t a ls o p re p a re s th e

L asky s a y s t h a t th e t r a i l e r i s

th a t b r i e f b i t o f p ic tu r e used as a te a s e r o r b a it t o m o t i o n - p i c t u r e a u d i e n c e s t h e w eek o r tw o w e e k s b e fo re th e p i c t u r e i s to a p p e a r in * th e house u sin g th e t r a i l e r . I t i s com posed o f t h e m ost i n t e r e s t ­ in g and c o l o r f u l p a r t s o f t h e p i c t u r e , b u t m ust n e v e r r e v e a l t h e s t o r y o r d e t r a c t i n a n y w ay f r o m th e suspense o f th e p ic tu r e i t s e l f . I t m u s t show n o t t o o much b u t t o o l i t t l e , so t h a t t h e a u d i e n c e w i l l g r e a t l y d e s i r e t o s e e t h e p i c t u r e i t s e l f .1 5 SUGGESTED PROCEDURES FOR STUDENT ACTIVITIES The f o r e g o i n g d e p a r t m e n t s h a v e b e e n o n l y b r i e f l y d e sc rib e d .

A m o re t h o r o u g h

s tu d y o f t h e w o rk in g o f th e

p r o d u c t i o n d e p a r t m e n t s w o u ld p r o v e b o t h b e n e f i c i a l a n d i n t e r e s t i n g to th e

s tu d e n t.

S u g g e ste d p ro c e d u re s a r e a s

fo llo w s: I.

O b je c tiv e s: A.

To g i v e s t u d e n t s a n a p p r e c i a t i o n o f t h e p a r t

each

d e p artm e n t p la y s in th e p r o d u c tio n o f a p i c t u r e . B.

To p r e p a r e t h e

stu d e n t to ta k e a p o s itio n in any

d e p a rtm e n t o f a s t u d i o .

15 N ancy N a u m b u rg , We Make The M o v i e s (New Y o r k : W. W. N o r t o n a n d C o m p an y, T n c . , 1 9 3 7 ) , pp * 1 3 - 1 4 •

42 C*

To f a m i l i a r i z e t h e

stu d e n t w ith th e p e rso n n e l

i n th e m o tio n p i c t u r e in d u s tr y # D#

To g i v e s t u d e n t s a g e n e r a l k n o w l e d g e o f p i c t u r e p r o d u c t i o n so t h a t e a c h o n e may c h o o s e w h ic h p h a s e o f p i c t u r e m a k in g i n t e r e s t s h im m o s t .

II#

A c tiv itie s: A#

E ach s t u d e n t m i g h t c h o o s e o n e d e p a r t m e n t f o r f u r t h e r stu d y in o rd e r to 1.

P r e p a r e an o r a l r e p o r t t o

be g iv e n t o th e

c la ss. 2.

P re p a re a w r i t t e n r e p o r t on t h a t d e p a rtm e n t to

B.

keep fo r

A fte r th e

c la ss re fe re n c e .

stu d e n t h as s tu d ie d th e

a l l d e p a rtm e n ts, to fo llo w

its

fu n c tio n in g of

one d e p a r t m e n t m i $ i t b e c h o s e n

d u t i e s th r o u g h one p i c t u r e

r e l e a s e d , f o r e x a m p le , t h e p u b l i c i t y

c u rre n tly

d e p a rtm e n t.

The *s t u d e n t w o u l d : 1.

T ak e a p i c t u r e c u r r e n t l y p l a y i n g a t a n y t h e a t e r or about to

2.

be re le a se d .

C o lle c t any p u b l ic i ty and m a g a z in e s ; th a t p ic tu re .

ite m s i n th e d a i l y p a p e rs

T im e , L i f e , N ew sw eek, e t c . ,

on

C o m p ile i n f o r m a t i o n o n t h e p i c t u r e a s t o a.

The s t a r s a n d f e a t u r e d p l a y e r s *

b.

The s t u d i o w h i c h r e l e a s e d

c.

The h e a d o f t h e p u b l i c i t y d e p a r t m e n t

it.

of th a t stu d io . d.

The d i r e c t o r ,

e•

The w r i t e r .

C o n ta c t t h e p u b l i c i t y d e p a rtm e n t o f th e s t u d io r e le a s in g th e In th e a.

p i c t u r e a n d a s k f o r an i n t e r v i e w .

in te rv ie w th e

s t u d e n t w o u ld :

G et i n f o r m a t i o n on t h e n a t i o n a l p u b l i c i t y cam p aig n f o r t h e

p ic tu re ,

ta k in g n o te s in

s h o rth a n d . b.

C o lle c t c o p ie s o f th e m a te r ia l th e p u b lic ity d e p a r t m e n t s e n t o u t on i t s

c am p aig n .

T h is

w o u ld i n c l u d e m a t e r i a l s s e n t t o : (1 )

New Y o rk o f f i c e s

(2 )

Exchanges

(3 )

N ew spapers

(4 )

M ag az in es

P resen t th e p u b lic ity

c am p aig n t o t h e

c la ss .

The i n s t r u c t o r c o u l d t h e n u s e t h e m a t e r i a l s c o lle c te d fo r d ic ta tio n to th e

c la s s .

T h is

w o u ld i n c l u d e : 1*

I n t e r - o f f i c e m em orandum s t o a s k i n g th em t o

th e s t a r s

come i n f o r p u b l i c i t y

p ic tu r e s. 2.

News r e l e a s e s s e n t t o t h e a t e r s .

3•

Any o t h e r m a t e r i a l t h e t o g e t in th e d e p a rtm e n t •

s t u d e n t was a b le

i n te r v ie w w ith t h e p u b l i c i t y

CHAPTER V STARS, AGENTS, PRODUCER ORGANIZATIONS, AND THE TRADE PAPERS T h is c h a p t e r d e s c r i b e s b r i e f l y th e th e

sta rs,

t h e i r fa n m a il, and t h e a g e n t s .

a sh o rt d e sc rip tio n tra d e p ap ers.

I t a ls o g iv e s

o f th e p ro d u c e r o r g a n iz a tio n s and th e

S u g g e stio n s f o r u se o f t h i s m a te r ia l fo r

i n s t r u c t i o n a l p u rp o s e s a r e g iv en a t th e The S t a r s . sta rs.

im p o rta n c e o f

end o f t h e c h a p t e r .

H o lly w o o d m eans m o v i e s a n d m o v i e s mean

One o f t h e f i r s t q u e s t i o n s a b o u t a p i c t u r e i s n o t

who w r o t e i t ,

o r who d i r e c t e d i t ,

b u t ,fWho i s

i s t h e s t a r s who a r e t h e m o s t p o t e n t to th e th e a te r s .

i n i t ? ,f

in a ttr a c tin g

It

p e o p le

R o ste n s a y s ,

The b u s i n e s s o f f i n d i n g s t a r s a n d d e v e l o p i n g t h a n h a s becom e a s e m i - s c i e n c e . A n a tio n -w id e s c o u t s y s ­ te m m a k e s c e r t a i n t h a t a n y s u c c e s s t h e y a c h i e v e on th e a m a te u r s ta g e p e rfo rm an c e w i l l be s e e n . When d is c o v e re d , i f th ey p o ssess e x c e p tio n a l t a l e n t , th ey w i l l be s e n t to a s tu d io w ith a c o n tr a c t f o r th r e e m o n th s. T h ere a t e s t i s m ade. I f s a tis f a c to r y , th e c a n d id a te e n te rs a p ra c tic e sc h o o l. S e v e ra l s tu d io s c a s t young p l a y e r s i n a c t u a l s t a g e p l a y s t o l e a r n th e. fu n d a m e n ta ls of a c t i n g b e f o r e a p p e a rin g i n f r o n t o f th e cam eras. T hen, f o r a p e r i o d , th e y w i l l a p p e a r i n m in o r p a r t s . l

1 Leo C . R o s t e n , H o lly w o o d B r a c e a n d C om pany, 1 9 4 1 ) , P • J 2 8 •

(New Y o r k : H a r c o u r t ,

46 S t u d i o e m p l o y e e s do n o t

s e e much o f t h e

l e s s t h e y w o rk d i r e c t l y w i t h t h e m on t h e o f th e

s t a r s un­

s e t s , b u t m ost

s t a r s h a v e t h e i r p r i v a t e s e c r e t a r i e s , w h ic h a r e

g e n e r a lly v ery w e ll-p a id

p o sitio n s .

T he m a t e r i a l s p r e ­

se n te d h e re fo r in s tr u c tio n a l p u rposes a re a p p lic a b le to s t a r s ’ s e c r e ta r ie s as w e ll as stu d io Fan M a il D e p a rtm e n t * tu re ,

fan m a il b e g in s to

m a i l c a n m ake a s t a r .

se c re ta rie s*

W ith t h e

re le a s e of any p ic ­

pour in fo r th e

sta rs.

O r, fa n

O fte n a p i c t u r e h a s had i t s

w i t h a new p l a y e r i n a s m a l l p a r t r e c e i v i n g

p re v ie w

such a flo o d

o f f a n m a i l t h a t t h e p a r t h a s b e e n e n l a r g e d a n d a n ew s t a r is b o rn .

R o ste n t e l l s

us t h a t

A m a jo r s t u d i o r e c e i v e s b e tw e e n 1 6 ,0 0 0 and 4 5 ,0 0 0 f a n l e t t e r s o r p o s t c a r d s a m o n th . Jan u ary a n d F e b r u a r y a r e t h e b i g g e s t m o n th s f o r f a n m a i l . D ecem ber a p p e a r s t o b e t h e w o r s t . A b o u t 90% o f a l l f a n l e t t e r s come f r o m p e r s o n s u n d e r 2 1 ; b e t w e e n 85 a n d 9 0 p e r c e n t come f r o m g i r l s . 2

age

The a g e o f

th e w r ite r s

of fa n m a il v a r i e s w ith th e

of th e a c to r s

t o whom t h e

le tte rs

a re ad d ressed ,

y o u n g s t a r s r e c e i v i n g f a n m a i l from young p e o p le and

th e m id d le -

a g e d o r c h a r a c t e r a c t o r s r e c e i v i n g t h e i r m a i l f r o m m o re m a tu re f a n s .

As a r u l e , t h e

m a i l he r e c e i v e s .

2 I b i d . , p . 409

o ld e r th e

sta r,

th e l e s s fan

47 Much o f t h e f a n m a i l i s

h a n d le d by th e

stu d io s,

b u t s t a r s w ith p r i v a t e s e c r e t a r i e s u s u a l l y h a n d le t h e i r ow n. A g en ts*

The a g e n t s p l a y a v e r y i m p o r t a n t

t h e m o tio n p i c t u r e

in d u stry .

th e

a c to rs, d ire c to rs ,

th e

p ro d u cers.

or ra ise s,

ro le in

T hey s e l l t h e t a l e n t s o f

an d w r i t e r s whom t h e y r e p r e s e n t t o

T hey g e t t h e i r

c lie n ts

and g u a rd t h e i r p r e s t i g e .

jo b s,

c o n tra c ts,

As R o s t e n s a y s ,

ffT h ey a r e e x p e r t s i n m a r k e t i n g a n y t h i n g f r o m a p a i r o f le g s to

a n u n w r i t t e n s y n o p s i s . rT3 A g e n t s h a v e m ade f o r t u n e s c o l l e c t i n g a p e r c e n t a g e

of th e ir

c l i e n t s 1 s a l a r i e s , bu t th e a g e n ts have earn ed i t .

W i t h o u t t h e m , m any t i m e s , t h e a r t i s t s w o u ld n e v e r command a s much m oney a s t h e y g e t t h r o u g h t h e a g e n t ’ s b a r g a i n i n g . A few o f th e m ost im p o r ta n t o f t h e s e a r e B e rg A lle n b e rg , th e

O rsa tti

A g e n c y , W i l l i a m M o r r i s , a n d M u s ic

C o r p o r a tio n o f A m e ric a. Academ y o f Mot i o n P i c t u r e A r t s a n d S c i e n c e s . is

an i n t e r - s t u d i o

se ttlin g

T h is

o r g a n i z a t i o n f o r t e c h n i c a l r e s e a r c h and

c o n tra c t d is p u te s .

3 I b i d . , p . 94

The A cadem y h a s e n g a g e d i n

c o o p e ra tiv e re s e a rc h ev er sin c e i t s A n o th e r f u n c t i o n o f th e

o r g a n i z a t i o n i n 19 2 7 *

A cadem y i s t o

a n n u a l "O scar" f o r th e b e s t p i c t u r e

aw ard i t s

o f th e y e a r, th e b e s t

d i r e c t i o n , th e b e s t s c r e e n p l a y , and th e b e s t a c t in g

in

s e v e r a l c l a s s i f i c a t i o n s , t o m e n tio n b u t a few o f t h e s e aw ards*

The !TQ s c a r s ff a r e g i v e n o u t i n t h e e a r l y s p r i n g

o f each y e a r and a re h ig h ly p riz e d * A s s d c i a t i o n o f M o tio n P i c t u r e P r o d u e e r s , I n c o r p o r a t e d * T h i s o r g a n i z a t i o n , now a t 5 5 0 4 H o lly w o o d B o u l e v a r d , w a s s e t u p i n 1 9 2 2 when t h e m o v ie c o l o n y a n d p i c t u r e s b e c a m e t h e o b je c ts of an o rg a n iz e d , lo n g -ra n g e c le a n -u p . d u ty to

e x a m in e t h e

fin a l

sh o o tin g

It

is th e ir

s c r i p t o f any p i c t u r e

f o r c e n s o r a b l e m a t t e r and f o r a n y th i n g t h a t m ig h t o f f e n d th e

a u th o ritie s

re lig io n ,

o r th e

in fo re ig n

c o u n trie s a s re g a rd s p o l i t i c s ,

c u sto m s o f t h e

c o u n try *

T he A s s o c i a t i o n

t h e n w a rn s t h e p r o d u c e r o f a n y t h i n g w h ic h i s b e f o r e th e p r o d u c e r s h av e gone to th e p ic tu r e .

The e d i t e d

A s s o c ia tio n .

If it

is

th e ex p en se o f sh o o tin g ,

p i c t u r e m u s t a l s o b e show n t o

s a tis fa c to ry ,

i s s u e d and t h e p i c t u r e i s

c e n so ra b le

th en

th e

a C ode C e r t i f i c a t e i s

read y f o r re le a s e *

T h is o r g a n i z a t i o n i s h e ad e d by E r ic J o h n s to n a s P r e s i d e n t a n d Y* F r a n k F r e e m a n a s C h a i r m a n o f t h e B o a r d .

49 T rade P a p e r s * w ith

it

In an y p r o f e s s i o n , th o s e c o n n e c te d

can k eep up to d a t e b y r e a d in g th e t r a d e p a p e rs *

T he sam e i s t r u e i n m o t i o n p i c t u r e s .

Two w i d e l y r e a d

d a i l i e s a r e T he D a i l y V a r i e t y **' a n d T he H o l ly w o o d R e p o r t e r *5 B o th A r t h u r U n g a r , e d i t o r o f V a r i e t y , and W* R* t?B i l l y tT W i l k e r s o n , p u b l i s h e r o f t h e R e p o r t e r , a r e i m p o r t a n t men in th e in d u s try . SUGGESTED PROCEDURES I*

O b je c tiv e s: A.

To a c q u a i n t s t u d e n t s w i t h i n th e m o tio n p i c t u r e

p e rso n n el im p o rta n t

in d u stry .

B.

To d e v e l o p

r e s o u r c e fu ln e s s and i n i t i a t i v e .

C.

To d e v e l o p

p o i s e and c o n f i d e n c e .

D.

To f i t

s tu d e n ts fo r p o s itio n s in p ic tu r e stu d io s

or a g e n c ie s. E.

To d e v e l o p

v o c a tio n a l e ff ic ie n c y .

^ D a ily V a r ie t y , p u b lis h e d b y D a ily V a r ie ty , L t d . , Ho 11 ywo o d , Ca l i f o r n l a • ^ T h e H o l ly w o o d R e p o r t e r , W. R . W i l k e r s o n , p u b l i s h e r , H o lly w o o d , C a l i f o r n i a .

50 II.

A c tiv itie s: A.

In c o n n e c tio n w ith a g e n c ie s , th e 1.

Ask a s e c r e t a r y

s t u d e n t s m ig h t

i n a n y one o f t h e

h a n d lin g m o tio n p i c t u r e ,

ra d io ,

t a l e n t f o r an i n t e r v i e w t o

a g e n c ie s

or te le v is io n

fin d

out th e d u tie s

o f th e s e c r e t a r y and o p e r a tio n o f t h e a g e n c y . 2.

Take t h e

in te rv ie w in

a tra n s c rip t 3B.

s h o r th a n d and p r e p a r e

of i t .

R e p o r t on t h e

in te r v ie w to

th e

c la s s .

I n c o n n e c t i o n w i t h t h e A cadem y o f M o t i o n P i c t u r e A r ts and S c i e n c e s , t h e 1.

s tu d e n t c o u ld

Ask f o r a n i n t e r v i e w w i t h a s e c r e t a r y o rg a n iz a tio n to fin d tio n in g o f th e

in t h a t

o u t m o re a b o u t t h e f u n c ­

Academ y a n d t h e

d u tie s of th e

s e c r e t a r i e s w o rk in g t h e r e . 2.

Take t h e

in te rv ie w in

sh o rth a n d and w r ite

a tra n s c rip t. 3*

G i v e a n o r a l sum m ary o f t h e th e

G.

c la ss .

4*

R e p o r t on how t h e

5*

R e p o r t on t h e th e

in te rv ie w to

rfA n n u a l A w a r d s ” a r e v o t e d .

p e o p le and p i c t u r e s w in n in g

l a s t aw ard s g iv e n .

I n c o n n e c t i o n w i t h t h e M o tio n P i c t u r e P r o d u c e r s and D i s t r i b u t o r s o f A m e ric a, t h e

s t u d e n t c o u ld

A sk f o r a n i n t e r v i e w w i t h a s e c r e t a r y A s so c ia tio n to

fin d

out th e

sp e c ific

in th e fu n c tio n s

o f t h e A s s o c i a t i o n and t h e d u t i e s o f t h e s e c r e t a r i e s w o rk in g t h e r e • Take t h e

in te rv ie w in

a tra n s c rip t

s h o rth a n d and p r e p a r e

of i t .

R e p o r t on t h e

in te r v ie w to th e

Ask o n e o f t h e s e c r e t a r i e s t o

c la ss . speak t o t h e c l a s s .

P r o c u r e a b o o k on m o tio n p i c t u r e c e n s o r s h i p and r e v ie w i t

fo r th e

c la ss .

C o l l e c t a n y news i t e m s on p i c t u r e s and r e p o r t on th e m t o W rite up th e th e

cen so red

th e c la s s .

i n f o r m a t i o n on t h e

P ro d u cers A s so c ia tio n in

fu n c tio n s of

s u c h a way i t

can b e k e p t in c l a s s f o r r e f e r e n c e , c o n n e c ti o n w ith t h e t r a d e p a p e r s , t h e c l a s s m ig h t S u b s c r i b e f o r o n e m o n th t o

T he H o l l y w o o d R e p o r t e r

S u b s c r i b e f o r o n e m o n th t o T he D a i l y V a r i e t y . R e p o r t e a c h d a y on a n y f r e s h n e w s c o n t a i n e d in th e se p a p e rs. C ut o u t ite m s an d d e c i d e w h ic h p a p e r p r i n t s t h e m ost new s. D e c id e w h ic h p a p e r p r i n t s t h e m o st a u t h e n t i c new s

E*

In c o n n e c tio n w ith s t a r s

and f a n m a i l , t h e

s t u d e n t m ig h t a s k t h e h e a d o f t h e f a n m a il d e p a rtm e n t o f a s t u d i o c o lle c t c la ss *

f o r an i n t e r v i e w , a n d

sa m p le s o f f a n m a i l t o

show t o t h e

CHAPTER V I SHORT SUBJECTS AND CARTOONS S h o rt s u b je c ts *

No c o u r s e o n m o t i o n p i c t u r e

se c re ta ry

s h ip c o u ld b e c o m p le te w ith o u t i n c lu d in g back g ro u n d in fo rm a ­ tio n

on t h e

e ra lly te n

sh o rt su b je c ts,

o n l y one o r tw o r e e l s

re e ls

of th e f u ll- le n g th

s o -c a lle d because th e y a re gen­ in le n g th in s te a d fe a tu re

p ic tu re s*

o f th e n in e o r T here a r e

s e v e ra l d if f e r e n t ty p e s of s h o rt su b je c ts* 1*

N e w sre e ls.

c u rre n t e v e n ts.

T hese s h o r t f i l m s d e p i c t th e m ajo r

M a jo r n e w s r e e l m a k e rs a r e P a t h e , P a ra m o u n t,

F o x , M-G-M. 2. n a rra te d .re le a s e d to is

E d u c a tio n a l f i lm s .

Many o f t h e f i l m s r e l e a s e d c o m m e r c i a l l y a r e a l s o sc h o o ls f o r e d u c a tio n a l p u rp o s e s .

one o f t h e b e s t-k n o w n c o m m e n ta to r s .

in c lu d e h i s t o r y o f t h e U n ite d S t a t e s , form an y o f th e p la y g o lf •

T h e s e may o r may n o t b e

s k ills ,

E d u c a tio n a l

such a s t y p e w r i t e ,

fly

p la n e s,

p er­ or

T h ey a r e i m p o r t a n t a s an a p p r o a c h t o a new m e th o d

T ra v e lo g u e s.

as e n te rta in in g . in th is

su b je c ts

a s t r o l o g y , how t o

o f te a c h in g g eo g rap h y , th e n a tu r a l s c ie n c e s , 3*

P e t e S m ith

fie ld ,

we s a y g o o d - b y e

and g e o l o g y .

T hese a r e a l s o e d u c a t i o n a l , a s w e ll

Jam es F i t z P a t r i c k

h a s b een th e b e st-k n o w n

a n d i s rem em bered f o r h i s t a g l i n e , Tf.

"And so

54 A n im a te d c a r t o o n s * sh o rt

P erh ap s th e b e s t- lo v e d

su b je c ts is th e c a rto o n .

of a l l

A n im atio n f i r s t a p p e a r e d

i n 1909 w ith G e r tie t h e D in o s a u r, . . . a p r e h i s t o r i c m o n s t e r who came t o l i f e , w alk ed a b o u t , d i d t r i c k s and g e n e r a l l y co m p o rted i t s e l f a s an overg ro w n h o u s e p e t . The p i c t u r e , t h e s c r e e n Ts f i r s t a n i m a t e d s u b j e c t , m ade b y t h e n e w s p a p e r c a r t o o n i s t . W ins o r M cC ay, p r o v e d a s s e n s a t i o n a l a s t h e f i r s t m o tio n p i c t u r e had b e e n . l In th e c a r to o n ,

each seq u en ce i s

sp e c ia lly -tra in e d a r t i s t s , o n e-reel

f i r s t d r a w n by

c a lle d a n im a to rs.

The a v e r a g e

c a r t o o n r e q u i r e s 2 0 ,0 0 0 i n d i v i d u a l d r a w i n g s , w h ic h

w o u ld r e q u i r e o n e man f o u r h u n d r e d d a y s t o

c o m p le te .

T hese

p e n c i l d r a w i n g s a r e t h e n m ade i n i n k o n c e l l u l o i d a n d p l a c e d o v e r a p a in te d backg ro un d o f th e flc e l l tf i s th e y

scene.

One c e l l u l o i d , o r

d ra w n f o r e a c h f r a m e o f t h e p i c t u r e .

a re c o lo re d ,

a sse m b le d , p h o to g ra p h e d , th e n

When c o m p l e t e d , sent to

th e

sound s t a g e to h a v e t h e sound e f f e c t s a d d e d . W alt D isn e y i s p r o b a b ly th e b e s t-k n o w n p r o d u c e r o f c a rto o n s to d a y , but th e r e a re e x c e lle n t

c a rto o n s in th e

sev eral

o th e r p ro d u cers of

H o lly w o o d a r e a .

1 Ray H o a d l e y a n d Roman F r e u l i c h , How T h e y Make A M o tio n P i c t u r e (New Y o r k : Thom as Y . C r o w e l l C om pany, 1 9 7 9 ) ' , p T T 0D‘;

55 SUGGESTED PROCEDURES I.

O b je c tiv e s: A.

To g i v e s t u d e n t s ' a k n o w l e d g e o f s h o r t s u b j e c t produc e r s .

B.

To g i v e s t u d e n t s a k n o w l e d g e o f c a r t o o n p r o d u c t i o n and p r o d u c e r s .

II.

C.

To s t i m u l a t e i n t e r e s t

in sh o rt s u b je c ts .

D.

To w i d e n b a c k g r o u n d

E.

To d e v e l o p i n i t i a t i v e .

of p ic tu re a c tiv itie s .

A c tiv itie s: A.

T he s t u d e n t who i s

p a rtic u la rly

in te re s te d

in

c a r t o o n s m ig h t c a l l a c a r t o o n s t u d i o a n d a s k fo r a v is it 1.

in o rd er t o :

F a m i l i a r i z e h i m s e l f w ith t h e w o rk in g o f a c a rto o n s tu d io .

B.

2.

In te rv ie w th e

se c re ta ry as to h er d u tie s .

3.

R e p o r t on t h e v i s i t

The a b o v e a c t i v i t i e s to

D.

c la ss .

A s t u d e n t m ig h t a r r a n g e w i t h an i n d e p e n d e n t p ro d u c e r to w a tch th e

C.

to th e

th e

sh o o tin g o f a s h o rt s u b je c t. c o u ld b e r e p o r t e d

on o r a l l y

c la ss .

I f th e c la ss f e l t

it

c a rto o n is t or sh o rt be in v ite d to

speak.

w o rth w h i l e ,

e ith e r a

s u b j e c t p r o d u c e r c o u ld

56 F o llc rw in g a r e s u g g e s t e d r e f e r e n c e s f o r t h e s t u d e n t s to use in g e ttin g d e s ira b le of th e s e a c t i v i t i e s .

in f o r m a tio n f o r th e c o m p le tio n

T hose m ost p e r t i n e n t t o t h e

a r e e a rm a rk e d by an a s t e r i s k .

co u rse

57 STUDENTSf BIBLIOGRAPHY A l l e n , J a n e , I L o s t My G i r l i s h L a u g h t e r . Random H o u s e , l 9 3 o • 275 P P •

New Y o r k :

B a r d e c h e , M a u r i c e , T he H i s t o r y o f M o t i o n P i c t u r e s * New Y o r k : W. W. N o r t o n a n a TJompany, 193 s • 4 1 2 p p . B e n o i t - L e v y , The A r t o f t h e M o t i o n P i c t u r e * New Y o r k : C o w a rd -M c C a n n , I n c o r p o r a t e d , 1 9 4 6 * 253 PP* B ow er, D a l l a s , P la n f o r C in e m a * L ondon: S o n s, L im ite d , 1936• 1 4 7 PP•

J . M. D e n t a n d

C annom , R o b e r t , Van Dyke a n d t h e M y t h i c a l C i t y , H o l l y w o o d * C u l v e r C i t y ,““C a l i f o m T a T M u r r a y a n d G e e , I n c o r p o r a t e d , 1943. 419 p p . * D a l e , E d g a r , How t o A p p r e c i a t e M o t i o n P i c t u r e s * New Y o r k : Yhe"“Macm i l l a n Co m p a n y , 193 5 • 243 PP * * D e M i l l e , W i l l i a m C * , H o lly w o o d S a g a * New Y o r k : E* P . D u t t o n a n d C om pany, I n c o r p o r a t e d , 1 9 3 9 3 1 9 PP* * F ilm D a ily Y earb o o k o f M o tio n P i c t u r e s , 3 1 s t E d i t i o n . New Y o r F : J . ¥ • U i c o a t e , 1 9 4 9 X,1 5 2 p p . G o ld w y n , S a m u e l , B e h in d t h e S c r e e n * New Y o r k : G e o r g e H* D o ra n C o m p an y , 19 2 3 • 263 P P • G re g o ry , C a rl L o u is , M o tio n P i c t u r e P h o to g r a p h y * New Y o r k : F a l k P u b l i s h i n g C om pany, I n c o r p o r a t e d , H a m p to n , B e n j a m i n B . , H i s t o r y o f t h e M o v i e s * C o v ic i-F rie d e P u b lis h e r s , T93T7" pp.

19 2 7 *

New Y o r k :

* H o a d l e y , R a y , a n d Roman F r e u l i c h , How T h e y Make a M o t i o n P i c t u r e * New Y o r k : Thom as Y . C r o w e l l C o m p an y, 1 9 3 9 * 1 1 9 pp« * I n t e r n a t i o n a l M o tio n P i c t u r e A lm an a c, Q u ig le y P u b l i c a t i o n s , E d i t e d b y T e r r y R a m s a y e , 1 9 4 9 - 5 0 * 3 2 9 PP * * K i e s l i n g , B a r r e t t C *, T a l k i n g P i c t u r e s * New Y o r k : J o h n s o n P u b l i s h i n g C o m p any, 1 9 3 7 * 332 p p .

5# L e w i s , H ow ard T . , T h e M o t i o n P i c t u r e I n d u s t r y . New Y o r k : D. Van N o s t r a n d C om pany, I n c o r p o r a t e d , 1 9 3 3 • 4 50 p p . M a u l e , F r a n c e s , The R oad t o A n y w h e r e . L o n d o n : F u n k a n d W a g n a T l s ,1 9 3 1 5 1

New Y o rk a n d

^ M a r t i n , O l g a J . , H o l l y w o o d ’ s M o v ie G o m m andraents♦ New Y o r k : H . W. W i l s o n C o m pany, 1 9 3 7 * 301 p p . M o l e y , R ay m o n d , The H a y s O f f i c e . B o b b s - M e r r i l l C om pany, 1 9 4 5 *

In d ia n a p o lis: ^66 p p .

^ N a u m b u rg , N a n c y , We Make T he M o v i e s . New Y o r k : W. W. N o r t o n a n d C om pany, I n c o r p o r a t e d , 1 9 3 7 * 2 £ 4 PP» ^ P a t t e r s o n , F r a n c e s T a y l o r , Mot i o n P i c t u r e C o n t i n u i t i e s . New Y o r k : S t r a t f o r d P r e s s , 192*51 246 p p . ^ R o s t e n , Leo C . , H o l l y w o o d . New Y o r k : H a r c o u r t , B r a c e a n d C o m p an y, 1 9 4 1» 436 p p . R o t h a , P a u l , The F i l m T i l l Now. L im ite d , 19491 755 P P •

London:

V isio n P re s s

S e l d e s , G i l b e r t , The M o v i e s Come F ro m A m e r i c a . C h a rle s S c r ib n e r ’s S ons, 19 3 7 . 120 p p .

New Y o r k :

The D a i l y Va r i e t y , p u b l i s h e d b y D a i l y V a r i e t y , L i m i t e d , H o lly w o o d , G al i f o m i a . The H o l l y w o o d R e p o r t e r , W. R . W i l k e r s o n , p u b l i s h e r , H o lly w o o d , C a l i f o r n i a .

GHAPTER V I I GENERAL STENOGRAPHIC DUTIES C h a p te rs I I I ,

I V , V, a n d V I d e a l t w i t h b a c k g r o u n d

in fo rm a tio n n e c e ssa ry to

u n d e rsta n d th e

fu n c tio n in g and

c o o r d in a tio n o f th e d i f f e r e n t d e p a rtm e n ts o f a s t u d i o and re la te d on th e

o rg a n iz a tio n s. v a lu e

T h e r e se e m s t o

be no d is a g re e m e n t

o f f a m i l i a r i t y w ith b ack g ro u n d , la c k in g a c t u a l

e x p e rie n c e in a f i e l d .

B arn h art co n cu rs:

C e r t a i n l y , s h o r t h a n d t e a c h e r s , who u s u a l l y r e c o g ­ n i z e t h a t a p r e v i o u s k n o w le d g e o f t h e s u b j e c t m a t t e r o f t h e d i c t a t i o n i s n e c e s s a r y f o r e a s y r e p o r t i n g and a c c u ra te t r a n s c r i p t i o n , sh o u ld r e a l i z e , f o r in s ta n c e , th e im p o rta n c e o f g iv in g g e n e r a l re a d in g a ssig n m e n ts i n a p a r t i c u l a r s u b j e c t m a t t e r b e f o r e d i c t a t i n g n ew m a t e r i a l d ra w n f r o m t h a t f i e l d . l C h a p te r V II d e v e lo p s i n s t r u c t i o n a l m a t e r i a ls b a s e d on th e

d u t i e s p erfo rm ed in th e

g iv e n in

s te n o g r a p h ic d e p a rtm e n t a s

jo b a n a l y s e s .

T y rre ll says,

"It. i s

b e c o m in g m o re a n d m o re common

f o r e d u c a t o r s t o b a s e c u r r i c u l a a n d c o u r s e s on t h e of sc ie n tific

in v e s tig a tio n .

re s u lts

E d u c a tio n a l p ro g ram s m ust

k e e p p a c e w i t h p r e s e n t d a y d e m a n d s . "2

1 E a r l W. B a r n h a r t , "An A n a l y s i s o f t h e Work o f a S t e n o g r a p h e r , " G reg g E d u c a t i o n a l M o n o g ra p h s, 1 9 2 7 , G regg P u b l i s h i n g C o m p an y , p p . i b - l V * 2 D o ris T y r r e l l , " A n a ly s is o f S e c r e t a r i a l D u tie s and T r a i t s a s a B a s i s f o r G u id a n c e and T r a i n i n g , " N a t i o n a l B u s i n e s s E d u c a t i o n O u t l o o k , F i r s t Y e a r b o o k , 1 9 3 5 , p • 20 $ .

60 In o r d e r to a s c e r t a i n d u tie s

o f m o tio n p i c t u r e

t h e p e c u l i a r and d i s t i n c t

s e c r e t a r i e s , a q u e s t i o n n a i r e was

c o n s tr u c te d and s u b m itte d to f e r e n t •s t u d i o s • to

But i t

sev eral s e c re ta rie s

w as d i s c o v e r e d , th r o u g h a n s w e rs

th e q u e s tio n n a ire s , th a t th e

a n d c o m p le te jo b a n a l y s e s * a n a l y s e s w ere s u p e r i o r t o w h ic h t o

s t u d i o s h a d m ade e x h a u s t i v e

I t was d e c id e d t h a t t h e s e th e

q u e stio n n a ire as a b a s is

c o n s tru c t in s tr u c tio n a l m a te ria ls *

B a rn h a rt, i t

in d i f ­

jo b on

A c c o rd in g t o

i s good p e d a g o g ic a l p r a c t i c e t o d e v e lo p i n ­

s t r u c t i o n a l m a t e r i a l s fro m jo b a n a l y s e s : . . . d o u b t l e s s t h e a c c e p t e d m eth o d o f c u r r i c u l u m m ak in g i s b a s e d upon s t u d i e s o f h u m a n - l i f e a c t i v i t i e s , m ade w i t h a v i e w t o f i n d i n g o u t w h a t s h o u l d b e t a u g h t . When an- a c t i v i t y a n a l y s i s i s d i r e c t e d t o w a r d t h e s t u d y o f t h e d u t i e s and r e s p o n s i b i l i t i e s i n v o l v e d i n a n o c c u p a t i o n , t h e s c i e n t i f i c e d u c a t o r i s u s i n g t h e same m eth o d s a s t h e a d v o c a te o f v o c a t i o n a l e d u c a t i o n , w hose c u rric u lu m -m a k in g c re e d i s u n r e s e r v e d ly b a se d upon th e o c c u p a t i o n a l a n a l y s i s , o r j o b a n a l y s i s a s h e c a l l s i t .3 As t h e

s te n o g ra p h e r b e g in s in th e

p a rtm e n t , in m ost s t u d i o s , th e re ,

it

was d e c i d e d t o

It

is

ste n o g ra p h ic

and g e t s h e r o n - t h e - j o b

stu d y th e d u tie s of t h i s

de­

tra in in g d e p a rtm e n t

firs t. in t h i s

s te n o g r a p h ic d e p a rtm e n t t h a t s c r i p t s

a r e m im eo g rap h ed an d d i s t r i b u t e d

3 B a rn h a rt,

o£* c i t . ,

to a l l th e d e p a rtm e n ts t h a t

p . 3*

61 need th em .

T h is d e p a rtm e n t a l s o

w h ic h s t e n o g r a p h e r s a r e and t h e

d iffe re n t

s e r v e s a s a p o o l fro m

s e n t to th e w r i t e r s , d i r e c t o r s ,

d e p a rtm e n ts to h e lp out d u rin g ru sh

t im e s o r f o r lu n c h and v a c a t i o n r e l i e f s * F o llo w in g i s a jo b d e s c r i p t i o n o f t h i s d e p a rtm e n t as

it is

ru n a t P aram ount S t u d i o s .

A stu d y of t h i s d a te r in t h is

( P a g e s 62 t o 6 5 * )

jo b a n a l y s e s , and o f o t h e r s g iv e n

sy lla b u s,

r e v e a l s t h a t w o rk in g w ith s c r i p t s

i s b a s i c and fu n d a m e n ta l to

s e c r e ta r ia l p o sitio n s in a l l

d e p a r t m e n t s , a n d i s a p e c u l i a r and d i s t i n c t m o tio n p i c t u r e s e c r e t a r y . to

stu d y th e

sh o o tin g

s c rip t,

I t th e re fo re

fro m i t s

first

d u ty o f th e

se e m e d a d v i s a b l e

sta g e s to

th e f i n a l

sc rip t.

A s c r i p t may b e g i n a s a s t o r y

id e a ,

w ritte n or

u n w ritte n , a sh o rt s to r y , or a p la y .

M ost

com m only i t

b e g in s a s a s to r y 66 a n d 6 7 ) i s

id e a in o u tlin e fo rm .

F o llo w in g

(pages

a n e x a m p le o f a s t o r y o u t l i n e .

O nce t h e s t o r y

o u tlin e h a s been ap p ro v e d , th e

w r i t e r b e g in s th e tr e a tm e n t. in

■

T h is m eans t h a t he w r i t e s

s e q u e n c e t h e a c t i o n o f e a c h s u c c e e d in g s c e n e a s he

v is u a liz e s

its

has d ia lo g u e , The s o l e

a p p e a r a n c e on t h e it

is

pu rp o se i s

screen .

I f th is

o n ly in b r i e f s k e tc h to to

tre a tm e n t

p o in t up a c t io n .

s e t u p a fram ew ork f o r t h e s t o r y .

62 PARAMOUNT PICTURES IN C . JOB DESCRIPTION (Work S h e e t ) I*

Id e n tific a tio n

Job T i t l e :

D a ta

O c c . C o d e : _____ 1 - 3 7 *12

30-40 S e c re ta ria l D e p a rtm e n t: S e c r e t a r i a l S e rv ic e S u p e rv is e d b y : S e r v ic e D e p t. H ead ( T i t l e ) S u p e r v i s e s : N o n e _______________________________________________ ______ ( T i t l e a n d N um ber] ■ II.

No. W o rk e rs :

Jo b Sum m ary: e tc .

III.

SECRETARY

T y p e w rite s c o p ie s o f s to r y m a t e r i a l, synopses, s t a t i s t i c a l r e p o r ts , l e t t e r s , A s s i s t s i n p r o o f r e a d i n g and s o r t i n g .

Minimum Q u a l i f i c a t i o n s :

E d u c a tio n : -

S e x F Age R a n g e :

21 t o up

{S R W ) E n g l i s h O t h e r : H ig h s c h o o l g r a d u a t e w i t h c o u rs e s in ste n o g ra p h y . B u sin e ss c o lle g e s e c r e t a r i a l co u rses p r e f e r r e d .

T r a i n i n g & E x p e r i e n c e : S i x m o n th s e x p e r i e n c e a s STENOGRAPHER i n P a r a m o u n t S t u d i o ; 6 0 - 6 5 wpm t y p i n g s p e e d ; 1 2 0 wpm s h o r t h a n d s p e e d . (S ee V I I I ) P e rs o n a l Q u a l i f i c a t i o n s : N eat a p p e a ra n c e , a b le t o g e t a lo n g w i t h w id e v a r i e t y o f p e o p l e . P h y s i c a l R e q u i r e m e n t s : P a s s Company p h y s i c a l ; a b l e t o w o rk l o n g h o u r s u n d e r p r e s s u r e w hen n ecessary . I V . O f f i c e E q u ip m e n t U s e d : T y p e w rite r T e le p h o n e V I. S u rro u n d in g s: Hot ( ) C o ld Dry ( ) Fum es Wet ( ) N o isy (x ) O th e r

V. M a t e r i a l s W orked ^ S ta tio n e ry

Humid ( ) I n s i d e (x ) O u tsid e ( ) D u sty ( ) D irty ( )

l^ o rm s V I I * H a z a r d s : None E le c tric a l( ) O cc. E x p lo s io n s( ) D ise ase( M e c h a n ic a l( ) F a lls ( O th e r .B urns (

63 V I I I . R em arks: ( S e c . I l l , T r a i n i n g IX . & E x p e rie n c e ) B e ca u se .o f th e p e c u l i a r i t i e s o f w o rk in g s c h e d u le s o b s e r v e d b y d e p a r t m e n t s t o whom s e r v i c e i s g iv e n , above tim e r e p r e s e n t s o n ly o w eeks c o n tin u o u s e x p e r i e n c e i n w o rk o f t h e h i g h e s t le v e l of d if f ic u lty .

W ages a n d H o u r s : D ay s p e r w e e k : 5 H o u r s p e r d a y : o' S h if t: 9-6 C la s s ific a tio n : E U n io n L o c a l No: PSOEA M e m b e r s h ip R e q u i r e d : Y e s

X* Work P e r f o r m e d - SECRETARY ( P o o l ) TYPEWRITES VARIOUS MATERIAL As r e q u e s t e d b y SECRETARIAL SERVICE DEPARTMENT HEAD ty p e w rite s, m a te ria l,

fo r subsequent a c tio n ,

s c rip ts ,

c o p ie s o f s to r y

s y n o p s e s , form l e t t e r s ,

sh e e ts,

s ta tis tic a l re p o rts,

se ttin g

up w ork b e in g

p ro p e rty

e x e c u tiv e n o tic e s ,

c o p ie d a c c o r d in g t o n a tu r e

e tc ., of

th e m a t e r i a l. OTHER DUTIES S o rts ty p e w ritte n

sc rip t

o c c a sio n a lly a s s is ts

c o p ie s in page o rd e r;

ASSISTANT HEAD SECRETARIAL

SERVICE DEPARTMENT i n p r o o f r e a d i n g t y p e w r i t t e n c o p ie s.

PSOEA A n a l y s t

E d ito r

1*L

h i

HEAD SECRETARIAL SERVICE DEPARTMENT

64 X.

Work P e r f o r m e d - SE CRETA RY _________ _______;__________________

1.

TYPEWRITES VARIOUS MATERIAL As r e q u e s t e d b y SECRETARIAL SERVICE DEPARTMENT HEAD ty p e w rite s , m a te ria l,

fo r

subsequent a c tio n ,

sc rip ts ,

c o p ie s of s to r y

s y n o p s e s , fo rm l e t t e r s ,

sh e e ts,

sta tis tic a l

re p o rts,

se ttin g

u p w o rk b e i n g

p ro p e rty

e x e c u tiv e n o tic e s ,

e tc .,

c o p ie d a c c o rd in g to n a tu r e o f

th e m a te ria l. 2.

FULFILLS SECRETARIAL ASSIGNMENTS (a)

T e m p o r a r y WRITERSf A s s i g n m e n t s As r e q u e s t e d b y SECRETARIAL SERVICE DEPARTMENT HEAD f u l f i l l s

a s s i g n m e n t a s WRITERST SECRETARY,

b y t a k i n g s h o r t h a n d n o t e s on s t o r y m a t e r i a l a s d i c t a t e d b y WRITER, a n d b y t r a n s c r i b i n g n o t e s i n t o p r o p e r f o r m a t , a s s i s t i n g WRITER b y o c c a ­ s i o n a ll y s u g g e s tin g w ords, p u n c tu a tio n , be u sed .

e tc . to

As r e q u e s t e d b y WRITER, o b t a i n s

fo rm a tio n p e r t i n e n t to

th e

in ­

s t o r y b y m a k in g n o t e s

on i n f o r m a t i o n g a in e d fro m r e a d i n g v a r i o u s b o o k s , p e rio d ic a ls, (b)

e tc .

in R esearch D e p a rtm e n t.

P e r m a n e n t WRITERS* A s s i g n m e n t s P erfo rm s d u t i e s a s d e s c r ib e d i n 2 (a ) in a d d itio n :

above,

a s r e q u e s t e d b y WRITER a n s w e r s t e l e ­

p h o n e , m a k in g a p p o i n t m e n t s a n d d e f e r r i n g c a lls ;

and

u n w an ted

p e r f o r m s v a r i o u s p e r s o n a l d u t i e s f o r WRITER.

65 ( c ) EXECUTIVE SECRETARIAL A s s i g n m e n t s A s s i s t s EXECUTIVE SECRETARY a n d a s s u m e s d u t i e s o f EXECUTIVE SECRETARY i n h e r a b s e n c e , p e r f o r m ­ in g

s u c h d u t i e s a s a n s w e r i n g t h e t e l e p h o n e , m a k in g

a p p o in tm e n ts, ta k in g

d ic ta tio n ,

n e ss l e t t e r s , m a in ta in in g f i l e s *

ty p e w ritin g b u s i­ ( S e e EXECUTIVE

SECRETARY) 3.

OTHER DUTIES S o rts ty p e w ritte n s c r ip t s io n a lly

a ssists

c o p ie s in page o rd e r;

ASSISTANT HEAD SECRETARIAL SERVICE

DEPARTMENT i n p r o o f r e a d i n g t y p e w r i t t e n

'_____________/ s / F s'OET A n a l y s t

E ditor

occa­

c o p ie s*

/ s/ HEAD SECRETXRIAL SERVICE DEPARTMENT

66 S to ry O u tlin e ’’H oneym oon f o r F i v e ” J o e P a l o o k a , W o rld H eavy W e ig h t Cham p, a n d Ann a r e j u s t l e a v i n g on t h e i r honeym oon, k e e p in g t h e p l a c e a s e c r e t so th e y can be by th e m se lv e s*

They h a v e n ’t

g o n e f a r , how­

e v e r , when J o e , h i s m in d m o r e o n Ann t h a n h i s d r i v i n g , r u n s in to

a h a y w agon a n d t h e y ’ r e s t u c k . H u m p h r e y , a m o d e rn S a m s o n , c o m e s u p o n th e m a n d t o w s

th e m i n t o h i s b l a c k s m i t h s h o p , t h e t o w i n g c o n s i s t i n g

of

t y i n g a c h a i n a ro u n d h i s w a i s t an d p u l l i n g th em i n h i m s e l f . J o e a n d Ann h a v e t o s p e n d t h e n i g h t The n e x t m o r n i n g , t h e

i n t h e b la c k s m ith shop*

c a r f ix e d and a t h i r t y

day

g u a r a n t e e f r o m H u m p h re y , J o e a n d Ann s e t o u t a g a i n . h a v e n ’t

g o n e f a r when H u m p h re y , who h a s r e c o g n i z e d J o e ,

o v e r t a k e s th e m o n h i s H um phrey m o b i l e • to

They

stic k

c lo s e fo r th e n ex t t h i r t y

th in g happens t o

He s a y s h e m e a n s

days j u s t 'i n

c a s e som e­

Joe’s car.

T he t h r e e o f th e m a r r i v e

on J o e ’ s h o n e y m o o n a t

H arrow H ot S p r i n g s H o t e l , a n d a r e g r e e t e d by K nobby, J o e ’ s m anager.

K nobby i s

u p se t over a new spaper h e a d lin e

R ETIRES.

Joe t e l l s

h im he h a s n o i n t e n t i o n

CHAMP

of r e tir in g ,

a n d i n v i t e s K n o b b y t o g o on b a c k , b u t K nobby i s t i r e d say s h e ’l l sla m s o u t •

go b a c k i n t h e m o r n i n g .

and

Ann i s d i s g u s t e d a n d

1

67 By t h e n e x t m o r n i n g know s Jo e i s

e v e ry o n e i n H arrow H ot S p r in g s

a t th e h o te l ♦

The M a y o r , w i t h a l l

t h e m e m b e rs

o f t h e B o y s C lu b o f t h e t o w n , a r r i v e s w i t h t h e p r o p o s a l t h a t Jo e p u t on a b e n e f i t f i g h t h o u se f o r th e boys*

so t h a t t h e

c lu b

can b u ild a c lu b ­

J o e r e f u s e s a t f i r s t — h e o n l y w a n t s Ann

b a c k — b u t he g e ts r a i l r o a d e d

i n t o a g r e e i n g he w i l l f i g h t *

J o e ’ s o p p o n e n t t u r n s o u t t o b e H u m p h re y , t h e s t r o n g m an.

H um phrey d o e s n ’ t w a n t t o f i g h t

suaded t h a t i t

i s h is

S p rin g s boys g e t t h e i r

Joe b u t h a s b een p e r ­

c i v i c d u t y t o h e l p t h e H arro w Hot c lu b h o u s e .

T h in g s lo o k b l a c k f o r

Joe.

h e a v y w e ig h t, h e ’ s o n ly h a l f th e

Even th o u g h h e ’ s a

s i z e o f H um phrey.

J o e a n d H um p hrey go i n t o t r a i n i n g , w i t h J o e ’ s t r a i n e r s on t h e

scene.

Ann i s

s t i l l a ro u n d , but n e v er g e ts to

se e Joe

w i t h o u t t h e mob. The n i g h t o f t h e f i g h t a r r i v e s . o n ly t o knock Joe o u t f o r t e n

s e c o n d s , he s t i l l

H is m a n a g e r c o n v in c e s h im t h a t Jo e i s H u m phrey d o e s n ’ t

m ad, and he d e c i d e s t o

h it

The a u d i t o r i u m i s

cro o k ed .

lik e s

Joe.

c ro o k e d , and t h a t i f

r e a l l y k n o c k h im o u t g o o d ,

t h i n k t h a t h e , H um phrey, i s

Joe.

H um phrey i n t e n d s

ev ery o n e w i l l

T h i s m a k e s H um phrey

Joe, h a rd .

packed.

The f i g h t

lo o k s bad f o r

H i s h a r d e s t h i t s make n o i m p r e s s i o n o n H um phrey a t

6S a ll*

H u m p h re y ’ s s i s t e r ,

a u d ie n c e ,

P ru n e lla , is

e a tin g a p p le p i e .

s ittin g

in th e

H um phrey c a t c h e s s i g h t o f

h e r and s m e l l s t h e p i e , g e t s c a r e l e s s , and Jo e k n o c k s h im o u t . J o e v iin s t h e

fig h t.

The c r o o k e d g a m b l e r s who h a v e

b e t on H um phrey l o s e t h e i r m o n e y .

J o e a n d Ann make u p ,

and c o n t i n u e t h e i r honeym oon i n p e a c e .

69 E x p e rts in c o n tin u ity

w r i t i n g b e g i n w ork h e r e ,

w r itin g th e tre a tm e n t

o r c o n t i n u i t y , w h ic h i s

s c e n e m ovem ent o f t h e

sc e n a rio ,

W h il e t h e th e

a scen e by

in c lu d i n g cam era a n g le s *

f o rm u s e d v a r i e s am ong t h e

stu d io s,

s tu d e n t h as le a rn e d to w r ite th e tre a tm e n t

once

form o f

one s t u d i o , he w i l l h av e no t r o u b l e w ith a n y o t h e r fo rm . F o llo w in g i s

a n e x a m p le o f t h i s

form u s e d a t one

o f th e m a jo r s t u d i o s : T re a tm e n t We FADE IN ON:EXT. STREET - OPEN CAR - CONVERTIBLE J o e a n d Ann h a v e j u s t b e e n m a r r i e d a n d a r e l e a v i n g th e

c h u r c h on t h e i r h o n e y m o o n .

Joe h a s t r i e d

to keep th e i r

d e s t i n a t i o n a s e c r e t fro m h i s m an ag er, f a n s , and o t h e r s . The r e p o r t e r s a r e h a n g in g a r o u n d , t r y i n g t o f r o m e i t h e r J o e o r A n n, b u t

g e t a sta te m e n t

J o e and Ann make t h e i r g e t a w a y .

NIGHT - EXTERIOR COUNTRY ROAD' J o e i s d r i v i n g a l o n g t h e r o a d , h i s m in d m o re on Ann th a n h is d r i v i n g . fie ld .

J o e c a n Tt

s l i th e r s to

S u d d e n l y a h a y w ag o n p u l l s o u t f r o m a m iss i t .

a sto p .

Jo e ’s c ar

Joe g e ts o u t and

rim s o f f th e ro a d and lo o k s a t i t .

Joe H oney - l o o k s l i k e w e ’ r e s t u c k .

70 MED * FULL SHOT - ROAD (FROM THEIR ANGLE) HUMPHREY PENNYWORTH, e a t i n g a s a n d w i c h , c o m e s a l o n g th e

r o a d , w a l k i n g ALBERT, h i s m u l e .

J o e a s k s H um phrey i f

h e k n o w s o f a n y o n e who c o u l d t o w t h e m t o t h e n e a r e s t g a r a g e a n d H u m ph rey s a y s h e ’ l l b e g l a d t o d o i t m ark s t h a t he d o e s n ’t

h im se lf-

Joe r e ­

t h i n k t h e m u le w i l l b e a b l e t o

p u ll

t h e c a r o u t , b u t H u m p h re y , a m o d e rn S a m s o n , s a y s h e w i l l p u l l th e

c a r o u t h im s e lf, A lb e rt a i n ’t f o r to w in g .

p u t s on t h e it

h o rse c o lla r ,

out of th e d itc h .

Ann i n t h e

car,

N ext i s

c h a in s th e

car to

it,

H um phrey

and p u l l s

T h e n h e s t a r t s dow n t h e r o a d ,

Jo e and

A l b e r t , t h e m u le , w a lk in g b e s i d e h im . g iv e n an e x c e r p t o f a s c r i p t

in f i n a l

sh o o t­

i n g fo rm , w ith c h a n g e s . W h il e t h e r e a r e m i n o r d i f f e r e n c e s i n f o r m u s e d a t th e d iffe re n t

stu d io s,

once th e

h e w i l l e x p e r i e n c e no d i f f i c u l t y

s tu d e n t h a s le a r n e d one form , in w ritin g

s c r ip t a t any o f

D i r e c t io n s g iv e n f o llo w in g th e t i t l e

sheet s ta te th a t

th e stu d io s •

o r i g i n a l p a g e s a n d A dded t!A” p a g e s a r e w h i t e . pages” re fe rs to F irst

c o rre c tio n s

p a p e r, th e

p ag es added b e fo re s h o o tin g h as s t a r t e d . on t h e s e p a g e s a r e m i m e o g r a p h e d o n b l u e

se c o n d c o r r e c t i o n s on p i n k p a p e r , and t h e t h i r d

c o rre c tio n s be e a s ily

” A dded ’ A’

on b u f f .

checked to

T h is i s

done so t h a t

see th a t i t

is

each

up t o d a t e .

s c r i p t can

71 In ste a d

o f u sin g th e

d a te a l l ch an g es a t th e w r i t e r ’ s nam e.

some s t u d i o s

to p o f th e page and in c lu d e th e

I n c l u d i n g t h e w r i t e r ’ s nam e w i t h t h e

d a te h e lp s d e te rm in e f o r th e

c o lo re d p a g e s,

j u s t w h ic h w r i t e r s h o u l d g e t c r e d i t

s c r e e n p l a y w hen s e v e r a l w r i t e r s w o rk o n t h e

sam e

sto ry . The f i r s t th e

s c rip t,

page t o fo llo w r e p r e s e n t s th e

cover of

d o n e on v e r y h e a v y p a p e r .

The s e c o n d p a g e i s t h e num ber o f t h e s c r i p t .

sc rip t.

p ag e, g iv in g th e

T he p e r f o r a t e d

b o tto m o f t h e page i s t o r n re c e iv in g th e

title

It

p o rtio n a t th e

out and s ig n e d by t h e p e rs o n is

kept a s a re c e ip t to

t h e s te n o g r a p h ic d e p a rtm e n t to

keep t r a c k

E n ou gh s c r i p t h a s b e e n i n c l u d e d t o and v o c a b u la ry u s e d .

e n ab le

of sc rip ts . show t h e

fo rm

72

JOE PALQQKA in " H O N E Y M O O N

F O R

( T e n ta tiv e t i t l e

C h e ste r P ro d u c tio n s , In c . M onogram P i c t u r e s C o r p o r a t i o n 4376 S u n s e t D riv e H o lly w o o d 2 7 , C a l i f o r n i a

F I V E " )

O c to b e r 2 4 , 1949

73 No. 96 JOE PALOOKA in " H O N E Y M O O N

F O E

( T e n ta tiv e t i t l e

F I V E " )

S to ry & S c re e n p la y by HENRY BLANKFORT

THIS SCRIPT IS THE PROPERTY OF: C h e ste r P ro d u c tio n s , In c . M onogram P i c t u r e s C o r p o r a t i o n 4376 S u n s e t D riv e H o lly w o o d 2 7 , C a l i f o r n i a

O c to b e r 24, S c rip t

1949

of

RECEIPT N o. 96 "HONEYMOON FOR FIV E" Name D a te

74 NOTE: I n s e r t t h i s i n s i d e t h e c o v e r o f "H oneym oon F o r F i v e " s c r i p t f o r c o n v en ien t re fe re n c e *

The o r i g i n a l

sc rip t

p a g es a r e w h ite *

A dded "A" p a g e s a r e w h i t e * S h o u l d t h e r e b e a n y c o r r e c t i o n s m ade o n t h e a b o v e , t h e y w i l l b e m ade o n BLUE p a g e s . S h o u l d t h e r e b e a n y c o r r e c t i o n s m ade o n b l u e p a g e s , t h e y w i l l b e o n PINK p a g e s . C o r r e c t i o n s o n p i n k w i l l b e made o n BUFF*

75 " HONEYMOON FOR F IV E ” ( P a l o o k a #&) FADE IN : MAIN TITLES 1.

EXT. STREET - CLOSE SHOT - OPEN CAR - CONVERTIBLE T h e s i g n s o n i t s a y : "JUST MARRIED, GOOD LUCK TO JOE PALOOKA THE CHAMP." R i b b o n s a r e o n i t , e t c . CAMERA PULLS BACK r e v e a l i n g LOOIE AND CANVAS t y i n g o n t i n c a n s . K i d s a n d p e o p l e c ro w d a r o u n d . CAMERA TILTS UP TO' EXT. OF CHURCH - C a m e ra m e n , e t c . , c ro w d b e h i n d t h e r i b b o n e d ro p es. P o l i c e m e n h o l d th e m b a c k . RECESSIONAL MUSIC f i l t e r s th ro u g h . The d o o r o p e n s . ANN a n d JO E, f o l l o w e d b y KNOBBY, JO E ’ S PARENTS, e t c . come o u t . The Crowd b re a k s th ro u g h th e r o p e s . J o e i s g r a b b e d b y som e k i d s . KIDS H i , C ham p. Gimme y o u r a u t o g r a p h . Good l u c k • E tc . Ann m o v e s t o w a r d h im b u t t h e c ro w d s e p a r a t e s t h e m . A n e w s p a p e r m a n , MITCHEL, w i t h a p r e s s c a r d i n h i s h a t , t r i e s to push th r o u g h . A c o p m o v es t o s t o p t h a n . COP K eep b a c k . . . MITCHEL M i t c h e l o f T he D i s p a t c h The Cop l e t s h im p a s t i n t o g e t s t o Ann.

th e

c ro w d o f p e o p l e .

He

MITCHEL How a r e y o u , M i s s H o w e ? . . . I mean M r s . P a l o o k a . ANN Y o u ’ r e t h e f i r s t t o c a l l me M r s . P a l o o k a . . . th a n k s• ( t o c ro w d ) P l e a s e . . . l e t me t h r o u g h . CONTINUED:

76 1.

CONTINUED: MITCHEL W h ere a r e y o u g o i n g on y o u r h o n e y m o o n ? ANN Top s e c r e t •• J o e ’ s p r i v a t e p riv a te .

life

is

MITCHEL You f o r g e t - h e ’ s t h e W o rld H eav y W e i g h t C h a m p . . . M aybe y o u ’ d l i k e h im t o r e t i r e . . . ANN You f o r g e t h e ’ s my h u s b a n d f r o m now on a n d t h e o n l y o n e i n t h e o p p o s i t e c o r n e r w i l l b e m e. ( t o cro w d ) P l e a s e . •• ( s h e p u s h e s t h r o u g h c ro w d ) MITCHEL ( t o r e p o r t e r n e x t t o h im ) W hat d o e s i t s o u n d l i k e t o y o u ? REPORTER S a m so n a n d D e l i l a h a l l o v e r a g a i n o n ly t h i s tim e , t h e y ’r e b lo n d e s . 1X 1.

MED. SHOT - ANN She i s b e in g b u f f e t e d a ro u n d . H er h a t ’ s askew , h e r h a i r m ussed. K n o b b y f i n a l l y m a k e s h i s way t o h e r . KNOBBY Come o n t (y e lls) L o o ie . . . C anvas. . . L o o i e a n d C a n v a s come t h r o u g h

-

KNOBBY C le a r th e w ay. The H a n d le r s d o j u s t t h a t . th e cro w d . Jog. .

o

Ann i s

h e lp e d th ro u g h

ANN Joe I CONTINUED:

77 1X 1.

CONTINUED: Joe f i n a l l y g e t s t o h e r . Ann c a t c h e s h e r b r e a t h .

2.

T hey g e t i n t o

th e

car.

MED. SHOT - ANN AND JOE IN CAR Crow d s t i l l

aro u n d . MITCHEL ( p u s h e s h i s way u p t o

car)

Hey, Joe — JOE Some o t h e r t i m e MITCHEL Ann j u s t t o l d me — JOE (c u ttin g in ) W h a t e v e r Ann t o l d y o u g o e s f o r m e, t o o — TB y e . . . He s t a r t s

th e

car.

M itc h e l p u lls

JOE (T o Ann) W hat d i d y o u t e l l

a w ay f r o m c a r .

h im ?

ANN That I lo v e y o u .. Joe g r in s .

K nobby h u r r i e s t o

th e

car.

He WHISPERS.

KNOBBY

( w h is p e r in g ) Good l u c k , k i d s . I f you th in k I ’ m c r y i n g — y o u ’ r e r i g h t -— b u t o n ly f o r j o y .- ’B ye. Joe s t e p s 3*

on t h e

gas.

T he c a r p u l l s

o u t.

MED. SHOT - LOOIE AND CANVAS T h ey ’ r e th ro w in g r i c e by t h e h a n d s f u l ; o ld s h o e s . L o o ie , i n h i s z e a l , t a k e s o f f h i s sh o e and th r o w s i t .

n

4*

MED. SHOT - CAR The s h o e l a n d s on t h e b a c k a s t h e c a r s p e e d s a h e a d .

5.

MED. SHOT - GROUP AT SIDEWALK M itc h e l s t a n d s n e x t, t o

Knobby.

MITCHEL K e e p in g s e c r e t s from t h e

p r e s s , K no bby ?

■KNOBBY B e st m anager and s e c r e t- k e e p e r i n th e f i g h t b u s i n e s s . • • s o d o n ’ t a s k me a n y q u e stio n s . D o n ’t

MITCHEL have t o -

L o o i e a n d C a n v a s com e INTO SCENE. s a n s one s h o e .

L o o ie , lim p in g ,

KNOBBY L e t’s go. LOOIE Look - I o n l y g o t one s h o e . KNOBBY Y ou’ r e lu c k y . T h in k o f t h e g u y s who h a v e n ’ t g o t a n y s h o e s . • • T h e y s t a r t down t h e s t r e e t , CAMERA HOLDING ON THEM a s L o o ie l i m p i n g , b r i n g s u p t h e r e a r . 6.

EXT. COUNTRY ROAD - NIGHT

(STOCK)

C a r r u n b y - n o s i g n s on i t . DISSOLVE TO: 7.

EXT. JO E ’ S CAR - ‘ NIGHT

(PROCESS)

The h o n e y m o o n s i g n s a r e o f f . Ann s i t s b e s i d e J o e , c l o s e t o h im . T he c a r i s p a c k e d w i t h l u g g a g e . The r a d i o p l a y s SOFT MUSIC a n d h e r h e a d i s n e a r h i s sh o u ld e r. DISSOLVE TO:

79

s.

EXT. COUNTRY ROAD - NIGHT J o e f s c a r m akes a r u n b y .

9*

I N T . JO E ’S CAR - NIGHT Ann c o s e y s t o

(PROCESS)

Joe -

ANN Got a n y m ore? JOE W h at? ANN T hese. She p l a n t s a k i s s on h im w h i l e h e f s d r i v i n g . Joe h o ld s h e r t i g h t , h i s e y e s o f f th e r o a d .

.

10

EXT. ROAD A h a y w agon i s

.

11

p u llin g in to i t

CLOSE SHOT - HAY WAGON ANGLING UP a s i t

12 .

fro m th e f i e l d .

CLOSE SHOT - CAR

lo o m s i n f r o n t

o f th e m .

(PROCESS)

A

J o e p u s h e s Ann down o u t o f d a n g e r a n d s w i n g s th e w h e e l.

13-

CLOSE SHOT - HAY WAGON

(PROCESS)

I t sh u d d e rs w ith th e j o l t . The FARMER f a l l s b a c k i n t o t h e hay - and t h e h a y c a s c a d e s dow n.

14*

LONG SHOT - OPPOSITE SID E OF HAY WAGON J o e ’ s c a r go es c o m p le te ly th ro u g h c a s c a d e s on i t .

15.

LONG SHOT -

it.

The h a y '

JO E ’S CAR

I t i s c o v e re d w ith h ay and r e e l i n g fro m s i d e t o s i d e down t h e r o a d . I t n e a rly goes o f f se v e ra l tim e s.

£0 16.

MED-. SHOT -

JO E ’ S CAR

I t g o e s o f f ro a d and s l i t h e r s t o a s t o p . g e ts o u t - lo o k s a t i t .

Joe

JOE H oney - l o o k s l i k e w e ’ r e s t u c k . ANN I n e v e r knew h a y t i c k l e s t h i s w a y . . . a n d a s l o n g a s I ’m s t u c k w i t h y o u . . . He co m es t o w a r d h e r .

T h e y HEAR A NOISE.

JOE Some o n e ’ s c o m i n g . T hey l o o k O . S . 17-

MED. FULL SHOT - ROAD (FROM THEIR ANGLE) HUMPHREY" PENNYWORTH, e a t i n g a s a n d w i c h , c o m e s a l o n g t h e r o a d , w a l k i n g ALBERT, a m u l e .

l£ .

MED. SHOT - AT JO E ’ S CAR H um phrey COMES INTO SCENE. HUMPHREY E v e n in g , f o l k s . . . h a d

an a c c i d e n t ?

JOE Y es. Do y o u know a n y b o d y a r o u n d h e r e who c a n h e l p u s ? . . . Tow u s t o t h e n e a r e s t g arag e o r . . . HUMPHREY Be g l a d t o , m i s t e r .

I ’l l

do i t .

JOE Say, t h a t ’s S w e ll. HUMPHREY o b lig e , m is te r. Got a c h a in ? (he lo o k s u n d e r c a r ) F ro n t a x le ’s b e n t.

G la d t o

CONTINUED:

31 13.

CONTINUED: JOE Y eah, in th e tr u n k . (g o e s t o r e a r o f c a r and g e t s c h a i n s ; h a n d i n g h im t h e c h a i n s ) I t h i n k y o u ’ l l n e e d m o re t h a n t h a t m u le . HUMPHREY O h , A lb e r t a i n ’ t f o r t o w i n g . A pt t o k i c k u p . (ta k e s o f f a h o rse c o ll a r A lb e rt i s w e a r i n g an d p u t s c o l l a r on h im se lf) J e s t t o o k h im a l o n g f o r t h e w a l k . I ’l l hook th e s e c h a in s to t h i s h e r e . ( t i e s c h a i n s t o b um per) Now i f y o u f o l k s ’ l l j e s t s e t b a c k e a s y , w e’l l g i t r o l l i n g . . . J o e a n d A nn , f l a b b e r g a s t e d , s i t b a c k o n t h e r e a r s e a t . H um phrey s t a r t s w a l k i n g down t h e r o a d , p u l l i n g t h e c a r w h ile A lb e r t w a lk s b e s i d e h im .

19.

IVIED. CLOSE -

JOE AND ANN IN CAR

JOE I d o n ’t b e l i e v e

it.

ANN M aybe i t ’ s a d r e a m . . . (sh e le a n s b ack a g a i n s t th e hay) . . . b u t i t c o u l d b e s o much w o r s e . . . so m uch. DISSOLVE: 20.

I N T . HUMPHREY’ S BLACKSMITH SHOP - NIGHT I t i s a s m a l l b u i l d i n g ( a s p e r c o m ic s t r i p ) . H u m p h re y , t o w i n g t h e c a r , c o m e s INTO SCENE w i t h A l b e r t . He b rin g s i t in to th e shop. J o e a n d Ann g e t o u t . JOE The l e a s t y o u c o u l d h a v e d o n e was t o l e t u s w a l k . CONTINUED:

82 20.

CONTINUED: HUMPHREY Why? J o e a n d Ann r e a c t .

21.

MED. SHOT - PRUNELLA As s h e

com es i n . HUMPHREY O h, e x c u s e m e . . . t h i s s i s t e r , P ru n e lla .

i s my

PRUNELLA P le a s e d t o m eet y o u . JOE I ’m J o e P a l o o k a a n d t h i s i s M r s . P a l o o k a . . . i s t h e r e a n y p l a c e we c a n s t a y t h e n i g h t ? I t lo o k s l ik e o u r c a r n eed s a l i t t l e f i x in g . HUMPHREY Don’t w o rry a b o u t t h e c a r . I ’l l have i t f i x e d and re a d y f o r you i n th e m o rn in g . JOE G o o d . . . b u t w h a t d o we do u n t i l t h e n ? PRUNELLA The W o k k i n g t o n H o t e l ’ d b e f i n e . O n ly t r o u b l e i s t h a t i t b u r n t down s e v e n y e ars ago. HUMPHREY D on’t l i k e t o c o r r e c t y p u , s i s t e r . . . i t was s i x y e a r s a g o . ANN W h at d i f f e r e n c e d o e s o n e y e a r m ake? We’ r e t i r e d . CONTINUED:

CONTINUED: PRUNELLA I a l w a y s s a y w hen a p e r s o n 1s h u n g r y t h e y 11 1 e a t a n y t h i n g , a n d w hen a p e r s o n ’ s t i r e d t h e y ’l l s le e p anyw here. ANN I a lw a y s s a y t h e

sam e t h i n g .

HUMPHREY You c a n come s l e e p h e r e w i t h u s . P l e n t y o f ro o m — ( J o e a n d Ann s m i l e ) You c a n s l e e p w i t h m e , M i s t e r P a lo o k a - and t h e M is s u s c a n . . . ANN ( c u ttin g in ) Oh n o - we c o u l d n ’ t

do t h a t —

HUMPHREY Why n o t ? I l e t A lb e rt — ( p o i n t s t o t h e m u le ) s l e e p w i t h me s o m e t i m e . . . No r e a s o n why M i s t e r P a l o o k a c a n ’ t . . . .Joe a n d Ann e x c h a n g e g l a n c e s . DISSOLVE

34 F o llo w in g i s

g iv e n an e x a m p le o f t h e

form u s e d a t

a n o th e r s tu d io f o r added s c e n e s and r e ta k e s * (S tu rg e s) 139

ADDED SCENES AND RETAKES MAU'lTFlTr'B'L'O'roE'TKQM BASHFUL BENDtf- 1 2 / 2 7 / 4 3

1*

DISSOLVE TO: 1

A BIRD SINGING ON A BRANCH -

DAY

2

BIG HEAD - CHARLIE HINGLEMAN GROANING IN BED V e rsio n I : P l a y w h o le s c e n e t h r o u g h l a u g h t e r . V e rsio n I I : P la y th e r e s t o f t h i s sc e n e up to a n d i n c l u d i n g FREDDIE’ S l i n e : FREDDIE He l o o k e d s o h e l p l e s s . • . h e d e p e n d e d e n t i r e l y oh m e . . .

3

THE DOORWAY - MR. JORGENSEN COMES

IN

He l i s t e n s a m o m e n t, p u t s on h i s g l a s s e s , t h e n ta k e s o u t t h e rew ard n o t ic e and c o n s u lts i t . O v e r h im we h e a r : CONCHITA’ S T h ey a l w a y s d e p e n d o n t r a m p s . . . I f i t w a s n ’t u s women c o u l d g e t i n

VOICE u s ...th o s e f o r lo v e w here t h i s wo r i d I

FREDDIE’ S VOICE I suppose s o . CONCHITA’ S VOICE W hat c a n y o u s e e i n h im a n y w a y ? . . . j u s t one b i g g r o a n . (CONTINUED)

*5 3

(CONTINUED) B la c k ie g ro an s* FREDDIE’S VOICE I d o n ’ t know* • .m a y b e t h e w ay h i s h a i r c u r l s a r o u n d h i s e a r s . . . I d o n ’ t know w hat e l s e i t c o u ld b e . . . I g u e s s t h a t ’ s i t ... Now M r . J o r g e n s e n c l e a r s h i s t h r o a t .

4

CLOSE SHOT - FREDDIE AND CONCHITA T hey s t a r t g u i l t i l y a n d l o o k a t M r . J o r g e n s e n . (CONTINUED) F o llo w in g i s

g iv e n d e f i n i t i o n s

w r i t i n g and s h o o t i n g

s c r i p t s and r e f e r r i n g

Enough te r m s h av e b e e n i n c lu d e d her firs t

p o sitio n

o f v o c a b u la ry u sed in

in a s tu d io

to p ic tu re s .

s o t h a t a s t e n o g r a p h e r on sh o u ld be a b le t o

u n d e rsta n d

th e d ic ta tio n . VOCABULARY^ A n g le s h o t :

A nsw er p r i n t :

A m o tio n p i c t u r e s c e n e w h ic h c o n t i n u e s o r d u p l i c a t e s th e a c t i o n fro m o r o f th e p re c e d in g scen e b u t i s p h o to g ra p h e d fro m a d i f f e r e n t a n g le . T he f i r s t

re le a se

p r i n t m ade o f a p i c t u r e .

^ B a r r e t t C. K i e s l in g , T a lk in g P i c t u r e s J o h n s o n P u b l i s h i n g C o m p an y , 1 9 3 7 ) , P P • 3 0 1 - 3 2 2 .

(New Y o r k :

36 A rran g er: B illin g :

B it:

M u sic a l t e c h n i c i a n . Term f o r p l a c i n g a n d s i z e o f t y p e u s e d i n a d v e r ­ t i s i n g th e p la y e r s ; s t a r b i l l i n g , f i r s t p la c e ; f e a t u r e d b i l l i n g ; 3 r d p l a c e ( tw o s t a r s ) .

S m a ll p a r t w ith

B lo w -u p : B lo w :

sp e a k in g l i n e s .

S t i l l p h o t o g r a p h i c t e r m f o r a l a r g e p r i n t m ade fro m s m a ll n e g a t i v e .

To f o r g e t t h e l i n e s .

B lu rb :

N ew spaper ite m in p r a i s e o f p i c t u r e .

B .O .:

Box o f f i c e .

Boom:

E i t h e r cam era o r m ic ro p h o n e boom . C a m e ra boom c a n s w i n g i n a c i r c l e , c a n e x t e n d 30 f e e t . U se d f o r s c e n e s e m p h a siz in g a c t i o n .

B u sin e ss:

Any b i t o f c h a r a c t e r i s t i c a c t i o n b y a p l a y e r .

"C am era” :

T ra d itio n a l s ta r tin g s ta r t scene.

C e lls:

In d iv id u a l p ie c e s o f c e llu lo id a r e d raw n .

C lo se u p :

T he w r i t t e n f o i m o f t h e p h o t o p l a y .

Command t o

Cut b a c k :

on w h i c h c a r t o o n s

The m a jo r s u b j e c t o c c u p i e s a l a r g e p o r t i o n o f to ta l space.

C o n tin u ity : C u t:

command o f d i r e c t o r t o

c o m p lete a s c e n e .

A s c e n e w h ic h r e v e r t s t o p r e v i o u s a c t i o n .

C ut i n :

An i n c i d e n t a l s c e n e o r s u b j e c t i n s e r t e d , b r e a k i n g th e c o n tin u ity .

C u tte r:

P e r s o n who s e l e c t s and a r r a n g e s p h o t o g r a p h e d scenes* A lso c a l l e d f i l m e d i t o r .

C u ttin g :

F ilm e d i t i n g .

37 D a ilie s :

A lso c a l l e d r u s h e s . t a k e n i n one d a y .

D iss o lv e :

D o lly :

G radual t r a n s f o r m a tio n o f one p h o to g ra p h e d scen e in to a n o th e r. In a la p - d is s o lv e , th e f a d e - in of one s c e n e i s s u p e r im p o s e d upon t h e f a d e - o u t o f th e o th e r .

A ty p e o f m o v ab le c a m e ra p l a t f o r m .

D o lly up: D u b b in g :

V e r b , move u p . R e r e c o r d in g a sound r e c o r d by e l e c t r i c a l m e a n s.

Dupe:

A d u p lic a te n e g a tiv e .

E x t.:

E x te rio r: of d o o rs.

Fade in :

F e a tu re :

have been ta k e n out

G rad u al d is a p p e a ra n c e of sc re e n M o tio n p i c t u r e

im a g e .

o f f i v e r e e l s o r m o re.

A s h o r t s c e n e , u s u a l l y o c c u p y in g n o t m ore t h a n 3 to 5 fe e t of film .

F la sh back:

A sh o rt cut back.

F o llo w s h o t: F ree la n c e : G affer: G rip :

sc e n e w h ic h a p p e a r s t o

G ra d u a l a p p e a ra n c e o f p i c t u r e fro m t o t a l d a r k n e s s .

Fade o u t:

F la sh :

S c e n e s o f one p i c t u r e

C a m e ra f o l l o w s p e o p l e o r o b j e c t s a s t h e y m o v e; a ls o c a lle d tru c k in g sh o t or d o lly s h o t. S creen p la y e r n o t u n d er c o n t r a c t .

H e ad e l e c t r i c i a n

o f th e u n i t .

C a r p e n t e r o r p ro p m an.

Ju ic e r:

E le c tric ia n .

L ead er:

B lan k f i l m

L o c a tio n :

a t b e g in n in g o f r e e l .

Any p l a c e o u t s i d e in g ta k e s p la c e .

s t u d i o g a t e s w here p h o to g r a p h ­

SB L ong S h o t :

S u ffic ie n t d ista n c e to of scene.

M edium S h o t : M egger:

M edium d i s t a n c e o r k n e e l e v e l a n d a b o v e h e a d o f p erso n .

D ire c to r.

M o n ta g e: O .S .:

S e r i e s o f q u ic k d i s s o l v e s o r " w ip e s” •

O ff s ta g e .

Pan (fro m p a n o ram a): P ix :

i n c l u d e c o m p le te v iew

To m ove c a m e r a .

P ic tu re s.

P ro p e rty :

Any m o v a b le t h i n g i n a s e t t i n g .

P r o p m an:

T e c h n ic ia n i n

Q u ic k ie : R e e l:

A c h e a p p i c t u r e m ade q u i c k l y — 6 d a y s a n d n i g h t s .

U su a lly about 1000 f e e t .

R e v erse S h o t: R o u g h -c u t:

A scene

D a ilie s .

S c rip t:

S c e n a rio .

Shoot i n g :

P h o to g ra p h in g .

Sma s h e r o o :

A "h i t " .

S tin k e ro o :

A "flo p ".

S w itc h e ro o :

T akem :

p h o to g ra p h e d fro m o p p o s i t e d i r e c t i o n .

F i r s t a sse m b ly o f s c e n e s .

R ushes:

Take:

charge o f p r o p e r t i e s .

C hange i n

p lo t

stru c tu re .

One s h o t . S tro n g f a c i a l r e a c tio n .

T en P e r c e n t e r :

An a g e n t .

39 T e st:

T r ia l shot o f p erso n or sc e n e .

T re a tm e n t:

The s t o r y w r i t t e n o u t w i t h s c e n e s a n d d ia lo g u e su g g e ste d * P o in t b e tw e e n o r i g i n a l s t o r y and s c e n a r i o .

T ru c k in g s h o t: W ip e :

Same a s d o l l y

sh o t.

T r a n s i t i o n o f one s c e n e i n t o a n o t h e r b y w i p i n g t h e f i r s t o f f t h e s c r e e n a n d r e v e a l i n g t h e n ew s c e n e b e h in d i t .

Work p r i n t : Zoom s h o t :

U sed d u r i n g t h e e d i t i n g

and p re v ie w .

Made a s c a m e r a q u i c k l y m o v es u p t o

an o b je c t.

SUGGESTIONS AS TO HOW MATERIALS MAY BE OBTAINED 1.

S c rip ts.

I t is

e s s e n tia l th a t th e

h a v e a l a r g e num ber o f s c r i p t s f o r t h e w i t h and t o

use fo r d i c t a t i o n .

r e lu c ta n t or re fu s e to p o ss ib le

f o r th e

w i l l g i v e aw ay i t s

s t u d e n t s t o w ork

Many o f t h e s t u d i o s

g iv e out m a t e r i a ls , b u t i t

in s tru c to r to fin d o ld s c r i p t s .

o u ts id e rs to use th e se

stru c to r

s tu d e n ts copy th e

sc rip t

in

may b e

I f n o t, th e U n iv e rs ity of It

i n t h e R e f e r e n c e Room .

can c o m p ile a l i b r a r y

are

some s t u d i o s itfhich

S o u t h e r n C a l i f o r n i a L i b r a r y h a s m any s c r i p t s . fo r

in stru c to r

is

p o ss ib le

The i n ­

o f s c r i p t s by h a v in g th e

s h o rth a n d and t r a n s c r i b e

it.

A bo o k o b t a i n a b l e a t t h e P u b lic L i b r a r y , M o tio n P i c t u r e C o n tin u itie s

c o n t a i n s t h r e e s c r i p t s w h ic h can b e d i c t a t e d

5 F r a n c e s T a y lo r P a t t e r s o n , M o tio n P i c t u r e C o n t i n u i t i e s (New Y o r k : S t r a t f o r d P r e s s , 1 9 2 9 ) *

,

90 and t r a n s c r i b e d by t h e 2. o u tlin e

S to ry o u t l i n e »

is

sim p le n a r r a t i v e *

c o m p le te d e t a i l s p ic tu re , p lo t,

in

of a l l th e

and so m e tim e s i t

le a v in g a l l

tre a tm e n t* th ey

stu d e n ts *

th e

As t h e s e

I t w i l l be n o te d t h a t a s to ry

S o m e ti m e s t h e

a c tio n ta k in g p la c e

g iv e s o n ly th e

o u tlin e .

id e a is

su ffic ie n t

c in e m a s e c t i o n

a book th e

stru c to r

and g r a m m a r .

seen,

fo r

S tu d e n ts

re v ie w s of p i c t u r e s

each s tu d e n t w r ite

an o u t l i n e , t h e

in ­

c a n c o l l e c t a l a r g e n u m b e r o f th e m i n o r d e r t o

3*

T re a tm e n ts .

f o r n e w -m a tte r d i c t a t i o n . T re a tm e n ts a r e a ls o

s t u d e n t , recom m ended f o r b u i l d i n g in stru c to r

i s u n a b le t o

phase o f tr a in in g

a b le to

on w h ic h t o w r i t e an

o f t h e d a i l y p a p e rs or m a g a z in e s, o r

have s u ffic ie n t m a te ria l

th is

in s tr u c to r to use

s t u d e n t t h i n k s w o u l d m ake a g o o d p i c t u r e .

By h a v i n g

I f th e

sim p le la n g u a g e ,

W ritin g o u t l i n e s p ro v id e s e x c e lle n t t r a i n i n g

c a n w r i t e o u t l i n e s fro m p i c t u r e s

fo r th e

in

s p e e d and e n d u r a n c e .

s tu d e n ts in v o c a b u la ry , p u n c tu a tio n ,

in th e

i d e a f o r t h e m a in

o u tlin e s are w r itte n

to b u ild

Any s t o r y

in th e

d e t a i l s t o b e w orked o u t i n t h e

p ro v id e e x c e lle n t m a te r ia l f o r th e

d ic ta tio n

o u tlin e g iv e s

tra n sc rib e

in

speed-an d en d u ra n ce .

o b t a i n t r e a t m e n t s fro m a s t u d i o ,

may b e o m i t t e d , a s , sc rip t

easy d i c t a t i o n

if

th e

stu d e n t is

f o r m a t, t h e form f o r w r i t i n g

91 tre a tm e n ts can be q u ic k ly le a rn e d * ev er,

fro m th e

tre a tm e n t

sa m p le t r e a t m e n t h e r e i n

fo rm i s

d ic ta te to

in c lu d e d , t h a t

a c o m b in a tio n o f s t o r y o u t l i n e

The i n s t r u c t o r c o u l d to

I t w i l l b e n o t e d , how ­

and s c r i p t .

e a s i l y ch an ge th e w o rd in g o f a s c r i p t

s tu d e n ts

i n t r e a t m e n t f o r m a n d i n t h i s way

o b t a i n a num ber o f t r e a t m e n t s . SUGGESTED PROCEDURES I.

O b je c tiv e s: A.

To f a m i l i a r i z e t h e s t u d e n t w i t h w r i t i n g

sto ry

o u tlin e s. B.

To t e a c h t h e

s tu d e n t to w r i t e up d i c t a t i o n

on

tre a tm e n ts in p ro p e r fo rm a t. C.

To t e a c h t h e tra n sc rib e

D.

in

To t e a c h t h e

s tu d e n t to ta k e d i c t a t i o n and s c r ip t fo rm a t. stu d e n t to ta k e d ic ta tio n

on added

s c e n e s and r e t a k e s and t r a n s c r i b e i n p ro p e r f o r m a t. E.

To

b u ild

s p e e d and

en d u ran ce in ta k in g d i c t a t i o n .

F.

To

f a m ilia r iz e th e

s tu d e n t w ith p i c t u r e v o c a b u la ry .

G.

To

i m p r o v e command

o f E n g l i s h g ra m m a r,p u n c t u a t i o n ,

a n d vo c a b u 1 a r y . II.

P ro ced u res: A.

In

c o n n e c tio n w ith

sto ry

o u tlin e s,

E ach s t u d e n t m i g h t w r i t e o n e o r m o re o u t l i n e s b a sin g i t

on a p i c t u r e , b o o k , o r s h o r t

sto ry .

The t e a c h e r c o u l d t h e n c o r r e c t t h e o u t l i n e g iv e th e

or

s t u d e n t s u g g e s t i o n s a s t o how t o

im p ro v e i t . The i n s t r u c t o r c o u l d u s e t h e s e o u t l i n e s f o r d ic ta tio n ,

a t g ra d u a lly in c re a s in g

sp eed s and

f o r g r a d u a lly lo n g e r i n t e r v a l s to b u ild

speed

and e n d u r a n c e . The i n s t r u c t o r c o u l d c o r r e c t t h e f i r s t t r a n ­ s c rip tio n

if

th e re are

e r r o r s in

g ra m m a r o r

p u n c tu a tio n . c o n n e c tio n w ith s c r i p t s and v o c a b u la r y , E ach s t u d e n t m i g h t c h o o s e o n e s c r i p t f r o m t h e U n iv e rs ity

o f S o u th e rn C a lif o r n ia R e fe re n c e

L ib ra ry to

c o p y , t w e n t y - f i v e p a g e s f o r one

w eek ’ s a s s ig n m e n t, and t r a n s c r i b e

it.

Each s t u d e n t c o u ld c o m p le te one s c r i p t . The i n s t r u c t o r d ic ta tio n to

c o u ld u s e t h e s e

fa m ilia riz e th e

s c rip ts fo r

s tu d e n ts w ith

s c r ip t te rm in o lo g y . It

is

s u g g e s te d t h a t t h e i n s t r u c t o r p re v ie w

a l l u n f a m i li a r te rm s b e f o r e t h e d i c t a t i o n and

93 te a c h th e

s t u d e n t s s h o r te n e d fo rm s f o r t h e

m o s t common e x p r e s s i o n s , a.

C a m e ra p u l l s b a c k :

b.

C lo se s h o t : ^ ^

c.

C lo se u p : ^ 7

d.

Cut t o :

e.

D iss o lv e :

f.

D iss o lv e in :

g.

D iss o lv e o u t:

h.

D iss o lv e t o :

i •

E x te rio r

j .

Fade i n :

k.

Fade o u t :

1.

Long s h o t

m.

M edium s h o t

n.

O .S . V

o*

O ff s ta g e

p.

R ev erse s h o t:

q.

T ru c k in g s h o t :

It

is

a.

Os'

^

su g g e ste d t h a t th e

p ra c tic e

i.e .:

s tu d e n ts re c e iv e

some

i n t r a n s c r i b i n g t h e i r n o t e s m ak in g

S i x c a r b o n s on o n i o n s k i n p a p e r ,

as re q u ire d

a t som e s t u d i o s . b.

F o u r c a r b o n s on y e ll o w p a p e r u n d e r a s t e n c i l , a s r e q u i r e d a t one s t u d i o .

94 6*

The i n s t r u c t o r m ig h t d i c t a t e m i n o r c h a n g e s in is o la te d

pages o r scenes to

stu d e n ts p r a c tic e th e

in in s e r tin g

g iv e th e changes a f t e r

s t u d e n t s h a v e becom e f a m i l i a r w ith w o rk ­

in g w ith s c r i p t s * 7*

T he i n s t r u c t o r m i g h t g i v e s t u d e n t s p r a c t i c e in c h e c k in g

s c r i p t s by g i v i n g t h o u s c r i p t s

w ith p a g e s o u t o f o r d e r and m is s in g * 8.

T he s t u d e n t s m i g h t r e c e i v e t r a i n i n g s c r i p t w ith ch an g es w r itte n

i n c o p y in g

i n lo n g h a n d by t h e

in stru c to r * 9*

The s t u d e n t s l e a r n t o

p r o o f r e a d b y h a v in g one

s tu d e n t r e a d and a second s tu d e n t w a tc h s c r i p t to 10 *

c a tc h

ty p o g r a p h i c a l e r r o r s an d o m issio n s*

The i n s t r u c t o r m i g h t d i c t a t e t o t h e

s tu d e n ts

t o t h e t y p e w r i t e r h a v i n g th e m w r i t e

on s t e n c i l s

d r paper* F u r th e r stu d y of th e

jo b a n a l y s i s o f th e

d e p a r t m e n t show s t h a t t y p i n g c a l l is

one o f i t s

d u tie s.

s h e e ts and sh o o tin g sc h e d u le s

F o llo w in g i s

a n d tw o e x a m p l e s o f s h o o t i n g

ste n o g ra p h ic

an e x a m p le o f a c a l l s h e e t

sc h e d u le s.

C A L L 27TH SHOOTING DAY PICTURE SET

"MY BLUE HEAVENtr

S H E E T * DATE

95 FRIDAY, JAN 6 , 1 9 5 0

# A -5 # 9 _________ DIRECTOR HENRI KQSTER

IN T . TELEVISION STAGE - DAI - SC 29

LOCATION STAGE # 2 ,W .A .

sET'T trrrim rts'1or

fe fw .r .

— « »----- F2,W 7JC 7

S E T J W : SrTAGE_''0 F " m i r V T ^ 0 N “ g T T O T 0 - T J rC H T ^ ^ 2 L O C A T I ON SET T ilf.S T A g E uF TELEVISION ^ iT O ld - N I 5 I T r -^ ( J 2 ^ LOCATION

~ # 2 7W .A .

t o e ---------------------

BETTI GRABLE DAN DAILEI M IT Z I GERBER B I L L I DANIELS DAVID WAINE ATMOS.PER REQUISITION STANDINS

9 9 9 9 9 9 a

AM AM AM AM AM AM GATE AM GATE

8: 3 0

7

AM

8: 3 0 8: 3 0

IN T . STAGE - SC 22 DAN DAILEI B ETTI GRABLE M IT Z I GERBER ATMOS. STANDINS IN T . WINGS OF TELEVISION STAGE JANE WIATT DAVID WAINE LARRI KEATING M IT Z I GERBER DON HICKS ATMOS . STANDINS

TIME

LATER

TIME

LATER

TIME

LATER

SATURDAI, JA N .7 , 1 9 5 0

IN T . STAGE - SC kkB DAN DAILEI BETTI GRABLE JANE WIATT DAVID WAINE LEE MCGREGOR

SC 52A

TIME

LATER

RECORD COPI FILED B I PRODUCTION O FFIC E .

CONT. I N T . TELE­ VISION STAGE STAGE # 2 W.A. THEN IN T . LAWIER1S STUDI - STAGE # 2 FOX HILLS AND AT NIGHT EXT. ROADSIDE TAVERN CAFETERIA

96 SHOOTING SCHEDULE DATE DIRECTOR HENRY KOSTER NO.' A s s t • D i r . - Ad S c h a u m e r DAY AND NO. DATE DAYS 1

MON. T275

TUES. 1 2 /6 WED.

T Z fl

NAME Of SET & SCENE NUMBERS

caSt

KITTY JACK WALTER JANET

LOCATION

B i t '" A n n o u n c e r " B it " O rc h e s tra L ead er" B i t "Soundm an"

STAGE #2 - W .A.

A tm o s . "MY BLUE HEAVEN" - THEME SONG DEDUCTIBLE NUMBER WITH KITTY, JACK AND QUARTET K i t t y t e l l s J a c k she i s p r e g n a n t . TN T.“ CUNTROIT “ WALTER “ B i t '" S o u n d m a n " STAGE # 2 BOOTH AT JANET - W .A. BROADCASTING A tm o s. STUDIO - DAY SC. 5 3 /4 PP rin g le s re a c t to ra d io b ro a d c a st. EXT. PRINGLE KITTY HOTEL AND JACK STREET - NIGHT

SC. 10 5 P. M orans l e a v e p a r t y 12/11

EXTRAS AND BITS

O rc h e s tra

4 1 /4 P.

1/2

SATURDAY rajH T — 12716—

AND COSTUME NOS.

PICTURE "MY BLUE HEAVEN”

IN T . CORRIDOR KITTY STAGE #3 4 B its AND DRESSING JANET - W .A. ROOM - DAY WALTER A tm o s. SC S. 2 - 3 “ 6 - 7 5 1 /2 P . K i t t y i s l a t e f o r b r o a d c a s t - M orans t e l l dog a b o u t b a b y •

3 1 / 2 INT.RADIO STATION STAGE - DAY SC S. 4-A 5

THU. T7 /6 F R I. W 9

A-5&9

D ecem ber 2 , 1949

B i t "P o lic e m a n "

NEW N.Y 2 S t u n t D o u b le ST. D o u b le F o r " J a c k " D o u b le f o r " K i t t y " E x tra s - a c c id e n t

S U N D A Y

RECORD COPY FILED BY PRODUCTION O F FIC E .

97 DAILY SHOOTING SCHEDULE FOR FRIDAY, JAN * 6 » 1 9 5 0

1 /6

KOSTER "MY BLUE HEAVEN » A-5&9 F rid a y 9AM W e s .A v e . IN T . T . V . STAGE-DAY S ta g e 2 INT.WINGS OF T.V .STAG E-NITE tr INT.STAGE OF T .V .ST U D IO -N IT E

1 /7

S a tu rd a y THEN THEN AT NITE

I N T . T . V. STAGE W e s .A v e . S ta g e 2 S ta g e 2IN T . LAWYER'S STUDY (F .H .) CAFETERIA EXT. ROADSIDE TAVERN

1 /9

M onday n i t e

1 /6

KAZAN "OUTBREAK” A -5 9 0 F rid a y

1 /6

New N .Y . S tre e t

EXT. NEW YORK STREET

COMPANY SHOOTING AT NEW ORLEANS LOCATION

PREMINGER "WHERE THE SIDEWALK ENDS" A -5 9 1 F r i day COMPANY SHOOTING AT NEW YORK LOCATION! HATHAWAY "RAWHIDE” A -592 5AM

l /6

TEST DEPT. F rid a y

l /6

RE-RECORDING DEPT. F rid a y

1 /6

MUSIC DEPT+ F rid a y

1 /6

REHEARSAL UNIT F rid a y

FIFTEEN PEOPLE, AS NOTIFIED LEAVING VIA BUS FOR LONE PINE LOCATION- WILL START THE PICTURE AT LONE PINE ON WED-, JAN. 1 1 . MAY HAVE CALL FOR STOCK T ESTS. WILL CONFIRM LATER TODAY(THURS. ) CONTINUE RE-RECORDING OF "BROKEN ARROW” A -575

NO CALL SCHEDULED.

WORKING WITH "MY BLUE HEAVEN” COMPANY AT WESTERN AVE. STAGE 2 R . A . KLUNE

98

T ak in g t e l e p h o n e

c a lls

fo rm ed m ost c o n s c i e n t i o u s l y . th a t

i s a d u ty t h a t It

m ust b e p e r ­

i s o f u tm o st im p o rta n c e

e a c h c a l l be. r e c o r d e d , w i t h t h e t i m e o f t h e

th e m essage.

F o llo w in g i s

re c o rd in g te le p h o n e

c a lls .

c a ll

and

a fo rm u s e d a t one s t u d i o f o r (P age 9 9 -)

SUGGESTED PROCEDURES I.

II.

O b je c tiv e s: A*

To t e a c h

s tu d e n ts to

fill

out c a ll

sh e e ts.

B.

To t e a c h

s t u d e n t s t o m ake o u t a s h o o t i n g

C.

To t e a c h

s t u d e n ts to ta k e and r e c o r d te le p h o n e

sc h e d u le . c a lls .

A c tiv itie s: A.

T h e t e a c h e r m i g h t h a v e some C a l l S h e e t s m i m e o g r a p h e d and have s tu d e n ts f i l l

th e m i n f r o m a c a s t t h e y h a v e

chosen f o r any s h o o tin g s c r i p t . B.

T h e s t u d e n t s m i g h t m ake o u t a s h o o t i n g any sh o o tin g

C.

sc h ed u le f o r

s c r i p t t h e y a r e w o rk in g o n .

The i n s t r u c t o r m i g h t g i v e s t u d e n t s t e l e p h o n e m e s s a g e s and

see t h a t th e y a re p ro p e rly re c o rd e d w ith th e

m essage, th e

te le p h o n e num ber o f t h e

c a lle r,

and t h e

tim e c a l l e d . D.

The i n s t r u c t o r t h e n m ig h t h a v e t h e

s tu d e n ts c a ll th e

p e r s o n b a c k i n tw o o r t h r e e d a y s t o in fo rm a tio n h as been c a r e f u lly k e p t.

see th a t a l l

th e

TELEPHONE CALLS DAY C A L L IN

MONTH CALL OUT

NUMBER

99 YEAR

T I ME CALLED

REMARKS

CHAPTER V I I I EXECUTIVE STENOGRAPHIC DUTIES C h a p te r V I I I c o v e rs t h e d u t i e s o f t h e s e c r e t a r y t o a w rite r,

d ire c to r,

p ro d u c e r, and th e

T h ese c a t e g o r i e s w ere c h o se n f o r th e 1*

has been stu d ie d ,

I f th e

d u tie s of s e c re ta rie s

th e fe lt

T here a r e

im p ra c tic a l to The f i r s t

reaso n s: ste n o g ra p h e rs

d e p a r t m e n t , w h ic h or fo r a p ro d u cer.

s tu d e n t h as been t r a i n e d t o

a stu d io

p erfo rm th e

c a t e g o r i e s , he w i l l b e

except

in a v ery s p e c ia l­

so fe w p o s i t i o n s i n a s t u d i o r e q u i r i n g o f th e

l e g a l d e p a rtm e n t t h a t i t

i n c l u d e th em i n t h i s

w h ic h f o l l o w s .

co u rse.

A jo b d e s c r i p t i o n

o f M e tro -G o ld w y n -M a y e r o f th e w r i t e r ’ s s e c re ta ry

fro m P aram ount P i c t u r e s can b e fo u n d i n th e

A p p e n d ix .

w i l l b e n o t e d t h a t m any o f t h e s e d u t i e s a r e t h e s im ila r to th e

was

p o s itio n to be s tu d ie d w i l l be th e w r i t e r ’s

fro m a jo b d e s c r i p t i o n

It

sa m e a s o r

d u t i e s p e rfo rm e d by s t e n o g r a p h e r s i n t h e

s te n o g ra p h ic d e p a rtm e n t. stu d ie d h e re .

be se t#

such a s th e l e g a l d e p a rtm e n t*

sp e c ia liz e d tra in in g

se c re ta ry ,

ste n o g ra p h ic

in th e se th re e

a b l e t o work: a n y p l a c e i n o ffic e ,

o f th e

fo r a w rite r, a d ire c to r,

2.

3*

fo llo w in g

R o u g h ly , a b o u t t h r e e - f o u r t h s

i n a s t u d i o w o rk e i t h e r i n t h e

iz e d

sta n d a rd s to

O n ly a d d i t i o n a l d u t i e s w i l l b e

101 METRO-GOLDWTN-MAYER PICTURES L abor R e la tio n s O ffic e JOB DESCRIPTION P a y ro ll T itle S e c tio n

/

W rite rs

U n it

D e sc rip tiv e T it l e

S u p e rv iso r T itle

M iss E d it h F a r r e l l D e p a rtm e n t H ead

E m p lo y e e D a te o f Job D e s c r i p t i o n 1 0 /2 5 /4 6

J o b Sum m ary:

I •

As d e t a i l e d b y S e n i o r S c r i p t W o rk D esk C l e r k , s e r v e s a s W r i t e r Ts S e c r e ­ t a r y f o r t h e d u r a t i o n o f t h e - W r i t e r 1s a ssig n m e n t to one p ro d u c tio n ; p e rfo rm s m is c e lla n e o u s d u t ie s f o r S c r ip t D e p a rt­ m en t; and p e rfo rm s o t h e r r e l a t e d d u t i e s

As d e t a i l e d b y S e n i o r S c r i p t Work D e s k - C l e r k o r d i r e c t l y b y D ep artm en t H ead, s e r v e s a s W r i t e r * s S e c r e t a r y f o r t h e d u r a ­ t i o n o f W r i t e r ys a s s i g n m e n t t o

P erfo rm s any or a l l A.

o f th e fo llo w in g d u tie s

C lo c k s i n and o u t o f S c r i p t D e p a r tm e n t, a n d know s an d a p p lie s ru le s

B.

o f S c r i p t D ep artm en t

R e p o r t s d a i l y t o W r i t e r e i t h e r a t home o r o n L o t a t s t i p u l a t e d tim e

C.

one p ro d u c tio n

o r when c a l l e d

Takes d i r e c t d i c t a t i o n to th e ty p e w r ite r o r c o p ie s fro m ro u g h d r a f t lo n g h a n d

or c o rre c te d ty p e w ritte n

copy SSNXKERSITY OF SOUTHERN CALIFORNIA LIBRARX

102 1.

Types s t o r y m a t e r i a l i n v a r io u s sy n o p s is ,

sto ry tre a tm e n t,

sta g e s

(o u tlin e ,

d ia lo g u e tre a tm e n t,

sc rip t) 2.

T akes d i c t a t i o n fro m a g r e a t v a r i e t y o f p e rs o n s w ith v a rio u s a c c e n ts , b ack g ro u n d s and te m p e ra ­ m e n ts , and o c c a s i o n a l l y t a k e s d i c t a t i o n u su a l v o c a b u la ry , fo re ig n

3*

h isto ric a l,

or te c h n ic a l p h rases

As r e q u e s t e d b y W r i t e r , tio n

4*

such a s l e g a l ,

o f un­

s u g g e s ts w o rd s, p u n c tu a ­

o r cam era te rm s

As r e q u e s t e d , l i s t e n s s y m p a t h e t i c a l l y t o W r i t e r * s e x p la n a tio n and d e s c r i p t i o n

o f s to r y and o f f e r s

p erso n al re a c tio n s 5*

Types s ix

c o p ie s o f a l l m a te r ia l a n d /o r c u ts

s t e n c i l w ith o r w ith o u t f o u r c a rb o n s , a c c u ra te ty p in g .

R e fers q u e stio n s

o f c o n te n t

t o W r i t e r and q u e s t i o n s o f fo rm a t t o S c r i p t W o rk -D e s k C l e r k .

re q u irin g

S e n io r

W o rk s u n d e r p r e s s u r e

w hen t y p i n g m a t e r i a l t o m e e t d e a d l i n e s . . R e sp o n sib le fo r m a in ta in in g p ro p e r sequence o f sc e n e and p ag e n um bers r e s u l t i n g m ade i n

fro m c h a n g e s

s c r i p t , fo llo w in g o r a l in s tr u c tio n s

u s i n g own i n i t i a t i v e .

or

W a tc h e s c o n t i n u i t y a n d

m akes c h a n g e s a f t e r c o n s u l t a t i o n w ith W r i t e r

103 6.

P ro o fre a d s a l l ty p e d m a t e r i a l f o r ty p o g r a p h ic a l e rro rs,

p u n c tu a tio n and th e

o f p a g e s and of a ll

scenes.

R e sp o n sib le f o r a c c u ra c y

ty p e d m a te r ia l,

Sends c o p ie s to

c o r r e c t n u m b erin g

p a rtic u la rly s te n c ils .

S c r i p t D e p artm en t f o r

sp o tc h e c k

f o r a c c u r a c y o f fo rm a t and n u m b erin g o f p a g e s and s c e n e s a n d f o r f i l i n g a.

1s t and 4 t h

c o p i e s and o r i g i n a l

d ic ta tio n )

o f a l l w o rk m u s t b e p r o p e r l y

id e n tifie d

and s u b m itte d t o

m ent t o b e f i l e d 7.

sc rip t

d ra ft pages.

fo r p re p a rin g

from a c c u m u la tio n o f num ero u s ro u g h Types s c r i p t

i n f i n a l f o r a and

a sse m b le s i n p ro p e r se q u e n c e . form t o

S c r ip t D e p a rt­

f o r le g a l p u rp o ses

O c c a s i o n a l l y may b e r e s p o n s i b l e fin a l

£.

( if not

S u b m its f i n a l

S e n i o r S c r i p t W o rk - D e s k C l e r k f o r c h e c k

R e sp o n sib le

f o r w a tc h in g p ro g re s s of s to ry

m a t e r i a l and r e p o r t i n g t o S c r i p t D e p artm en t H ead w hen r e a d y f o r s t e n c i l l i n g 9*

O c c a s i o n a l l y r e s p o n s i b l e f o r b r e a k i n g down s c rip ts in to fo r

D.

sto ry

one l i n e

c o n ti n u ity o r sy n o p sis

co n feren ces

M a i n t a i n s W r i t e r 1s c o p i e s o f s t o r y m a t e r i a l , d e l e t i n g an d i n s e r t i n g p a g e s a s n e c e s s a r y , and a s i n s t r u c t e d p re p a re s co v ers f o r le g a l p u rp o ses

104 E.

As r e q u e s t e d b y W r i t e r ,

r e a d s r e f e r e n c e b o o k s fro m

R e se a rc h D ep artm en t o r l i b r a r i e s 1.

M akes p e n c i l l e d n o t e s o f r e f e r e n c e s t o

sp e c ific

to p ic s 2.

I n s e r t s b o o k m a rk s f o r

fu tu re use o f W rite r

3*

Reads book or s y n o p s is

o f s to r y to be f a m ilia r

w ith s t o r y and c h a r a c te r s F.

A n s w e rs t e l e p h o n e a n d p l a c e s c a l l s f o r W r i t e r 1.

M a in ta in s d i r e c t o r y o f f r e q u o i t l y c a l l e d num bers

2.

S creen s c a l l s .

D e f e r s u n w a n te d c a l l s a s

d ir e c te d by W rite r 3*

M akes a p p o i n t m e n t s a s r e q u e s t e d b y W r i t e r o r a f t e r c o n s u l t a t i o n w i t h h im

G.

T a c tf u lly e x p la in s S c r ip t r u l e s f o r form at or p ro ced u re and, i f n e c e ssa ry , r e f e r s q u e stio n s r a i s e d by W r i t e r t o

S c e n a r i o D e p a r t m e n t H ead o r

S c r i p t D e p a r t m e n t Head H# II.

P e rfo rm s r e l a t e d d u t i e s . a s r e q u e s t e d by W r ite r

P e rfo rm s m i s c e l l a n e o u s d u t i e s f o r S c r i p t D e p artm en t A.

W h ile on a s s i g n m e n t t o W r i t e r 1.

Types s t o r y m a t e r i a l w h ile w a i ti n g f o r d a i l y c a l l fro m W rite r

2.

As r e q u e s t e d , w o r k s o v e r t i m e o r r e m a i n s i n D e p artm en t

105 3*

A s s i s t s o t h e r W r ite r s S te n o g ra p h e rs by ty p in g sto ry m a te ria l,

p r o o f r e a d in g o r a n sw e rin g

te le p h o n e s 4*

D u rin g f r e e tim e r e q u e s t s m a t e r i a l fro m S c r i p t D e p a rtm e n t a#

P r o o f r e a d s w o rk w i t h a n o t h e r S e c r e t a r y . R e sp o n sib le f o r p ro p e r fo rm at of a l l

such

m a te ria l B.

B e tw e e n a s s i g n m e n t s t o W r i t e r s 1.

Types s t o r y m a t e r i a l in S c r i p t D e p a rtm e n t, fo llo w in g o r a l and w r i t t e n

2.

in stru c tio n s

As d e t a i l e d b y S e n i o r S c r i p t W o rk -D e s k C l e r k , s u b s ti t u t e s in P ro d u c e rfs or E x e c u tiv e ’ s o f f ic e o r o th e r o f f ic e s on th e Lot f o r s te n o g ra p h ic or s e c r e ta r ia l

em p lo y ee s on v a c a t i o n s , s i c k

le a v e s, days o ff, a.

o r d u rin g lu n ch h o u rs

A n sw ers t e l e p h o n e s an d r e c e i v e s v i s i t o r s . O p e ra te s sm a ll o f f i c e s e v e r a l in co m in g c a l l s O p e ra te s D ic to g ra p h . lis ts

b.

sw itc h b o a rd t o

s im u lta n e o u s ly . T akes m e ssa g e s and

in c o m in g c a l l s

P erfo rm s r e l a t e d

d u tie s as a ssig n e d .

O c c a s i o n a l l y w orks u n d e r d i r e c t i o n a n o th e r s e c re ta ry

h a n d le

of

106 C.

M a in ta in s each d a y .

r e c o r d by t h e h o u r o f w o rk c o m p le te d S u b m its t h i s in f o r m a ti o n t o

Ju n io r

D e p a r t m e n t C l e r k on a m im e o g r a p h e d f o r m D.

P erfo rm s r e l a t e d

d u tie s a s a ssig n e d

W o r k in g C o n d i t i o n s In te rm itte n t

o p e ra tio n

of ty p e w rite r in

cro w d ed ro o m .

107 SUGGESTED PROCEDURES I.

O b je c tiv e s: A*

To t e a c h

stu d e n t to l i s t e n

t o a s t o r y and o f f e r

p erso n al r e a c tio n s . B.

To t e a c h

stu d e n t

t o w o rk u n d e r p r e s s u r e t o m e e t

d e a d lin e s • C.

To t e a c h

stu d e n t to

p rep are a f in a l

s c r i p t from

ro u g h d r a f t p a g e s . D.

To t e a c h

s t u d e n t t o b r e a k down s c r i p t

sy n o p s is f o r E.

To t e a c h in se rtin g

F.

To t e a c h

sto ry

II.

sh o rt

c o n fe ren c es.

stu d e n t to

keep s c r i p t s in p ro p e r sh a p e,

changes. stu d e n t

t o b e c o m e lfs t o r y - m i n d e d " , r e a d i n g

h e a d lin e s , books, G.

in to

or s h o rt s t o r i e s

fo r p ic tu re

id e a s.

To t e a c h n a m e s a n d w o rk o f m o r e p r o m i n e n t w r i t e r s *

A c tiv i t i es: A.

A fte r th e te a c h e r h as d i c t a t e d a s c e n e , th e te a c h e r m ig h t a s k s t u d e n t s t o v o l u n t e e r t h e i r o p i n i o n s o f i t .

B.

S tu d e n ts sh o u ld

r e p o r t on a l l

p ic tu r e s th e y se e ,

and l e a r n t o v ie w th em c r i t i c a l l y . 1.

Why d i d t h e y l i k e

2.

W hat d i d n Tt

3*

Was t h e

it?

th ey l ik e

p ic tu re

move a l o n g f a s t ?

about i t ?

slo w o r f a s t - m o v i n g ?

D id i t

103 4* C.

E tc .

One o r m o re s t u d e n t s m i g h t r e a d t h e b o o k , How To A p p r e c ia te M o tio n P i c t u r e s ^ and r e p o r t on i t th e

D.

c la ss .

O th e r a r t i c l e s

on m o tio n p i c t u r e a p p r e c i a t i o n m ig h t

b e r e a d and r e p o r t e d on t o c r itic a l fa c u ltie s E.

to

T he

of th e

th e

c la ss to

im p ro v e t h e

stu d e n ts .

i n s t r u c t o r m ig h t d i c t a t e a s c e n e t o t h e

d e n t s f o r t r a n s c r i p t i o n a n d a s k th e m t o g e t

stu ­ it

out

under t h e i r b e s t t r a n s c r ip tio n tim e . 1.

T he i n s t r u c t o r m i g h t

check w ith s tu d e n ts ev ery

t e n m i n u t e s a s k i n g t h e m how t h e y a r e g e t t i n g a lo n g . 2.

The i n s t r u c t o r m i g h t i n t e r r u p t

s tu d e n ts f r e ­

q u e n tly and r e d i c ta t e s h o rt b i t s F.

T he is

of d ia lo g u e .

i n s t r u c t o r m ig h t h and s t u d e n t s a s c r i p t w h ic h

m is n u m b e r e d a s t o

h a s a few p a g e s i n i t and a s k t h e

p a g e s a n d s c e n e s , and w h ic h f r o m tw o o r t h r e e o t h e r s c r i p t s ,

stu d e n ts to

get it

read y fo r s te n c illin g

i n t w e n t y m i n u t e s , m e a n w h ile i n t e r r u p t i n g t h e d e n t e v ery th r e e m in u te s.

^ E d g a r D a l e , How To A p p r e c i a t e M o t i o n P i c t u r e s (New Y o r k : The M a c m i l l a n (Tompany, 1 93 5 ) *

stu ­

109 G.

H.

The s t u d e n t s c o u l d w r i t e a t h r e e - l i n e

s y n o p s is

of ev ery

s c r i p t th e y

read in o rd e r to le a rn

put

th e

id e a s fo r s to ry p lo ts in a v ery

The

s tu d e n t m ig h t b e a s k e d to

on a n y s h o r t s t o r i e s ,

re p o rt to

to

few w o rd s . th e c la s s

b o o k s , o r h e a d l i n e s w h i c h he

t h i n k s w o u ld make a g o o d i d e a f o r a p i c t u r e . I.

A w r i t e r m ig h t b e i n v i t e d t o

speak to th e c la s s .

J.

The s t u d e n t s s h o u l d b e c o m e " w r i t e r c o n s c i o u s " b y s t u d y i n g t h e w o rk s e e n o n t h e

screen of d iffe re n t

w rite rs • 1.

I s he a g a g w r i t e r ?

2.

D oes h e w r i t e s o p h i s t i c a t e d com edy?

3.

D oes h e w r i t e s e r i o u s p l a y s w h i c h c a r r y

a

m essage? 4.

E tc .

T he D i r e c t o r 1s S e c r e t a r y . tio n

o f th e

se c re ta ry

to

F o llo w in g i s

a d i r e c t o r a t P aram ount P i c t u r e s .

As w i l l b e n o t e d , m an y o f t h e d u t i e s l i s t e d o r s i m i l a r t o t h o s e p e rfo rm e d by th e a n d t h e w r i t e r 1s s e c r e t a r y . w ill be stu d ie d h e re .

a jo b d e s c r ip ­

a re th e

ste n o g ra p h ic

sam e a s

d e p a rtm e n t

Some o f t h e a d d i t i o n a l d u t i e s

110

PARAMOUNT PICTURES IN C . JOB DESCRIPTION (Work S h e e t ) I.

I d e n t i f i c a t i o n D a te

Jo b T i t l e :

O cc* C o d e:

SECRETARY TO DIRECTOR N o . W o r k e r s :

D e p a rtm e n t:

P ro d u c tio n

S u p e rv ise s:,

N one___________________ ( T i t l e a n d Number!"

II.

III.

1 -3 3 .0 1

S u p e rv ise d by:

9

D ire c t o r (T itle )

T a k e s d i c t a t i o n , t a k e s an d p u t s t h r o u g h t e l e p h o n e c a l l s , h a n d l i n g a s m any t e l e ­ phone c a l l s and p e r s o n a l and b u s i n e s s v i s i t o r s a s p o s s i b l e w i t h o u t r e f e r r i n g t o DIRECTOR, k e e p s s c r i p t s up t o d a t e , p e r f o r m s o t h e r r o u t i n e s e c r e t a r i a l d u t i e s . J o b Summary

M inimum Q u a l i f i c a t i o n s :

E d u c a tio n :

S e x F Age R a n g e :

20 t o

up

(S R W ) E n g l i s h O t h e r : H ig h s c h o o l g r a d u a t e w i t h c o u rs e s in s te n o g ra p h y and ty p in g . B u sin e ss c o lle g e g ra d u a te p r e f e r r e d .

T r a i n i n g & E x p e r i e n c e : T y p i n g 65 wpm; s h o r t h a n d 1 2 0 wpm; t h r e e m o n th s e x p e r i e n c e on l o t . S i x m o n th s p r e v i o u s s e c r e t a r i a l e x p e rie n c e . P e rs o n a l Q u a l i f i c a t i o n s : T a c t f u l , a b le t o g e t a lo n g w e ll w ith s t u d i o and o f f - t h e - l o t b u s i ­ n e s s p e o p l e , a b l e t o w o rk w i t h m inim um s u p e r v i s i o n , a b l e t o u s e go o d j u d g m e n t i n d e p e n d e n t l y . P h y s i c a l R e q u i r e m e n t s : N e a t app e a r a n c e ♦ P a s s com pany p h y s i c a l e x a m i n a t i o n . IV .

O f f i c e E q u ip m e n t U s e d : T y p e w rite r T elep h o n e V a rio u s f i l e s

V I . S u r r o u n d i ng s : Hot T”1 C o ld ( ) D ry ( ) Fum es ( ) Wet ( ) N o i s y ( ) O th e r

Humid In sid e O u tsid e . D u sty D irty

V.

M a t e r i a l s W o rk e d : S ta tio n e ry S c rip ts

( ) V I I . H a z a r d s : None (x) E l e c t r i c a l ( ) O cc. (x) E x p lo s io n s( ) D is e a s e ( ) ( ) M e c h a n ic a l( ) F a l l s ( ) ( ) O th e r: C are i n w o rk in g on s t a g e s . B urns ( )

Ill V III.

X#

R em ark s:

IX#

W ages a n d H o u r s : Days p e r w e e k : 5 1 / 2 H ours P e r d a y : 8 S h i f t : 9 - 6 a n d m o r e _____ C la s s ific a tio n : E ________ U n io n L o c a l No: PSdEA ~ M e m b e r s h ip R e q u i r e d : Y es

Work P e r f o r m e d - SECRETARY TO DIRECTOR

T h is jo b d e s c r i p t i o n i s a c o m p o s ite o f i n t e r v i e w s w ith f i v e SECRETARIES TO DIRECTORS. The t a s k s p e r f o r m e d v a r y i n d e g r e e w i t h t h e n e e d s a n d w i s h e s o f t h e DIRECTOR. T h e d e s c r i p t i o n , a s w r i t t e n , sh o u ld be c o n s id e r e d a s t y p i c a l o f t h e p o s i t i o n o f SECRETARY TO DIRECTOR, n o t a s a d e s c r i p t i o n o f a SP E C IF IC SECRETARY TO A SPE C IFIC DIRECTOR. 1.

SORTS MAIL AND TAKES DICTATION S o r t s in c o m in g m a i l ,

a rra n g in g m a il in

o rd er of

i m p o r t a n c e , p l a c i n g m a i l i n o r d e r o f i m p o r t a n c e on DIRECTOR’ S d e s k ,

or ta k in g i t

v erb al in s tr u c tio n s ,

t o h im o n s t a g e .

From

o r from s h o r th a n d n o t e s a s

d i c t a t e d b y DIRECTOR, t y p e w r i t e s p e r s o n a l a n d b u s i n e s s le tte rs,

t e l e g r a m s , m em oranda, f o r w a r d in g a s i n s t r u c t e d .

A n s w e r s f a n m a i l o n own i n i t i a t i v e , stru c tio n s,

or fro m s h o r th a n d n o t e s d i c t a t e d by

DIRECTOR, r e t u r n i n g p o n d e n t,

o r,

s u b m itte d p h o to g ra p h s to

p a rtm e n t, tr a n s m ittin g S e c re ta ry to

d e p a rtm e n t, tra n sm it

co rres­

a s i n s t r u c t e d b y DIRECTOR, s e n d i n g

and p h o t o g r a p h s o f p o s s i b l e

to

fro m v e r b a l i n ­

new t a l e n t t o

le tte rs

T a l e n t De­

r e q u e s t s f o r PLAYERS’ p h o t o g r a p h s

PLAYER, P u b l i c i t y

or o th e r a p p ro p ria te

o r may s e c u r e a u t o g r a p h e d p h o t o g r a p h s a n d

th e m t o

p erso n (s)

m a k in g r e q u e s t s . (1)

112

2.

MAINTAINS FIL E S M a in ta in s

file s

pondence,

fan m a il, p ro d u c tio n d a ta , and s h o o tin g

sc rip ts

o f p e rs o n a l and b u s in e s s c o r r e s ­

o f c l o s e d p r o d u c t i o n s , p r e p a r i n g n ew f i l e

f o l d e r s each y e a r ,

c l e a r i n g o u t f i l e s when m a t e r i a l

tw o y e a r s o l d and s t o r i n g

in

la b e lle d b u n d le s in

v a u lt• 3.

KEEPS SHOOTING SCRIPT UP-TO-DATE K eeps t h r e e

o r m o re s c r i p t s

o f p r o d u c t i o n to w h ich

DIRECTOR a s s i g n e d u p - t o - d a t e ,

in s e rtin g

re v ise d

or

ad d ed p a g e s i n p r o p e r p l a c e , b i n d i n g and l a b e l l i n g DIRECTORS c o p y o f s c r i p t , c o p ie s of s c r i p t

to

r e t u r n i n g tw o o r m o re

S te n o g ra p h ic

D e p artm en t a t

c lo se

o f p r o d u c t i o n , p l a c i n g DIRECTOR’ S c o p y o f s h o o t i n g sc rip t,

and w ard ro b e s c r i p t ,

o ffic e f ile . s c r i p t w ith

if

a n y , i n p e rm an en t

May l a b e l DIRECTOR’ S c o p y o f s h o o t i n g s c e n e and se q u e n c e t a b s ,

w ard ro b e s c r i p t

in lo o s e -le a f b in d e r,

and m a i n t a i n in se rtin g

p h o to g ra p h s, o f c o stu m e s o p p o s ite a p p r o p r i a t e 4•

scenes*

TYPEWRITES RE-WRITES OF SCRIPT AND TESTS F rom r o u g h d r a f t

o r f r o m d i c t a t i o n b y DIRECTOR a n d / o r

WRITER t y p e w r i t e s r e q u e s t e d n u m b e r o f c o p i e s o f r e ­ v is io n s o r a d d itio n s to

sc rip t,

re -ty p in g re v is io n s

u n t i l a p p ro v e d , n o t in g c o r r e c t p a g e num bers i n u p p e r r i g h t hand c o rn e r and se n d in g c o r r e c t e d

sc rip t

to

113 S te n o g ra p h ic

D ep artm en t#

When r u s h e d may t y p e w r i t e

s u f f i c i e n t c o p i e s f o r im m e d ia te u s e on s t a g e .

As

r e q u e s t e d b y DIRECTOR, c o p i e s d e s i g n a t e d s c e n e s f r o m sc rip t

p r e p a r e d b y one WRITER f o r i n c l u s i o n

p r e p a r e d b y a n o t h e r WRITER.

in

sc rip t

As r e q u e s t e d b y DIRECTOR

t y p e w r i t e s d e s i g n a t e d num ber o f c o p ie s o f se q u e n c e fro m s c r i p t 5•

f o r u s e i n m a k in g t e s t s .

READS SC R IPT S. STORIES. E T C .. RETURNS UNSOLICITED SUBMISSIONS As r e q u e s t e d b y DIRECTOR r e a d s s c r i p t s , sto rie s,

e tc .,

books,

sh o rt

re p o rtin g

r e a c t i o n s a n d com m ent a s t o

p ic tu re p o s s ib i l i ti e s to

DIRECTOR e i t h e r v e r b a l l y o r

in w ritin g .

Sends u n s o l i c i t e d m a n u s c rip ts or pub­

l i s h e d m a t e r i a l s u b m i t t e d d i r e c t l y b y AUTHOR t o

o ffic e

o f CHIEF ASSISTANT TO LEGAL DEPARTMENT HEAD, t o g e t h e r w i t h m em orandum r e q u e s t i n g L e g a l D e p a r t m e n t t o r e t u r n su b m iss io n s to AUTHOR, t i t l e

AUTHOR, k e e p i n g r e c o r d of sto ry ,

if

known, and d a t e s e n t t o

L eg a l D e p a rtm e n t f o r r e t u r n t o s e n d s m u sic o r r e c o r d i n g s

o f name o f

AUTHOR.

S im ila rly

su b m itte d d i r e c t l y by

COMPOSER o r SINGER t o M u s ic D e p a r t m e n t r e q u e s t i n g r e t u r n to- COMPOSER o r SINGER. 6.

ARRANGES SCREENINGS As r e q u e s t e d b y DIRECTOR, a r r a n g e s w i t h PRODUCTION ROOM ASSIGNMENT CLERK f o r s c r e e n i n g o f p i c t u r e s i n (3 )

114 w h i c h PLAYERS c a s t i n p r o d u c t i o n a s s i g n e d t o DIRECTOR .a p p e a r, p r o v id in g w ith t i t l e p ria te

7.

PROJECTION ROOM ASSIGNMENT CLERK

of p ic tu re ,

re le a s in g

p r o d u c tio n c h a rg e num ber.

stu d io ,

and a p p ro ­

T y p e w r i t e s memo­

randum t o

LEGAL DEPARTMENT HEAD l i s t i n g

p ic tu re s,

re le a s in g

title s

of

s t u d i o and r e a s o n f o r r e q u e s t .

PREPARES STAFF SHEETS AND MAINTAINS CALL SHEETS P r e p a r e s and t y p e w r i t e s n i n e c o p i e s o f S t a f f S h e e t f o r p r o d u c t i o n t o w h i c h DIRECTOR a s s i g n e d , b y t e l e ­ p h o n in g v a r io u s

d e p a r tm e n t h e a d s r e q u e s t i n g nam es

o f p e r s o n s a s s i g n e d t o w o rk on p i c t u r e ,

such a s

MAKEUP MAN, HAIRDRESSER, CAMERAMAN, GAFFER, PROPMEN, e tc .,

lis tin g

nam e,

s t u d i o e x t e n s i o n a n d home p h o n e

n u m b e r , a n d a d d r e s s , p l a c i n g one c o p y o f S t a f f S h e e t i n DIRECTOR’ S c o p y o f s h o o t i n g s c r i p t , c o p ie s to

s e n d in g tw o

O p e r a t i o n s D e s k , one c o p y e a c h t o FIRST

a n d SECOND ASSISTANT DIRECTOR, r e t a i n i n g in p ro d u c tio n re c e iv e d

file

fo ld e r.

M a in ta in s C ast S h e e t,

from C a s t in g D e p a r tm e n t, l i s t i n g

or changes in c a s t, ty p e w ritin g fiv e

o th e r c o p ie s

a d d itio n s

a s n o t i f i e d b y ASSISTANT DIRECTOR,

o r m o re c o p i e s ,

p la c in g

DIRECTOR’S c o p y o f s h o o t i n g s c r i p t ,

one c o p y i n

g iv in g c o p ie s to

ASSISTANT DIRECTOR(S) a n d p l a c i n g o n e c o p y i n p r o d u c t i o n file

f o l d e r f o r p erm an en t r e c o r d .

(4)

115 g.

L IST S EXTRAS When p r o d u c t i o n i s

in p re p a ra tio n l i s t s

nam es and

t e l e p h o n e n u m b e r s o f EXTRAS, who t e l e p h o n e DIRECTOR r e q u e s t i n g w o rk ,

s h o w in g l i s t t o

DIRECTOR o r ASSISTANT

DIRECTOR f o r h i s

s e le c tio n , n o tify in g

C a stin g D e p a rt­

m e n t o f n a m e s o f EXTRAS t h a t DIRECTOR o r ASSISTANT DIRECTOR w i s h t o w o rk i n p i c t u r e . 9.

RECEIVES AND PUTS THROUGH TELEPHONE CALLS R e c e iv e s and p u t s th ro u g h a l l te le p h o n e c a l l s DIRECTOR, t a k i n g

c a r e o f a s m any c a l l s a s p o s s i b l e

w ith o u t r e f e r r i n g

to

m ak in g t y p e w r i t t e n

DIRECTOR, r e l a y i n g m e s s a g e s ,

lis t

of a ll

c a l l s and m essag es, g iv in g tw ic e d a ily , d u c tio n .

or ta k in g

in c o m in g t e l e p h o n e

l i s t to

lis t

to

DIRECTOR o n c e o r

s t a g e w hen i n p r o ­

W h ile w o r k i n g on s t a g e r e q u e s t s TELEPHONE

OPERATORS t o sta g e .

fo r

h o ld m e ssa g e s o r p u t th r o u g h c a l l s t o

M a in ta in s d ir e c to r y

o f PLAYERS, PRODUCERS,

WRITERS, B u s i n e s s F i r m s a n d o t h e r f r e q u e n t l y c a l l e d p erso n s,

lis tin g

name a n d t e l e p h o n e n u m b e r , a n d

a d d re sse s of c o rre sp o n d e n ts. 10.

ACTS AS RECEPTIONIST R e c e iv e s a l l b u s in e s s and p e r s o n a l c a l l e r s , c a l le r s to

DIRECTOR, t a k i n g c a r e

a s p o s s ib le w ith o u t r e f e r r in g to

a n n o u n c in g

o f a s m uch b u s i n e s s DIRECTOR, t a k i n g b u s i ­

n e s s c a l l e r s who h a v e a p p o i n t m e n t s , t o DIRECTOR on

116 sta g e ,

o r a s k i n g t h e m t o w a i t u n t i l DIRECTOR r e ­

tu rn s to lis t

o ffic e .

D u rin g c a s t i n g

o f a p i c t u r e m akes

o f PLAYER’ S n a m e , p a r t f o r w h i c h b e i n g i n t e r ­

v i e w e d , a n n o u n c i n g e a c h PLAYER a n d p a r t t o fo r h is 11.

DIRECTOR

se le c tio n .

ARRANGES APPOINTMENTS A r r a n g e s a p p o i n t m e n t s f o r DIRECTOR, a f t e r c o n s u l t a ­ t i o n w ith h im , t e l e p h o n e s c o n f i r m a t i o n o f tim e an d p la c e

o f a p p o in tm e n t t o p e rs o n s d e s i r i n g

a p p o in t­

m e n t s , n o t i n g o n d e s k c a l e n d a r a n d DIRECTOR’ S c a l e n d a r nam e a n d t i m e

o f a p p o in tm e n t.

As r e q u e s t e d

b y DIRECTOR m a k e s a d v a n c e n o t a t i o n s o n c a l e n d a r o f p e o p le to

s e e a n d t h i n g s t o d o , r e m i n d i n g DIRECTOR

o f same on a p p r o p r i a t e d a t e . 12.

PUBLICITY SCRAP BOOKS R e c e iv e s c l i p p i n g s fro m c o m m e rc ia l c l i p p i n g b u r e a u , o r m arks l o c a l d a i l y n e w s p a p e rs and l o c a l an d n a t i o n a l tra d e p ap ers fo r p e rso n al p u b lic ity

or s to r ie s re g a rd ­

i n g p r o d u c t i o n d i r e c t e d b y DIRECTOR, g i v i n g tio n s

to

DIRECTOR f o r

c lip p in g s by d a te

re v ie w ,

p u b lic a ­

c lip p in g and p a s tin g

i n p e r s o n a l s c r a p b o o k , a n d by p r o ­

d u c tio n in p ro d u c tio n sc ra p book. b o o k o f s t i l l p h o t o g r a p h s up t o

May k e e p s c r a p

d a te , la b e ll i n g w ith

p ro d u c tio n and d a te .

(

6)

117 13.

ENTERTAINS

guests

of d i r e c t o r

As r e q u e s t e d b y DIRECTOR a r r a n g e s f o r l u n c h e o n a t s t u d i o r e s t a u r a n t f o r g u e s t s o f DIRECTOR, t a k i n g t h e g u e s t s on t o u r to 14.

of lo t,

o r a rra n g in g

f o r GUIDE

conduct to u r.

WORKS BETWEEN STAGE AND OFFICE DURING PRODUCTION D u rin g s h o o tin g s ta g e s , ta k in g checks fo r

o f p i c t u r e w o rk s b e tw e e n o f f i c e

and

im p o rta n t m a il, te le p h o n e m e ssa g e s,

sig n a tu re ,

e tc .,

to

DIRECTOR w h i l e w o r k ­

i n g on s t a g e a t l e a s t o n c e i n t h e m o r n i n g a n d o n c e in th e a fte rn o o n ,

fo llo w in g th ro u g h

on i n s t r u c t i o n s

a n d w o rk g i v e n b y DIRECTOR. 15*

PERSONAL WORK FOR DIRECTOR D e p o sits ch eck s in bank; w r ite s ch eck s f o r o f DIRECTOR i n p a y m e n t d o m e stic e tc .

lis t

o f p e rs o n a l a c c o u n ts a t

s e rv a n ts , in su ra n c e , ta x e s ,

May k e e p r u n n i n g a c c o u n t

se t of books. se ria l

s ig n a tu re sto re s,

g arag e r e n t ,

o f c h ec k s o r sm a ll

May p i c k u p b o n d s a t C r e d i t U n i o n a n d

n um bers, g iv in g b o n d s to

DIRECTOR.

May

a d d r e s s and m a i l C h r i s t m a s c a r d s and se n d i n v i t a t i o n s t o p a r t i e s fro m l i s t a n d /o r h is c a te

w ife ,

o f n a m e s p r o v i d e d b y DIRECTOR

p re p a rin g ty p e w ritte n l i s t

o f a c c e p t a n c e s and r e g r e t s .

May do p e r s o n a l

s h o p p i n g f o r DIRECTOR, e i t h e r b y t e l e p h o n e p erso n ,

in d u p li­

or in

p u t t i n g p a c k a g e s i n DIRECTOR’ S c a r , t o g e t h e r (7 )

11S w ith b o o k s, p a p e rs , e t c . ,

f o r w o rk a t h o m e .

May

p r e p a r e l u n c h f o r DIRECTOR a n d a c t a s h o s t e s s f o r h im when v a r i o u s s t u d i o c o - w o r k e r s , sonal frie n d s , to 16.

PLAYERS, p e r ­

or b u s in e s s a c q u a in ta n c e s in v ite d

DIRECTOR’ S o f f i c e .

OTHER DUTIES As r e q u e s t e d b y DIRECTOR a t t e n d s d a i l y

ru sh es;

w hen WRITER w o r k i n g w i t h DIRECTOR t a k e s d i c t a t i o n o f p e r s o n a l and b u s i n e s s l e t t e r s w rite s

and

sc rip t

re­

or n o ta tio n s , ta k in g te le p h o n e c a l l s ,

l a y i n g m e s s a g e s and o t h e r g e n e r a l d u tie s;

may a s s i s t

re h e a rsa ls.

re­

se c re ta ria l

PLAYERS o n s t a g e w i t h d i a l o g u e

P erfo rm s o th e r r o u tin e

se c re ta ria l

d u tie s .

F'SUES' A n a l y s t

E d ito r

h

i

ir e c t o k S

M

( »*)

119 F o llo w in g i s

a n e x a m p le o f t h e

w h ic h t h e d i r e c t o r ’ s s e c r e t a r y soon as a s c r i p t

asked to

h as been ap p ro v ed , t h i s

m ade s h o w i n g a l l t h e th e p ro p s,

is

s c r i p t b reak d o w n ,

c a st, b its ,

and a c t i o n p ro p s*

fill

o u t*

As

breakdow n i s

and e x t r a s n e e d e d , a l s o

I t t h e n g i v e s a sum m ary o f

th e a c t io n to ta k e p la c e in each scene* W h ile t h i s

f o r m i s g e n e r a l l y m ade o u t i n t h e p r o ­

d u c t i o n d e p a r t m e n t , t h e d i r e c t o r ’ s s e c r e t a r y m ust b e f a m i l i a r w ith i t

a ls o *

120 SCRIPT BREAKDOWN P ro d u c tio n T i t l e "MY BLUE HEAVEN” - # A - 5 ^ 9 Sequence Set IN T . CORRIDOR OF RADIO STATION Day P e rio d Season N ig h t 1949 SPRING - APRIL X JANET PRINGLE WALTER PRINGLE KITTY MORAN JACK MORAN

P a g e N o *2 STAGE 3 - W .A. L o c a tio n N .Y . C . T o t a l S c r i p t Page; 4 P.

”l s t S tu d io E m p lo y e e tf "2nd S t u d i o E m p l o y e e tt 5 Ad L i b B i t s (F ro m S t o c k i f A v a ila b le ) TfA n n o u n c e r n

SCENE 2 T ry in g t o l o c a te K itty v ia te le p h o n e .

EXTRA'S 2 U shers 17 E x t r a s s t r e e t c lo th e s 1 E l e v a t o r Boy

SCENE 6 T he M o r a n s a r e a c c o s t e d b y W a lte r and J a n e t a s t h e y w a lk t o w a r d d r e s s i n g ro o m A nnouncer e n t e r s , k i b i t z e s and e x i t s - K i t t y and Ja c k c o n ti n u e on a l o n e .

SCENE 3 K i t t y d a s h e s i n , m e e ts Ja ck and s t a r t to w a rd s ta g e a s ”My B l u e H e a v e n ” t h e m e s o n g sta rts • 1 2 /3 p .

2 1 /3

FHuGEsS - E tlJt‘e c t s - c o n s t r u c t i o n

MUSIC"- MISCELLANEOUS--------------"MY BLUE HEAVEN THEME SONG" SC. 3

P k O fS . - Action Props." - ANIMALS Phones

k Ec u k d

COPY

Eil e

PRODUCTION OFFICE'

P.

121

SUGGESTED PROCEDURES I*

O b je c tiv e s: A#

To

te a c h

th e

stu d e n tto

k eep a s c r a p book#

B#

To

te a c h

stu d e n t to ta k e n o te s o v e r th e te lep h o n e *

C#

To

te a c h

stu d e n ts to w rite in te r - o f f ic e

c o ra m u n ic a -

t i ons. D#

To

te a c h

s t u d e n t s t o m ake a n d b r e a k

E*

To

te a c h

s t u d e n t s t o b e c o m e ,Tc a s t

F*

To f a m i l i a r i z e

a p p o in tm e n ts*

c o n sc io u s” *

s tu d e n ts w ith fo rm s u se d in a

d ir e c to r ’s o ffic e * G*

To t e a c h

s tu d e n ts to ta k e d ic ta tio n

in d ark en ed

p r o j e c t i o n room . H. II*

To t e a c h

stu d e n ts to

becom e " d i r e c t o r

c o n sc io u s” #

A c tiv itie s: A#

E a c h s t u d e n t m i g h t c h o o s e o n e d i r e c t o r w h o s e w o rk he p a r t i c u l a r l y a d m i r e s a n d k e e p a s c r a p b o o k on h im *

B.

A s t u d e n t m ig h t a s k se c re ta ry

C*

and r e p o r t

A s t u d e n t m ig h t a s k and r e p o r t on i t

D*

to

f o r an i n t e r v i e w on t h a t t o t h e fo r an in te rv ie w

w ith a d i r e c t o r ’ s c la ss * w ith a d ir e c to r

th e c la ss *

A d i r e c t o r m ig h t b e i n v i t e d t o

speak

to th e c la ss *

122

E*

The i n s t r u c t o r m i g h t d i c t a t e a s h o r t s c e n e t o t h e s tu d e n t over th e

t e l e p h o n e a n d a s k h im t o

ru sh

it

out • F*

The i n s t r u c t o r m ig h t t r y sta tio n e ry

to

fro m t h e v a r i o u s

c o lle c t in te r-o ffic e s t u d i o s a n d m im e o g r a p h

c o lo re d p a p er in s im ila r s ty le * G*

T h e i n s t r u c t o r m i g h t d i c t a t e m em orandum s t o

th e

s tu d e n ts a d d re s s e d t o th e d i f f e r e n t d e p a rtm e n ts of th e e tc .,

s t u d i o h a v in g to do w ith

c a st,

sto ry

a s p e r sa m p le i n c l u d e d h e r e i n , t o

id e a s,

be t r a n ­

s c r ib e d w ith c arb o n copy f o r t h e f i l e * H.

T he i n s t r u c t o r m i g h t t r y t o le tte rh e a d s

from t h e

v a rio u s

w h i t e p a p e r m im e o g ra p h e d i n I.

c o lle c t

s t u d i o s and h a v e sim ila r s ty le .

The i n s t r u c t o r c o u l d d i c t a t e l e t t e r s t o s tu d e n ts b re a k in g a p p o in tm e n ts,

J.

sa m p le s o f

The i n s t r u c t o r c o u l d a s k t h e

th e

e tc *

s tu d e n ts to w r ite

t h e l e t t e r m ak in g an a p p o in tm e n t w i t h o u t h a v in g it K*

d ic ta te d .

The i n s t r u c t o r

c o u ld a sk th e

a c a s t f o r any one o f th e on i n c l a s s .

stu d e n ts to

p ic k

s c r i p t s t h e y a r e w o rk in g

L*

The i n s t r u c t o r c o u ld a s k t h e c ritic iz e

M*

If it is

is

th e

c a stin g

s tu d e n ts to

o f p i c t u r e s th e y

see*

p o s s i b l e t o f i n d a d a rk e n e d room ,

a d v is a b le t o

g iv e th e

ta k in g n o te s in th e se c re ta rie s

stu d e n ts tr a in in g

it in

s e m i-d a rk n e s s, a s d i r e c t o r s 1

a re o fte n

c a lle d

on t o t a k e n o t e s

i n v e r y d a r k p r o j e c t i o n ro o m s * N*

S t u d e n ts m ig h t b e a sk e d t o d iffe re n t

0.

It

is

a n a l y z e t h e w ork o f

d ire c to rs *

su g g e ste d t h a t th e i n s t r u c t o r have s c r i p t

b rea k d o w n f o rm s m im e o g ra p h e d t o to

te a c h

stu d e n ts

p ic k n e c e s s a r y in f o r m a tio n fro m a s h o o tin g

s c r i p t a n d m ake o u t t h e

breakdow n.

INTER OFFICE COMMUNICATION

C

U

L V

E

R — C I T Y

To.

L egal D epartm ent

Subject

S to ry idea_

Fr„m

— -—

V ;

TiMt

"WHEN THE SHOW FLIES," n

S id n e y F r a n k l i n

n atp

S7j^ E Q p^ -2 8 -5 0 _____

E n c lo s e d i s a s t o r y , "WHEN THE SNOW FLIES", by John Doe, which was r e c e i v e d i n t h e m a il t h i s m o rn in g . W ill you p l e a s e r e c o r d r e c e i p t of t h i s s t o r y and r e t u r n i t t o Mr. Doe, t e l l i n g him we a r e s o r r y we a r e u n a b le to u se i t . Thank you.

,--------------

S T U D IO S B E V E R L Y H IL L S , C A L IF O R N IA

J u ly 1 7 , 1950

Mr* W i l l i a m M a n s f i e l d 94 5 J a c k s o n B o u l e v a r d Los A n g e l e s 7 , C a l i f o r n i a D e a r Mr* M a n s f i e l d : Mr* M a rx h a s a s k e d me t o w r i t e y o u t h a t t h e p r e s s u r e o f w o rk c o n n e c t e d w i t h t h e p ro d u c tio n of h is c u rre n t p i c t u r e , " C in d e r e lla ,” m a k e s i t i m p o s s i b l e f o r h im t o s e e y o u f o r t h e n e x t tw o o r t h r e e w e e k s * I f y o u s t i l l w i s h t o s e e M r. M a rx a b o u t t h e m id d le o f A u g u s t, p l e a s e c a l l a t t h a t tim e w hen h e w i l l b e g l a d t o s e e y o u * T o u rs t r u l y ,

Nan S m i t h S e c re ta ry to

J o e M a rx

126 The P r o d u c e r * s S e c r e t a r y a n d t h e F o llo w in g i s

a jo b d e s c r i p t i o n

E x e c u tiv e S e c r e ta r y •

of a p ro d u cer’s se c re ta ry

a t P aram o u n t P i c t u r e s a n d a jo b a n a l y s i s se c re ta ry

o f an e x e c u tiv e

a t W arner B r o t h e r s S t u d i o .

G e n e ra lly , th e

p ro d u cer’s s e c re ta ry re c e iv e s a

h ig h e r s a l a r y th a n th e w r i t e r ’ s and d i r e c t o r ’ s s e c r e t a r y , who r e c e i v e m o re t h a n p a rtm e n t .

As a r u l e , t h e

m ore t h a n t h e tiv e

th e g i r l s

in th e

se c re ta ry

o th e r s e c r e ta r ie s .

se c re ta ria l

p o sitio n

to

ste n o g ra p h ic de­ an e x e c u t i v e r e c e i v e s

T h is m eans t h a t t h e

execu­

i s u s u a l l y t h e m ost e a g e r l y s o u g h t,

b u t t h e r e a r e v e r y few o f t h e s e p o s i t i o n s a t a n y one

stu d io .

T hrough w o rk in g e x p e r i e n c e a t a s t u d i o , an d th r o u g h p e rs o n a l in te rv ie w s w ith th a t g irls

stu d io

se c re ta rie s,

it

g e n e r a l l y do n o t g e t t h e s e p o s i t i o n s

a c t u a l e x p e r ie n c e on th e

lo t.

was l e a r n e d w ith o u t

S in c e th e p o s i t io n s

a r e so

h i g h l y p r i z e d , and s i n c e t h e s t u d i o s h a v e o f f i c e e m p lo y ee u n io n s,

s e n io rity

is

g e n e r a l l y a re q u ire m e n t f o r one o f

th e se b e tt e r p o s itio n s .

12?

PARAMOUNT PICTURES INC * JOB DESCRIPTION (W ork S h e e t ) I.

Jo b T i t l e :

P ro d u c tio n

S u p e rv ise s:

None (T itle

III*

1 -3 3 .0 1

No. W o rk e rs :

SECRETARY

D e p a rtm e n t:

II.

O c c. Code:

I d e n t i f i c a t i o n D a te

S u p e rv ise d by:

1 each

PRODUCER (T itle )

a n d N um ber)

Jo b Sum m ary: T y p e w rite s s c r i p t s ; ta k e s d i c t a t i o n and t r a n s c r i b e s s h o r t h a n d n o t e s on t y p e w r i t e r ; r e a d s s t o r y m a t e r i a l a n d t y p e w r i t e s s y n o p s e s ; r e c o r d s p r e v i e w c o m m e n ts ; m a i n t a i n s f i l e s , a n sw e rs t h e te le p h o n e and p e rf o rm s o th e r ro u tin e s e c r e ta r ia l d u tie s . Minimum Q u a l i f i c a t i o n s :

E d u c a tio n :

Sex

F

Age R a n g e : 25 t o u p

(S R W ) E n g l i s h O t h e r : H ig h s c h o o l g r a d u a t e .

T ra in in g & E x p e rie n c e :

M u st b e a b l e t o t a k e s h o r t h a n d 1 2 0 wpm; p r e v i o u s e x p e r i e n c e w i t h WRITER o r PRODUCER, p r e f e r r e d . P e r s o n a l Q u a l i f i c a t i o n s : M ust b e a b l e t o g e t a l o n g w ith a la r g e v a r ie ty o f p e o p le , t a c t f u l and c o u rte o u s o v e r te le p h o n e .

P h y s ic a l R e q u ire m e n ts:

P a s s com pany p h y s i c a l e x a m i n a t i o n .

I V . O f f i c e E q u ip m e n t U s e d : T y p e w rite r S ta p le r Punch T elep h o n e V I. S u rro u n d in g s : Mot (*"7 C o ld D ry ( ) F um es Wet ( ) N o i s y O th e r . V III.

R em arks;

V . M a t e r i a l s W o rk e d : F ile s S c r i p t s , n ew spap ers M a g a z in e s, s t a t i o n e r y

Humid ( ) V I I . ( ) In sid e (X ) ( )O u tsid e ( ) ( ) D u sty ( ) D irty ( )

H a z a r d s : None E le c tric a lf ) O cc. E x p lo s io n s( ) D ise a se ( ) M e c h a n ic a l( )F a lls { ) O th e r B urns ( )

I X . W ages a n d H o u r s : D ay s p e r w e e k : 5 l / 2 H r s . P e r Day S h ift: 9-6 C la s sific a tio n : d U n io n L o c a l N o . PSQEA M em b ersh ip R e q u ir e d : Y es

12$

X*

Work P e r f o r m e d - SECRETARY TO P R O D U C E R __________

T h is jo b d e s c r i p t i o n i s a c o m p o site o f i n t e r v i e w s w ith f i v e SECRETARIES TO PRODUCERS. T he t a s k s p e r f o r m e d v a r y i n d e g r e e w i t h t h e n e e d s a n d w i s h e s o f t h e PRODUCER. T he d e s c r i p t i o n s , a s w r i t t e n , sh o u ld be c o n s id e r e d a s t y p i c a l o f t h e p o s i t i o n o f SECRETARY TO PRODUCER, n o t a s a d e s c r i p t i o n o f a SP E C IFIC SECRETARY TO A SP E C IFIC PRODUCER. V ^

1.

'V -

" i'

^

^

'I s

SORTS MAIL AND TAKES DICTATION S o r t s in co m in g m a i l , im p o rta n c e , p la c in g

a rra n g in g m a il in it

v erb al in s tru c tio n s ,

o rd er of

o n PRODUCER’ S d e s k .

From

o r fro m s h o r th a n d n o t e s a s

d i c t a t e d b y PRODUCER t y p e w r i t e s b u s i n e s s and p e r ­ sonal l e t t e r s ,

m em oranda, a n d t e l e g r a m s , t r a n s c r i b i n g

sh o rth a n d n o te s in to

p ro p er ty p e w ritte n

fo rm a t,

fo rw a rd in g a s d e s ig n a te d . 2.

TYPEWRITES SC R IPT S. ARRANGES FOR DUPLICATION F rom r o u g h d r a f t s

o r from s h o r th a n d n o t e s a s d i c t a t e d

b y WRITER-PRODUCER, t y p e w r i t e s or re v is io n s ,

in to

sc rip t,

p ro p e r fo rm a t,

u n t i l a p p ro v e d , ty p e w ritin g n in e sc rip t, to

h o ld in g u n t i l

d is trib u te ,

sc rip t

to

Upon r e c e i p t

c o p ie s o f f i n a l

D e p artm en t

ap p ro v ed copy of fo r d u p lic a tio n .

of pages of ty p e w ritte n

in p ro p e r fo rm a t,

re v is io n s

i n s t r u c t e d b y WRITER-PRODUCER

WRITERS, c h e c k s p a g e s t o

fo r a p p ro v a l,

re -ty p in g

se n d in g one f i n a l l y

S te n o g ra p h ic

added sc e n e s,

s c r i p t from

d e te rm in e w h e th e r s c r i p t

g iv in g a sse m b le d p a g e s t o

PRODUCER

h o ld in g p a g es u n t i l c o m p le te seq u en ce

(i)

129 re c e iv e d to 3*

f r o m WRITER, t r a n s m i t t i n g

ap p ro v ed seq u en ce

S te n o g r a p h ic D e p artm en t f o r d u p l i c a t i o n *

REQUESTS SYNOPSES. ETC*« FROM STORY DEPARTMENT As r e q u e s t e d b y PRODUCER, r e q u e s t s e tc .,

synopses,

from S to r y D e p artm en t b y t e l e p h o n e

su m m aries,

or ty p e w ritte n

m em oranda, m a i n t a i n i n g r e c o r d o f s t o r y m a t e r i a l b o rro w e d , r e a d , and r e tu r n e d # 4-

READS STORY MATERIAL R eads s to r y m a t e r i a l s u b m itte d t o v e rb a l or ty p e w ritte n o u tlin e

5.

PRODUCER, g i v i n g

o f s y n o p s is to

PRODUCER.

PREPARES REPORT OF WRITERST PROGRESS ON STORIES F rom i n f o r m a t i o n p r o v i d e d b y PRODUCER, o r f r o m k n o w l ­ e d g e o f w o rk i n p r o g r e s s ,

co m p o ses and t y p e w r i t e s f i v e

c o p i e s o f W e e k ly R e p o r t o f W r i t e r ’ s P r o g r e s s on S t o r i e s , tra n s m ittin g

th re e

c o p ie s to

t a i n i n g tw o c o p i e s f o r o f f i c e 6.

PRODUCTION EXECUTIVE, r e ­ file .

RECORDS PREVIEW COMMENTS From i n f o r m a t i o n o n P r e v i e w C a r d s , c o p i e s o f P r e v i e w Comment R e c o r d , p ic tu re ,

d a te

c o p y i n g c o m m e n ts on P r e v i e w

C ards v e r b a tim , t r a n s m i t t i n g to

s h o w in g name o f

o f p r e v ie w , p l a c e w here p re v ie w h e l d ,

and num ber o f p r e v ie w ,

reco rd

ty p e w rite s fo u r

one copy each o f c o m p le te d

PRODUCTION EXECUTIVE, CUTTING DEPARTMENT HEAD,

DIRECTOR o f t h e p r o d u c t i o n a n d r e t a i n i n g o ffic e

one copy f o r

file s. (

2)

130

7.

MAINTAINS FIL E S M a in ta in s f i l e s

o f p e r s o n a l and g e n e r a l o f f i c e

c o rr e s p o n d e n c e , r e c o r d s , r e p o r t s and k e ep in g

s c rip ts ,

s c r i p t s u p -to - d a te a t a l l tim e s by i n ­

s e r t in g re v is e d a n d /o r added p a g e s. 3.

PUBLICITY FIL E S OR SCRAP BOOKS S c a n s and m a rk s a l l

sto rie s

r e g a r d i n g PRODUCER o r

p r o d u c tio n s he p ro d u c e d a p p e a r in g

in a l l

lo c a l d a ily

n e w s p a p e r s and l o c a l and n a t i o n a l t r a d e p a p e r s and m a g a z in e s , g i v i n g m ark ed p e r i o d i c a l s t o r e v ie w ; when r e t u r n e d , filin g 9.

in f o ld e r s ,

c lip s

p u b lic ity

or p a stin g

PRODUCER f o r sto rie s,

in scrap b o o k s.

ARRANGES FOR SCREENINGS As r e q u e s t e d b y PRODUCER, a r r a n g e s w i t h PROJECTION ROOM ASSIGNMENT CLERK f o r s c r e e n i n g s o f p i c t u r e s , p r o v i d i n g PROJECTION ROOM ASSIGNMENT CLERK w i t h t i t l e o f p i c t u r e s and a p p r o p r i a t e

10.

c h a r g e num ber.

ENTERTAINS GUESTS OF PRODUCER As r e q u e s t e d b y PRODUCER a r r a n g e s f o r l u n c h e o n a t s t u d i o r e s t a u r a n t f o r g u e s t s o f PRODUCER, t a k i n g t h e g u e s t s on t o u r o f l o t ,

o r a r r a n g i n g f o r GUIDE t o

conduct to u r . 11.

PERSONAL WORK FOR PRODUCER D e p o sits checks in bank; w r ite s

checks fo r sig n a tu re

o f PRODUCER i n p a y m e n t o f p e r s o n a l a c c o u n t s a t

sto re s,

131 d o m e stic e tc #

se rv a n ts,

in su ra n c e , ta x e s ,

g arag e r e n t ,

May k e e p r u n n i n g a c c o u n t o f c h e c k s o r a

s m a ll s e t o f b o o k s . a c c o u n t.

May r e c o n c i l e

PRODUCER’S b a n k

May a d d r e s s a n d m a i l C h r i s t m a s c a r d s a n d

send i n v i t a t i o n s

to p a r t i e s

fro m l i s t

o f nam es p r o ­

v i d e d b y PRODUCER a n d / o r h i s w i f e , p r e p a r i n g t y p e ­ w ritte n

lis t

in d u p lic a te

o f a c c e p ta n c e s and r e g r e t s .

May do p e r s o n a l s h o p p i n g f o r PRODUCER, e i t h e r b y te le p h o n e car,

o r i n p e r s o n , p u t t i n g p a c k a g e s i n PRODUCER’S

to g e th e r w ith books, p a p e rs ,

hom e. v a rio u s

May a c t a s h o s t e s s , stu d io

c o -w o rk ers,

e tc .,

f o r w o rk a t

s e rv in g re fre s h m e n ts to PLAYERS, p e r s o n a l f r i e n d s

or b u s in e s s a c q u a in ta n c e s in v ite d to

PRODUCER’S

o ffic e . 12.

OTHER DUTIES A c ts a s r e c e p t i o n i s t to a l l v i s i t o r s t o ta k in g

care

r e f e r r in g to te le p h o n e

o f a s m any c a l l e r s

a s p o s s ib le w ith o u t

PRODUCER; r e c e i v e s a n d p u t s t h r o u g h

c a lls ,

phone c a l l s

PRODUCER,

m ak in g t y p e w r i t t e n

and c a l l e r s ,

once o r tw ic e d a i l y ,

lis t

of a l l

to

PRODUCER

g iv in g l i s t

f o l l o w i n g th r o u g h on c a l l s

and

c a l l e r s a s i n s t r u c t e d b y PRODUCER; m a k e s a p p o i n t ­ m e n t s f o r PRODUCERS, r e m i n d i n g h im o f t h e m on a p p ro p ria te

d a te ; m a in ta in s d ir e c to r y

c a l l e d te le p h o n e nu m b ers.

o f com m only

F ro m i n f o r m a t i o n o b t a i n e d

(4)

132 f r o m SCRIPT CLERK a s s i g n e d t o p i c t u r e , may p r e p a r e D a ily S h o o tin g R ep o rt in d u p l i c a t e , o f sc en e s ta k e n d u rin g th e

s h o w in g n u m b e r

p r e v io u s d a y , num ber o f

c l o s e - u p s , num ber o f lo n g s h o t s , num ber o f h o u rs w o rk ed ,

e tc .,

and f i l i n g

g iv in g

o rig in a l re p o rt to

d u p lic a te .

From d i c t a t i o n

PRODUCER

o r ro u g h

d r a f t may t y p e w r i t e r e q u e s t e d n u m b e r o f c o p i e s o f gags fo r in c lu s io n m a in ta in

file

sc rip t,

o r song l y r i c s .

May

o f n e w s p a p e r and m a g a z in e c l i p p i n g s

or so u rce n o ta tio n s to

in

on s u b j e c t m a t t e r o f i n t e r e s t

PRODUCER f o r f u t u r e u s e i n s t o r y .

May o r g a n i z e

and c o m p ile r e s e a r c h m a t e r i a l f o r w o rk in g w ith TECHNICAL ADVISOR o r PERIOD CONSULTANT a s s i g n e d t o do r e s e a r c h

on p i c t u r e ,

d e v is in g p ro p e r h e a d in g s

f o r easy r e f e r e n c e and a rra n g in g m a te r ia l u n d er th e se

h e a d in g s,

c ro ss-re fe re n c in g a l l

in fo rm a tio n

and t y p e w r i t in g c o m p ila tio n o f o rg a n iz e d r e s e a r c h m a te ria l,

g iv in g

c o m p ila tio n to

PRODUCER.

S im ila rly ,

w o r k s w i t h TECHNICAL ADVISOR o r PERIOD CONSULTANT i n g o i n g o v e r p h o t o g r a p h s , a s c e r t a i n i n g why e a c h p i c t u r e w as c h o se n an d m ak in g n o t a t i o n s t o t h a t e ffect

on t h e

rev erse

in g in fo rm a tio n t o

sid e

o f p h o to g ra p h s, p r e s e n t­

PRODUCER i n c o m p a c t f o r m f o r h i s

d e c i s i o n on w h a t p h o t o g r a p h s a r e t o th re e

be u s e d . A ssem b les

c o m p le te b i n d e r s o f r e s e a r c h m a t e r i a l , t y p e (5 )

133 w ritin g

c o p ie s o f w r itte n

o f p h o to g ra p h s m ade,

research ,

one c o m p l e t e d r e s e a r c h b i n d e r

t o WRITER, a s s i g n e d t o p i c t u r e , one c o p y f o r PRODUCER*

c u r r e n t l y b e in g p ro d u ced to of s e ts to

one t o

th e

c o p i e s o f m em orandum t o a tte n d s sc re e n in g

d e te r m in e t y p e and num ber ty p e w ritin g

s e t s n e ed e d and t r a n s m i t t i n g th e d e p a rtm e n ts co n cern ed ;

of d a ilie s

cu t o f a p r o d u c tio n w ith

DIRECTOR, a n d

R eads s c r i p t s

be u sed in th e p ro d u c tio n ,

a m em orandum l i s t i n g

and s c r e e n in g

o f rough

PRODUCER t a k i n g n o t e s i n

s h o r t h a n d a s d i c t a t e d b y PRODUCER d u r i n g t h e in g , tra n s c rib in g ______________________Z sZ PSOEA A n a l y s t

c o p ie s

c o p y in g c a p t i o n s on b a c k of

each p h o to g ra p h , g iv in g

re ta in in g

o rd e rin g

sh o rth a n d n o te s in to

screen ­

p r o p e r fo rm at*

SECRETARIES:

11

PRODUCERS:

11

E d ito r

(6)

134 WARNER BROS. STUDIO JOB ANALYSIS APP ROVED: D e p t . H e a d : ______________ W o rk er: I.

IDENTIFICATION: 1. Job T i t l e : 2. D e p artm en t: 3* S u p e rv isio n : P ic tu re s;

II.

III.

IV . V. V I.

V II.

D a t e : J u n e 1 4 , 1947 J o b # 238 EXECUTIVE_SECRETARY______________________ U .S .PICTURES N o . o f W o r k e r s : ______ S u p e r v i s e d b y P r e s i d e n t o f U . S . _____ su p e rv ise s fiv e

se c re ta rie s

JOB SUMMARY: A s su m e s r e s p o n s i b i l i t y f o r m a n a g e m e n t o f E x e c u tiv e O ffic e and d i r e c t i o n o f f i v e S e c re ­ t a r i e s i n t h i s and r e l a t e d o f f i c e s ; t a k e s d i c t a ­ tio n in sh o rth a n d o f c o rre sp o n d e n ce , te le g ra m s , m e m o ra n d u m s, s t o r y m a t e r i a l s , a n d s i m i l a r m a t e r i a l fro m t h e E x e c u tiv e and t r a n s c r i b e s w ith a t y p e ­ w r i t e r in p ro p e r fo rm a t; m a in ta in s o f f i c e f i l e s and r e c o r d s , and r e l i e v e s E x e c u ti v e o f n um ero us seco n d ary a d m i n i s t r a t iv e t a s k s ; an sw ers o f f i c e t e l e p h o n e , m akes a p p o in tm e n ts f o r C a l l e r s a s n e c e s s a r y and e x p e d i e n t . MINIMUM QUALIFICATIONS: 1 . S e x : M /F 2 . Age R a n g e : Open 3* E d u c a tio n : 4 y r s . H ig h S c h o o l , o r e q u i v a l e n t 4T ra in in g a n d /o r E x p e rie n c e :! y r . S e c r e t a r i a l c o u rs e ; 1 y e a r i n a s i m i l a r .job 5P e rso n a l Q u a lif ic a tio n s : T act - p le a s in g p e rs o n a li t y - a b i l i t y t o m eet p e o p le 6. P h y s i c a l R e q u i r e m e n t s : N orm al p h y s i c a l c o n d i t i o n EQUIPMENT USED:

T y p e w r i t e r ________________________________

MATERIALS WORKED: _______________________________________________ WORKING CONDITIONS: Good ( x ) I n s i d e (x ) ' O u tsid e ( ) HAZARDS:

None

F a ir

( )

Poor

( )

135

V III.

REMARKS: M u s t b e a v a i l a b l e t o w o r k l a t e h o u r s w hen re q u ire d .

REVIEWS D a te :

~"

D u t i e s c h g d : ___________________ C la s s ', c h g d : ( w tf c h a n g e - ?*xH n o c h a n g e )

136 SUPPLEMENTARY SHEET JOB T IT L E : 1*

EXECUTIVE SECRETARY (U .S .P IC T U R E S )

Job # 233

M anages t h e E x e c u tiv e O f f i c e : A s su m e s r e s p o n s i b i l i t y f o r t h e c o o r d i n a t i o n a n d d i r e c t i o n o f w o rk p e r f o r m e d b y o n e S e c r e t a r y t o t h e V i c e - P r e s i d e n t , tw o S e c r e t a r i e s t o t h e S t o r y E d i t o r , o n e 2 n d S e c r e t a r y a n d on e W r i t e r ’ s S e c r e t a r y , p e rfo rm in g such t a s k s a s a s s ig n in g d u t i e s , s c h e d u lin g v a c a tio n p e r io d s , a p p ro v in g o v e rtim e and a b se n c e s o f any k i n d , i n t e r p r e t i n g and f o r m u la tin g o f f i c e p r o ­ c e d u r e a n d p o l i c y , and h i r i n g and l a y i n g - o f f o f f i c e e m p lo y ee s a s n e c e s s a r y .

2.

P erfo rm s S e c r e t a r i a l D u tie s : a.

T akes d i c t a t i o n i n sh o rth a n d o f c o rre s p o n d e n c e , t e l e g r a m s , m e m o ra n d u m s , s t o r y c o m m e n t s , some t a l e n t c o n t r a c t s , s t o r y t i t l e s and s t o r y o u t l i n e s and t r e a t m e n t s , from th e E x e c u tiv e . T ra n sc rib e s d ic ­ t a t e d m a t e r i a l on a t y p e w r i t e r , s e t t i n g u p i n p r o p e r fo rm a t, and r o u te s a s d i r e c t e d .

b.

R e lie v e s th e E x e c u tiv e o f se co n d a ry a d m i n i s tr a t iv e d u t i e s su c h a s c o m p o sin g r o u t i n e o f f i c e c o r r e s ­ p o n d e n c e , r e c e i v i n g and s c r e e n i n g o f f i c e c a l l e r s and c a r r y i n g on t r a n s a c t i o n s n o t n e c e s s i t a t i n g t h e p e r s o n a l a t t e n t i o n of t h e E x e c u tiv e , c h e c k in g w ith o f f i c e s o f o th e r E x e c u tiv e s and D e p a rtm e n ts to d e te r m in e s t a t u s o f m a t t e r s p e n d in g , and h a n d lin g r o u tin e tr a n s a c tio n s w ith p e rso n s or d e p a rtm e n ts , in fo rm in g th e E x e c u tiv e o f a c tio n t a k e n . E x e rc ise s t a c t and ju d g m en t i n s c r e e n i n g o f f i c e c a l l e r s and i n m a k in g a p p o i n t m e n t s f o r t h e E x e c u t i v e w i t h a g e n t s , a r t i s t s , s t u d i o p e r s o n n e l , an d o t h e r c o n t a c t s . N o te s a p p o in tm e n ts on a c a l e n d a r p a d , and d a i l y p l a c e s a r e m i n d e r on E x e c u t i v e ’ s d e s k c a l e n d a r .

c.

R e c o rd s in co m in g and o u tg o in g o f f i c e m a t e r i a l s such a s s y n o p s e s , b o o k s , p l a y s and s c r i p t s , l i s t i n g d a t e r e c e i v e d o r r e t u r n e d , ty p e o f m a t e r i a l an d from whom r e c e i v e d o r s e n t .

d.

M a in ta in s th e E x e c u tiv e ’ s p e rs o n n e l p ro d u c tio n f i l e s o f s p e c ia l m a te r ia ls such a s sy n o p se s, s c r i p t s ,

137 SUPPLEMENTARY SHEET -

Job T i t l e :

2-

EXECUTIVE SECRETARY (U .S .P IC T U R E S )________ J o b # 2 3 £

o r i g i n a l p r o p e r t i e s , s t o r y o u t l i n e s and t r e a t m e n t s , r e c e i v e d fro m W r i t e r s , and o t h e r r e l a t e d m a t e r i a l s p e rta in in g to p ic tu re s in p re p a ra tio n f o r c u rre n t and f u t u r e p r o d u c tio n s *

3*

e.

M a i n ta in s a s u s p e n s e f i l e i n c h r o n o l o g i c a l o r d e r by p l a c i n g c o p i e s o f c o r r e s p o n d e n c e a n d m em orand um s r e ­ q u ir in g a c tio n by th e E x e c u tiv e in a l o o s e - l e a f b in d e r. F re q u e n tly ch eck s f i l e w ith th e E x e c u tiv e t o d e te r m in e i f a c t i o n h a s b e e n c o m p le te d and i f s o , r e m o v e s c o r r e s p o n d e n c e a n d / o r m em orandum s f r o m b i n d e r f o r p erm an en t f i l e s .

f.

At t h e d i r e c t i o n o f t h e E x e c u ti v e , d i s t r i b u t e s con­ t r a c t s p r e p a r e d by t h e L e g a l D ep artm en t o f U . S . P i c t u r e s , t o A r t i s t s , and o t h e r s c o n c e rn e d , f o r s i g n a t u r e , and c h e c k s to d e te r m in e t h a t a t l e a s t one e x e c u te d copy o f a l l c o n t r a c t s i s d i r e c t e d t o t h e T r e a s u r e r o f U .S . P ic tu re s.

g.

R eads and c h ec k s c o p ie s o f t y p e w r i t t e n s c r e e n p la y p a g e s , a d d e d s c e n e s and r e v i s i o n s , r e c e i v e d fro m t h e Com pany E x e c u t i v e s , t o d e t e r m i n e t h a t s c e n e s a n d p a g e s a r e nu m b ered c o r r e c t l y and t h a t a d d e d s c e n e s and r e ­ v is io n s t i e in w ith sc e n e s p r e v io u s ly s u b m itte d .

h.

D i s t r i b u t e s c e n s o r s h ip r e p o r t s r e c e i v e d fro m t h e P r o d u c e r s 1 A s s o c i a t i o n on a l l s c r i p t s s u b m i tt e d by U .S . P i c t u r e s , t o t h e E x e c u t i v e , A s s i s t a n t E x e c u t i v e , an d t h e W r i t e r c o n c e r n e d , a n d f o l l o w s t h r o u g h b y c h e c k in g a s n e c e s s a r y t o a s c e r t a i n t h a t c e n s o r s h ip ch an g es a r e m ade. •

i.

O b ta in s R e se a rc h m a t e r i a l a s r e q u e s te d by th e E x e c u tiv e fro m th e R e s e a r c h D e p artm en t o r o u t s i d e s o u r c e s by l e t t e r or p e rso n al c o n ta c t.

A d d itio n a l D u tie s: a.

R e c e iv e s nu m ero u s in c o m in g t e l e p h o n e c a l l s fro m A g e n ts , A r t i s t s , E x e c u tiv e s , D e p a rtm e n t H ead s, W r i t e r s ,

13d SUPPLEMENTARY SHEET -

Jo b T i t l e :

3-

EXECUTIVE SECRETARY ( U . S . PICTURES)________ Jo b # 23 d

D i r e c t o r s , and o t h e r c o n t a c t s r e q u e s t i n g i n f o r m p e r ta in in g to m a tte r s c o n c e rn in g U .S .P ic tu r e s . in fo rm a tio n re q u e s te d i f a v a ila b le o r tr a n s f e r s to th e E x e c u tiv e . P la c e s o u tg o in g b u s in e s s and so n a l c a l l s f o r th e E x e c u tiv e a s r e q u e s te d .

a tio n G iv e s c a lls p er­

b.

R e c e iv e s a d a i l y r e p o r t o f m o tio n p i c t u r e t i t l e s t h a t have been r e g i s t e r e d by th e v a r io u s s t u d i o s » su rv e y s th e l i s t o f t i t l e s t o a s c e r t a i n t h a t pro p o sed t i t l e s o f U . S . P i c t u r e s do n o t d u p l i c a t e r e g i s t e r e d t i t l e s . When t i t l e o f a f o r t h c o m i n g p i c t u r e i s d e s i g n a t e d b y t h e E x e c u t i v e , r e q u e s t s t h e New Y o r k o f f i c e b y t e l e ­ p h o n e , t e l e g r a p h o r l e t t e r to r e g i s t e r t h e t i t l e , and s i m i l a r l y f o llo w s up r e q u e s t s to d e te rm in e t h a t a c t i o n h as been ta k e n . O c c a sio n a lly , i f t i t l e s e le c te d i s f o u n d t o b e a l r e a d y r e g i s t e r e d b y some o t h e r s t u d i o , r e q u e s t s t h e New Y o r k o f f i c e b y t e l e p h o n e t o t r y t o o b t a i n a w a iv e r o f t h e t i t l e from t h e o t h e r s t u d i o b y te le p h o n e , te le g r a p h o r l e t t e r a s d i r e c t e d by th e E x e c u tiv e .

c.

C a ll s t h e F ilm E d i t i n g D e p artm en t a s r e q u e s t e d by th e E x e c u tiv e o r o t h e r E x e c u tiv e s o f t h e com pany, f o r p a s t a n d c u r r e n t p i c t u r e s g i v i n g nam e o f p i c t u r e w a n ted and t i m e , a r r a n g e s f o r t h e s c r e e n i n g o f p i c ­ t u r e s and n o t i f i e s E x e c u t i v e s c o n c e r n e d o f c o m p le te d a rra n g e m e n ts . A lso c a l l s t h e F ilm E d i t i n g D e p a rtm e n t f o r d a i l y tfr u s h e s n a n d p r e - p r o d u c t i o n t e s t s , t o b e v ie w e d b y th e E x e c u t i v e , A s s i s t a n t E x e c u ti v e and o th e rs co n cern ed .

d.

R e q u i s i t i o n s o f f i c e s u p p l i e s fro m t h e g e n e r a l s t o r e ­ ro o m a n d P u r c h a s i n g D e p a r t m e n t a s n e c e s s a r y .

e.

A s s i s t s t h e U n it M an ag er i n m ak in g a r r a n g e m e n t s f o r s c r e e n t e s t s r e q u e s t e d b y t h e E x e c u t i v e , by m ak in g a p p o in tm e n ts w ith d e p a rtm e n ts c o n c e rn e d f o r w ard ro b e f i t t i n g s and m akeup, and n o t i f y i n g T a le n t o f t h e tim e and p l a c e o f a p p o in tm e n ts and t e s t ; m akes n e c e s s a r y a r r a n g e m e n t s f o r p r o j e c t i o n ro o m t o s h o w c o m p l e t e d te s ts .

139 Job T i t l e :

EXECUTIVE SECRETARY (U .S *PICTURES)________ Jo b # 2 3 £

JOB REQUIREMENTS

1.

A b ility to ta k e sh o rth a n d d i c t a t i o n a t a p p r o x . 100 w o r d s p e r m i n u t e , a n d t o t y p e a t t h e r a t e o f SO w o r d s p er m in u te .

2.

T a c t and p l e a s i n g p e r s o n a l i t y t o m a in ta in fa v o ra b le r e l a tio n s w ith th e E x e c u ti v e s , D ep artm en t H e ad s, A g e n ts, A r t i s t s , and o th e r o f f i c e and t e l e p h o n e c o n t a c t s .

3-

F a m i l i a r i t y w i t h nam es o f A r t i s t s and L i t e r a r y A g e n ts and t h e i r c l i e n t e l e , and s t u d i o p e r s o n n e l and d e p a r tm e n ts .

4*

T h orough w o rk in g k n o w le d g e o f E n g li s h g ram m ar, s p e l l i n g , and s e n t e n c e c o n ­ stru c tio n . F a m ilia r ity w ith s c r i p t te rm in o lo g y .

5*

G e n e ra l k n o w le d g e o f U . S . P i c t u r e s a c t i v i t i e s t o answ er and d is c u s s q u e s tio n s i n t e l l i g e n t l y .

6-

A b i l i t y and i n i t i a t i v e t o o th e r w o rk ers.

su p e rv ise

140 A s t u d y o f t h e s e l a s t t w o j o b a n a l y s e s w i l l show t h a t m any o f t h e d u t i e s a r e t h e d u t i e s p erfo rm ed by th e

same a s o r s i m i l a r t o t h e

se c re ta ry

to th e w r i t e r and t o th e

d ire c to r• F u rth e r stu d y

of th e se a n a ly se s w ill a ls o

a l l d u t i e s p e rfo rm ed by s t u d i o s e c r e t a r i e s f a l l g en eral

c la s s ific a tio n s

show t h a t in to th e

of d u tie s as c a te g o riz e d by C h a rte rs

and W h itle y : 1.

M a il

2.

T ak in g d i c t a t i o n

3-

T ra n sc rip tio n

4•

T y p e w ritin g

5*

F ilin g

6•

T e lep h o n e

7*

E d ito ria l d u tie s

3.

M e e tin g p e o p le

9*

F in a n c ia l

10.

C le ric a l

11.

M isc e lla n e o u s^

It o f stu d io

can b e se e n t h a t t h e se c re ta rie s

o n l y w ay i n w h i c h t h e

d i f f e r fro m d u t i e s

d u tie s

of s e c r e ta r ie s in

^ W. W. C h a r t e r s and I s a d o r e B* W h i t l e y , A n a l y s i s S e c r e t a r i a l D u tie s and T r a i t s (B a ltim o re : W illia m s and W i l k i n s C o m p an y , 1 9 ^ 4 ) , P P • 5 7 - 6 2 .

of

141 g en eral is

in th e

c o n te n t o f th e m a il, d i c t a t i o n ,

sc rip tio n ,

t y p e w r i t i n g , and p e o p le m e t.

I t w as n o t t h e p u rp o s e o f t h i s m a te r ia ls to te a c h g en eral tra in in g

sy lla b u s t o

th e se g en eral d u tie s ,

tra n ­

p resen t

even th o u g h th e

w o u ld b e c o o r d i n a t e d w i t h t h e

sp e c ia liz e d

tra in in g . %

I t w as le a r n e d t h a t b e t t e r p o s i t io n s th ro u g h as w e ll a s s e n io r ity .

s e c r e t a r i e s u s u a lly re c e iv e th e

su p e rio r p e rs o n a lity

and a b i l i t y ,

F o r t h a t r e a s o n t h e i n s t r u c t o r m ust

d e c id e w hat s ta n d a r d s sh o u ld be s e t . B arn h art sa y s, When b u s i n e s s men a r e c o n s u l t e d , t h e y a r e u n a n i m o u s i n r e p o r t i n g t h a t t h e y em p lo y s t e n o g r a p h e r s p r i m a r i l y t o p ro d u ce a c c u r a te t r a n s c r i p t s o f t h e i r d i c t a t i o n . . . They b e l i e v e t h a t t h e a b i l i t y t o t r a n s c r i b e i s t h e e s s e n t i a l a b i l i t y , and s o th e y e x p e c t a n y p u b l i c s c h o o l c o u rse fo r t r a i n i n g ste n o g ra p h e rs to d e v e lo p t h i s a b i l ­ ity . E v id e n tly , th e c o n s titu e n t e le m e n ts o f t h i s a b i l ­ i t y n e e d t o b e d i s c o v e r e d a n d m ade t h e o b j e c t i v e s o f any s te n o g r a p h ic t r a i n i n g p ro g ra m .3 F . C. P h i l l i p s t e l l s

us th a t

M ost o f t h e b u s in e s s m e n a r e s a t i s f i e d w ith a b e g i n ­ n e r who c o u l d w r i t e s h o r t h a n d a t a s p e e d o f f r o m SO t o 12 0 w o r d s a m i n u t e p r o v i d e d t h e b e g i n n e r c o u l d c o n t i n u e a t t h i s sp e e d a s lo n g a s t h e b u s in e s s m a n w ish e d t o . d i c ­ ta te . T he b e g i n n e r m u s t b e c a p a b l e o f s u s t a i n e d e f f o r t . S h e m u s t h a v e b e co m e a c c u s t o m e d t o a l o n g d i c t a t i o n

3 E a r l W. B a r n h a r t , ” An A n a l y s i s o f t h e Work o f a S t e n o g r a p h e r , ” G regg E d u c a t i o n a l M o n o g ra p h s, 1 9 2 7 , G reg g P u b l i s h i n g C o m p an y , p p • 4 - 5 •

.

142

p e r i o d . . ♦ .B u s in e s s m e n e x p e c t t h a t i n g e n e r a l ev en a b e g in n e r sh o u ld be a b le t o t u r n o u t copy t h a t i s m a ila b le t h e f i r s t tim e she w r i t e s i t . No c o p y s h o u l d be c o n sid e re d m a ila b le th a t c o n ta in s e r r o r s in s p e l l ­ in g , s tr ik e - o v e r s , n o tic e a b le e ra s u re s , o r th a t i s n o t n e a t an d w e l l a r r a n g e d on t h e p a g e .4 G regg s a y s , T hree t h in g s a r e r e q u ir e d o f an e f f i c i e n t s e c r e t a r y : (1 ) s u p e r i o r s t e n o g r a p h i c s k i l l , w h ic h i s a c o m b in a tio n o f s h o r t h a n d , t y p i n g , and t r a n s c r i b i n g s k i l l s ; (2) a c l e a r u n d e r s ta n d in g o f b u s i n e s s c u sto m s and p r o c e d u r e s ; . . .a n d (3 ) c e r t a i n c h a r a c t e r a n d p e r s o n a l i t y t r a i t s , su ch a s d e p e n d a b i l i t y , c o u r t e s y , i n i t i a t i v e , ju d g m e n t, l o y a l t y , r e s o u r c e f u ln e s s , a n d , above a l l , a d a p t a b i l it y a n d common s e n s e . 5 I t w o u ld se em t h a t t h e

sta n d a rd s

e x p e c te d in a s tu d i o

a r e i n a c c o r d w i t h t h o s e e x p e c t e d b y b u s i n e s s m en g e n e r a l l y . S tu d y o f th e

jo b a n a l y s e s show s t h a t

jo b re q u ire m e n ts a re

as fo llo w s: T ra in in g and e x p e r ie n c e : 1.

A b i l i t y t o t a k e s h o r t h a n d a t fro m 90 t o

120

w ords p e r m in u te . 2.

A b i l it y to ty p e

at

55 t o 65 w o r d s p e r m i n u t e .

3*

A th o r o u g h w o rk in g k n o w le d g e o f E n g l i s h gram m ar, s p e l l i n g , and s e n te n c e c o n s t r u c t io n .

^ F r a n k G . P h i l l i p s , "W hat S h o r t h a n d S t a n d a r d s f o r I n i t i a l S te n o g ra p h ic P o s itio n s ? " J o u rn a l o f B u sin e ss E d u c a tio n , F e b ru ary , 1935, PP• 1 1 -1 2 . 5 John R o b e rt G reg g , A p p lie d S e c r e t a r i a l P r a c t i c e (New Y o r k : G r e g g P u b l i s h i n g C om pany , 1 9 4 1 ) , P • 1*

143 4»

F a m ilia r ity w ith s tu d io te rm in o lo g y , a c t i v i t i e s , d e p a rtm e n ts, and p e rs o n n e l.

P erso n al q u a lif ic a tio n s : 1.

A b ility

t o g e t a lo n g w ith a l a r g e v a r i e t y

of

peo p i e . 2.

A b ility

t o g e t o u t w o rk w i t h l i t t l e

3*

A b ility

t o w o rk l o n g h o u r s u n d e r p r e s s u r e .

4.

A p le a sin g

I t was f e l t su g g e stio n s to sta n d a rd s.

su p e rv isio n .

p e rs o n a lity .

th e fo re g o in g

e n a b le th e

sy lla b u s gave s u f f ic ie n t

stu d e n ts to

come u p t o t h e s e

CHAPTER IX SUMMARY AND CONCLUSIONS I t was s e e n i n t h e

in tro d u c to ry

th a t s e c r e ta r ia l p o sitio n s a r e d e s i r a b l e fro m t h e

c h a p te r of t h i s

stu d y

i n th e m o tio n p i c t u r e i n d u s t r y

s ta n d p o in t o f s a l a r y and i n t e r e s t .

M ost s t u d i o

e m p lo y ees lo v e t h e i r w o rk , and t h e m o tio n p i c t u r e

in d u stry

im p o rta n t to

is

th e

e c o n o m ic l i f e

a rea.

I t w as p o in te d out t h a t

tra in s

s tu d e n ts fo r p o s itio n s

tra in in g

re c e iv e d fo r

of th e

Los A n g e le s

o n ly one b u s i n e s s c o l l e g e in t h i s

i n d u s t r y , and t h a t t h e

s t u d i o w o rk w o u l d a l s o

be v a lu a b le to

s tu d e n ts g e ttin g p o s itio n s in ra d io , t e le v is io n ,

th e th e a te r,

and i n t h e a g e n c i e s . I t w as se en i n l a t e r g ro u n d o f i n f o r m a t i o n on t h e p erso n n el is

th e

stu d io s;

p ro d u cers;

s t a r s and t h e i r a g e n t s ; tra d e

p a p ers; th e

p a rtm e n ts. th is

fo llo w in g d e p a rtm e n ts and

e s s e n t i a l to any s tu d io

o f th e d if f e r e n t stu d io s;

c h a p te r s t h a t a th o ro u g h b a ck ­

se c re ta ry :

t h e nam es

th e e x e c u tiv e s in ch arg e o f

th e d i r e c t o r s ; th e w r i t e r s ;

th e

th e

th e

p ro d u cer o rg a n iz a tio n s ;

sh o rt su b je c ts;

and t h e p r o d u c tio n de­

S u g g e s t i o n s w e r e g i v e n a s t o how t o

g iv e

s tu d e n ts

in fo rm a tio n . I t was s e e n t h a t

a n a ly se s is

p la n n in g a c o u r s e o f s tu d y from jo b

good p e d a g o g ic a l p r a c t i c e .

B la c k sto n e s a y s ,

145 "Job a n a ly s e s of th e

d u t i e s p e r f o r m e d b y t y p i s t s may b e

f r u i t f u l s o u rc e s o f in fo rm a tio n ab o u t w hat sh o u ld b e t a u g h t •"**-

M any j o b d e s c r i p t i o n s a n d j o b a n a l y s e s w e r e

o b t a i n e d from d i f f e r e n t

stu d io s.

A stu d y o f th e s e a n a ly s e s

sh o w e d t h a t t h e d u t i e s p e r f o r m e d b y s t e n o g r a p h e r s i n t h e ste n o g ra p h ic d e p a rtm e n ts, by th e to

th e

d ire c to r,

gave m ost o f th e

by a l l s e c r e ta r ie s .

For th a t

a n a l y s e s w ere in c lu d e d

in t h i s

se c re ta ry to

a w r i t e r , and

d u t i e s com m o n ly p e r f o r m e d

reaso n ,

o n ly a few o f t h e s e

s t u d y , and t h e r e s t

e lim in a te d

as d u p lic a tio n s. I t w as se e n from a s t u d y o f jo b a n a l y s e s o f t h e d u c e r ’ s and th e e x e c u t i v e ’ s s e c r e t a r y d u t i e s w ere s i m i l a r to th e

o th e r s e c r e ta r ie s .

and th ro u g h

o r th e

p ro ­

t h a t m any o f t h e i r

sam e a s t h o s e p e r f o r m e d b y

I t w as l e a r n e d th ro u g h e x p e r ie n c e

i n t e r v i e w s t h a t t h e m ore d e s i r a b l e

p o sitio n s

a r e o b ta in e d th ro u g h s e n i o r i t y and s u p e r io r p e r s o n a l i ty a b ility .

T h erefo re,

and

s ta n d a r d s o f t r a i n i n g w ere s e t u p . CONCLUSIONS

1.

S tu d e n ts

sh o u ld f i r s t r e c e i v e t r a i n i n g

in th e

b a c k g ro u n d o f th e m o tio n p i c t u r e i n d u s t r y .

^ E . G. B l a c k s t o n e a n d S o f r o n a S m i t h , I m p r o v e m e n t o f I n s t r u c t i o n in T y p e w ritin g (New Y o r k : P r e n t i c e - H a l l , I n c • , 1 9 4 9 )t P • 23•

A f te r t h e b ackground h a s been th o r o u g h ly s t u d i e d , th e

stu d e n ts

sh o u ld b e g iv e n i n t e n s i v e t r a i n i n g

i n w o rk in g w ith s c r i p t s . ta k in g

d ic ta tio n

T h is t r a i n i n g

in c lu d e s

on s t o r y o u t l i n e s , t r e a t m e n t s ,

and s c r i p t . S tu d io te rm in o lo g y and th e w ritin g sc rip t

v o c a b u la ry of s c r ip t

sh o u ld be s t u d i e d b e f o r e g i v i n g th e d ic ta tio n .

S tu d e n ts sh o u ld l e a r n t o

lis te n

to a sto ry

s y m p a t h e t i c a l l y and o f f e r p e r s o n a l r e a c t i o n s . S t u d e n t s s h o u ld l e a r n t o w ork u n d e r p r e s s u r e i n o rd e r t o m eet d e a d lin e s in t h e i r jo b s . S tu d e n ts sh o u ld l e a r n to

check s c r i p t s

fo r ty p o ­

g r a p h i c a l e r r o r s and sc en e an d p age n u m b e rs. S tu d e n ts sh o u ld l e a r n and t a k e

d ic ta tio n

fro m lo n g h a n d d r a f t s

d ir e c tly to th e

S tu d e n ts sh o u ld le a r n sto ry

to ty p e

ty p e w rite r.

t o r e v ie w b o o k s and o f f e r

su g g e stio n s.

S tu d e n ts sh o u ld be t r a i n e d to w r i t e s h o rth a n d a t 120 w o rd s p e r m in u te an d t y p e a t

55 t o 65 w o r d s

p e r m in u te . S t u d e n ts sh o u ld a l s o h av e a th o r o u g h w o rk in g k n o w le d g e o f E n g li s h gram m ar, se n te n c e c o n s tr u c tio n .

s p e l l i n g , and

147 11.

S t u d e n t s s h o u ld b e f a m i l i a r w ith t h e nam es of a r t i s t s

12.

As t o

and a g e n t s .

p erso n al q u a lif ic a tio n s ,

th e stu d e n ts

m ust be a.

A b le t o

g e t a lo n g w ith a l a r g e v a r i e t y

o f p e o p le ; b.

Be a b l e t o

w o rk l o n g h o u r s u n d e r p r e s s u r e

w hen n e c e s s a r y ; c.

Have a p l e a s i n g

d.

Be r e s p o n s i b l e f o r g e t t i n g o u t w o rk u n d e r 1i t tie

It te a c h

is

su p erv i s i on.

recom m ended t h a t a n y i n s t r u c t o r d e s i r i n g t o

a co u rse in

e sta b lis h

p e rs o n a lity ;

stu d io

s e c r e t a r y s h i p m ake a n e f f o r t t o

c o n ta c ts w ith th e

p a rtm e n ts of th e

heads of th e

v a rio u s s tu d io s in

so t r a i n e d and e v a l u a t e t h e t r a i n i n g

ste n o g ra p h ic

o rd e r to p la c e g iv e n .

0TOVBRSITY OF SOUTHERN CALIFORNIA U5KXKS

de­

stu d e n ts

B I B L I O G R A P H Y

BIBLIOGRAPHY A.

BOOKS

A l l e n , J a n e , I L o s t My G i r l i s h L a u g h t e r . Random Hous e , 1 9 3 8 . 275 PP •

New Y o r k :

B l a c k s t o n e , E . G . , a n d S o f r o n a L . S m i t h , Imp r o v e m e n t o f I n s t r u c t i o n i n T y p e w r i t i n g . New Y o r k : P r e n t i c e - H a T l , I n c o r p o r a t e d , “1 9 4 9 * 470 p p . C annom , R o b e r t , Van Dyke a n d t h e M y t h i c a l C i t y , H o l l y w o o d . C u lv e r C i t y , C a l i f o r n i a : M urray and G ee, I n c o r p o r a te d , 194S. 419 p p * C h a r t e r s , W. W ., a n d I s a d o r e B . W h i t l e y , A n a l y s i s o f S e c r e t a r i a l D u tie s and T r a i t s . B a l t i m o r e : W iH T a m s a n d W i l k i n s C o m p an y , 1 9 2 4 • IS 6 p p . D a l e , E d g a r , How t o A p p r e c i a t e M o t i o n The M a cm iIia n H C o m p an y , 1 $ 3 5 * 243

P ic tu re s . PP •

D o u g l a s s , A u b re y A . , S e c o n d a r y E d u c a t i o n . H o u g h t o n - M i f f l i n C o m p an y , 1 9 2 7 .

New Y o r k :

New Y o r k :

G reg g , John R o b e rt, A p p lie d S e c r e t a r i a l ^ P r a c tic e . The G r e g g P u b l i s h i n g C o m p an y , 1 9 4 1 • 5 3 4 PP*

New Y o r k

G r e g o r y , C a r l L . ? M o t i o n P i c t u r e P h o t o g r a p h y . New Y o r k : F a l k P u b l i s h i n g C o m p an y , I n c o r p o r a t e d , 1 9 2 7 • H a m p to n , B e n j a m i n B * , H i s t o r y o f t h e M o v i e s . C o v i c i - F r i e d e P u b l i s h e r s , T 9 3 l* 431 p p .

New Y o r k :

H o a d l e y , R a y , a n d Roman F r e u l i c h , How T h e y M ake a M o t i o n P ic tu re * New Y o r k : T ho m as Y . C r o w e l l C o m p an y , ± 9 3 9 • l i y pp. K i e s l i n g , B a r r e t t C . , T a l k i n g P i c t u r e s * New Y o r k : J o h n s o n P u b l i s h i n g C o m p an y, 1 9 3 7 332 p p . N a u m b u rg , N a n c y , We Make t h e M o v i e s . New Y o r k : W. W. N o r t o n a n d C o m p an y , I n c o r p o r a t e d , 1 9 3 7 * 2 $ 4 PP* P a t t e r s o n , F r a n c e s T a y l o r , M o tio n P i c t u r e C o n t i n u i t i e s . New Y o r k : S t r a t f o r d P r e s s , 1 9 2 9 ^ 246 p p .

149 R o s t e n , L eo C . , H o l l y w o o d * New Y o r k : H a r c o u r t , B r a c e a n d C o m p an y , 1 9 4 I . 4 36 pp ♦ S e l d e s , G i l b e r t , T h e M o v i e s Come From A m e r i c a * C h a r l e s S c r i b n e r ’ s S o n s , 19374 120 p p .

New Y o r k :

T a i n t o r , S a r a h A . , a n d K a t e M. M o n r o , The S e c r e t a r y ’ s H andbook. New Y o r k : T h e M a c M i l l a n C om p an y, 1 9 2 9 ♦ T72“ p p 7 “ B. ’’C i n e m a , ” T im e ,

PERIODICAL ARTICLES

J u n e 1 2 , 1950*

’’I d e o l o g i e s , ” T i m e , J u l y 1 0 , 1 9 5 0 . P h i l l i p s , F r a n k C . , ’’W hat S h o r t h a n d S t a n d a r d s f o r I n i t i a l S te n o g ra p h ic P o s i t i o n s , ” J o u rn a l o f B u sin e ss E d u c a tio n , F e b r u a r y , 1 9 3 5 , PP* 1 1 - 1 2 . T o n n e , H e r b e r t , ’’B l i n d S p o t s i n R e s e a r c h i n B u s i n e s s E d u c a ­ t i o n , ” N a t i o n a l B u s i n e s s E d u c a t i o n Q u a r t e r l y , M a r c h , 194& •

C.

PARTS OF SERIES

B a r n h a r t , E a r l W ., ” An A n a l y s i s o f t h e Work o f a S t e n o g r a p h e r , ” G reg g E d u c a t i o n a l M o n o g ra p h s, 1 9 2 7 , O regg P u b l i s h i n g C o m p an y . F ilm D a ily Y earb o o k o f M o tio n P i c t u r e s , 3 1 s t E d it i o n , 1949 * N e w T o r F * J . W. X C i c o a t e . l,IiT 2 p p . I n t e r n a t i o n a l M o tio n P i c t u r e A lm an ac, 1 9 4 9 - 5 0 * ! Q u ig le y P u b l i s h i n g Com pany•

New Y o r k :

T y r r e l l , D o r i s , ’’A n a l y s i s o f S e c r e t a r i a l D u t i e s a n d T r a i t s a s a B a s i s f o r G u id a n ce and T r a i n i n g , ” N a t io n a l B u s in e s s E d u c a ti o n O u tlo o k , F i r s t Y e a rb o o k , 1935*

BHnERSITY OF SOUTHERN CALIFORNIA L U i X D

A P P E N D I X

i5o Effective between January 1, 19bl and December 31> 19U7 WAGE SCALEj HOURS OF EMPLOYMENT AND WORKING CONDITIONS I.

STUDIO MINIMUM WAGE SCALE

SCHEDULE A - DAILY - lb after 8 - lj after UO - Minimum call: k hours

WAGE BRACKETS

1

2

Per Hr.

Per Hr.

2.U9i

2 .2 h i

3

h

Per Hr. Per Hr. 2.00

1.791

5

6x

Per Hr.

Per Hr.

1.574

1.1*84

6-

7

Per Hr. Per Hr.

1.354

1.13,

8 Per Hr.

.96

SCHEDULE B - WEEKLY - Weekly Guarantee: i*0 cum. hrs. - 5 day week-1j- over hC Minimum calls: Mon. to Fri. inc. 6 hrsj Sat. U hrs.

SERVICE BRACKETS*

1st 6 mos.con.emp. (Probationary**)

2.0U (81.60)

I . 8O2 (72.20)

1.58 1 . 39-1 (63.20) (55.30)

1.23 (1*9.20)

2.33 (93.20)

2e08| (83.U0)

1.63 1-83J (7 3 .UO) (65.20)

1.1*1% 1.334 (56.60) (53.1*0)

1.204 (1*8.20)

1.3.3, 1 .3 5 V >51*.20) (1*5.20 )

.96 (38.1*0)

1 .1 7 | (U7.00)

.91 1 . 07-4 (1*3.00) (3 6 .UO) 1.00 (Uo.oo)

.774 . ( 31. 00) (33.20)

6 to 18 mos. con. emp.

B

30 to Ij.2 mo s. con. emp.

D

2.U9I (99.80)

2.2U| '89 ®8 0 )

2.00 . 1.794 (80.00) (71.80)

1.1*84 (62l80> (59. 1+0)

1*2 to 5U mos. con. emp.

E

2.57 (102.80)

2.32 '92.80)

2.07 1.854 (82.80) (7U.20)

1.63s (65.1*0)

1 . 51* (61.60)

1 .U04 (56.20)

1.174 (1*7.00)

• 994 (39.80)

After 66 mos. con. emp.

G

2.73 (109 .20 )

2.U7 '98.80)

2.20| 1.98 (88.20) (79.20)

1.61*4 1.734 (6 9 .1*0 ) (65.80)

1.5o4 (60. 20)

1.21*4 (1*9.80)

1*05 (U2.00)

Note: Telephone Operators may be employed for their normal six 6-hour shifts at Schedule B. rates.

151 SEE:

J o b d e s c r i p t i o n DEPARTMENT SECRETARY PARAMOUNT PICTURES IN C . JOB DESCRIPTION (Work S h e e t )

I.

I d e n t i f i c a t i o n D a te

Job T i t l e :

O cc. Code:

WRITER’ S SECRETARY

1-37 *12

No. W o rk e rs :

D ep artm en t:

S ecretarial

S u p erv ised by:

S u p erv ises:

N o n e _______________________

A S S IS T A N T S ECR ETA RIAL DEPARTMENT HEAD (T itle )

_________________

II.

._ ______________

( T i t l e a n d N u m b e r)

Job Sum m ary:

_____

T ak es s c r i p t d i c t a t i o n and t r a n s c r i b e s on

. ty p e w rite r in p ro p e r fo rm a t, p re p a rin g ^ v a rio u s v e rsio n s o f s c r ip t m a te ria l fo r d is tr ib u tio n ;* p e r f o r m s s e c r e t a r i a l o f f i c e d u t i e s f o r WRITERS; c o m p i l e s research m a te ria l. III.

M inimum Q u a l i f i c a t i o n s :

E d u c a tio n :

S e x F Age R a n g e ; 21 t o u p

(S R W ) E n g l i s h O t h e r : H ig h s c h o o l g r a d u a t e w i t h c o u rse s in ste n o g ra p h y . B u sin e ss c o lle g e s e c r e t a r i a l co u rses p re fe rre d .

T r a in i n g & E x p e r ie n c e : S ix m onths e x p e r ie n c e a s D e p a rtm e n t S e c r e t a r y i n P aram o u n t S t u d i o s ; 6 0 65 wpm t y p i n g s p e e d ; 1 2 0 wpm s h o r t ­ hand s p e e d . P e r s o n a l Q u a l i f i c a t i o n s : A b le t o g e t a l o n g w i t h w id e v a r i e t y o f p e o p le ; r e s p o n s ib le f o r g e tt i n g o u t w o rk u n d e r l i t t l e s u p e r v i s i o n .

P h y s ic a l R e q u ir e m e n ts : P a s s com pany p h y s i c a l ;

a b l e t o w ork

l o n g h o u r s u n d e r p r e s s u r e when _____________________________ n e c e s s a r y .___________________________________

IV .

O f f i c e E q uipm ent U sed: V. M a te r ia ls W orked: T y p e w rite r S ta tio n e ry S ta p le r C arbon _______ T e l e p h o n e ________________________ S c r i p t c o v e r s ______________

V I.

S u rro u n d in g s: H o t ( J C o ld D ry ( ) Fum es Wet ( ) N o i s y O th e r

H um id

( )

( ) In sid e ( ) ( )O u tsid e ( .) (x ) D u sty ( ) D irty ( )

V I I . H a z a r d s : None . E le c tric a l( E x p lo s io n s ( M e c h a n ic a l( O th e r

) O cc. ) D ise a se ( ) F a lls ( -B urns (

) ) )

152 V III*

R em arks:

IX*

W ages a n d H o u r s : D ays p e r w e e k : 5 H ours p e r D ay: 8

S h i f t : ______ __________ C la s sific a tio n : 0 U n i o n L o c a l No* PSOEA______ ________________________________________M e m b e r s h i p R e q u i r e d : Y es_____ X*

Work P e r f o r m e d - WRITER'S SECRETARY___________________________

1.

TAKES SCRIPT DICTATION AND TYPEWRITES IN PROPER FORMAT (a) T akes S c r i p t

D ic ta tio n

Takes d i c t a t i o n

f r o m WRITER on a v a r i e t y

m a t e r i a l such a s S to r y I d e a s , and S c r e e n p la y s ,

o rig in a l

O u tlin e s,

s tra ig h t

re v is e d i n s e r ts , ta k in g d ic ta tio n o ffic e , p ro d u ce r’s o ffic e ,

of s c rip t T re a tm e n ts

c o n tin u ity ,

or

i n WRITER’ S h o m e ,

d u rin g s to ry

c o n feren ce,

i n p r o j e c t i o n ro o m o r o n s e t a s r e q u i r e d . ( b ) T y p e w r i t e s R ough D r a f t S c r i p t M a t e r i a l T r a n s c r i b e s s h o r t h a n d n o t e s on t y p e w r i t e r i n p r o p e r so rip t

f o r m a t , m ak in g a n u m b er o f c a r b o n c o p i e s

a c c o rd in g to

fo rm at of m a te r ia l

own w o rk f o r a c c u r a c y ,

so rtin g

ty p e d ; p ro o fre a d s c o p ie s ,

c h e c k in g p age

num bers f o r p r o p e r o r d e r an d t r a n s m i t t i n g

c o m p le te d

w o rk t o WRITER, ASSISTANT SECRETARIAL DEPARTMENT HEAD a n d o t h e r a u t h o r i z e d in g to

S tu d io p e rs o n n e l, a c c o rd ­

fo rm at of m a te r ia l ty p e d ,

o r h o ld in g a l l

c o p i e s u n t i l WRITER r e q u e s t s f u r t h e r d i s t r i b u t i o n . ( c ) R e v is e d S c r i p t M a t e r i a l R e - t y p e s s c r i p t m a t e r i a l a s r e q u e s t e d b y WRITER

153 from lo n g h a n d d r a f t w ritte n

or re v ise d

copy, b e in g a l e r t to

rough d r a f t t y p e ­

in se rts ,

p ro p er

seq u en ce o f page n u m b ers, Scene n u m b ers, c h a r a c t e r and lo c a le

name c h a n g e s , d e c i p h e r i n g i l l e g i b l e

lo n g h a n d , r e f e r r i n g WHITER f o r re v ise d

e r r o r s and i n c o n s i s t e n c i e s t o

c la rific a tio n ,

pages in a l l

tra n s m ittin g

in s e rtin g u p -to -d a te

c o p ie s o f s c r i p t m a te r ia l,

o r h o ld in g c o p ie s as re q u e s te d by

WRITER. ( d ) T y p e w rite s F in a l R e v ise d S c r i p t As i n s t r u c t e d b y WRITER t o of sc rip t

p rep are f in a l

v e rsio n

f o r d i s t r i b u t i o n , t y p e w r i t e s 13 c o p i e s

o f c o m p lete s c r i p t p ro o fre a d in g ,

fro m r e v i s e d

so rtin g

c o p ie s,

rough d r a f t ,

c h e c k in g page

num bers f o r p r o p e r o r d e r , a s s e m b lin g , t y p e w r i t i n g b lu e

c o v e r s and t e a r s h e e t s ,

D e p a rtm e n t t o

sta p le

a ll

r e q u e s t i n g M im e o g r a p h

c o p ie s, tr a n s m ittin g

c o m p l e t e d c o p i e s t o WRITER, ASSISTANT SECRETARIAL DEPARTMENT HEAD a n d o t h e r a u t h o r i z e d p e r s o n n e l a s in stru c te d ; v ise d s c r ip t

fre q u e n tly re q u ire d to fo r

accu racy o f s c r i p t

e d it fin a l r e ­ fo rm ,

co rrect

s p e l l i n g , gram m ar, p u n c tu a ti o n i n c o n s i s t e n c i e s , e tc .;

a s r u s h w ork d e m a n d s, w orks o v e r tim e

re q u e sts a s s is ta n c e

or

f r o m DEPARTMENTAL SECRETARIES

o r o t h e r WRITERST SECRETARIES t o m e e t d e a d l i n e .

154 ( e)

D ic ta tio n D ire c t to

T y p e w rite r

As r e q u e s t e d by WRITER, t a k e s d i c t a t i o n d i r e c t l y to

ty p e w rite r,

w ork,

b e in g a l e r t t o a c c u ra c y f o r ru sh

and s c r i p t

f o r m a t from o r a l d i c t a t i o n

p r o p e r s e t up o f d i a l o g u e ,

c o n tin u ity

fo r

and s c e n e s .

( f ) One L i n e O u t l i n e s As r e q u e s t e d b y WRITER, c o n d e n s e s a n d b r i e f s sc rip ts

in to

o ne L in e O u t l i n e s , t y p e w r i t i n g

tra n s m ittin g 2.

and

c o p i e s t o WRITER.

OFFERS CRITICISMS AND SUGGESTIONS As r e q u e s t e d b y WRITER I n sto ry

p ro g ress,

lis te n s to

scene b reak d o w n s, v e lo p m e n ts,

tio n ,

of sto ry

p erso n al r e a c tio n s ,

and

id e a s,

c ritic is m s

a s r e q u e s t e d b y WRITERS, s u g g e s t s

c o n tin u ity

re fe rrin g

a v a rie ty

lin e

p l o t m o v e m e n ts a n d c h a r a c t e r d e ­

o ffe rin g

and s u g g e s t i o n s ; and i n s e r t s

so u n d in g o u t p l o t

to

sh o ts in s c r i p ts under p re p a ra ­

k n o w le d g e o f s c r i p t

form and

e x p e rie n c e . 3•

OBTAINS RESEARCH MATERIAL As r e q u e s t e d b y WRITER, r e a d s a n d r e v i e w s b o o k s , m ag a zin e

a rtic le s,

v iew t o d e r i v i n g in p re p a ra tio n , on t y p e w r i t e r ,

s c r i p t s and o t h e r m a t e r i a l w i t h

in fo rm a tio n a p p lic a b le tra n s m ittin g

or in se rtin g

t o m ark p e r t i n e n t p a s s a g e s ;

to

sc rip t

in fo rm a tio n o r a l l y slip s

or

o f p a p e r in books

r e q u e s t s and s i g n s

fo r

155 m a te ria l

from R e s e a r c h D e p a r tm e n t,

re tu rn in g such

m a t e r i a l a s r e q u e s t e d b y WRITER; f r e q u e n t l y v a rio u s

S tu d io p e rs o n n e l to t r a c e

WRITER h a s l e f t - 4.

th e

c o n ta c ts

s u c h m a t e r i a l w hen

lo t .

PERFORMS GENERAL OFFICE DUTIES OF SECRETARY P erform s in g th e

g e n e r a l s e c r e t a r i a l d u t i e s f o r WRITER, a n s w e r ­ t e l e p h o n e , d e f e r r i n g u n w a n ted c a l l s ,

d ic ta tio n

and t r a n s c r i b i n g c o rr e s p o n d e n c e ,

and d i r e c t i n g

v is ito rs ,

room s c r e e n i n g s ;

D ep artm en t r e g u l a t i o n s m a in ta in s f i l e s

s e ttin g

up p r o ­

e x p l a i n s EXECUTIVE a n d

re g a rd in g S c rip ts as re q u e ste d ;

f o r WRITER o n a l l

in g c o p ie s o f a l l

re c e iv in g

m a k in g a p p o i n t m e n t s a n d r e ­

m i n d i n g WRITER a t a p p r o p r i a t e t i m e , je c tio n

ta k in g

ro u g h d r a f t s

sto ry m a te ria l,

and r e v i s i o n s

keep­

f o r read y

r e f e r e n c e b y WRITER o r WRITERTS SECRETARY, m a i n t a i n i n g a ll

f i n a l v e rsio n s

pages as n ecessary ;

u p - to - d a te by d e le ti n g and i n s e r t i n g p erfo rm s

such p e r s o n a l s e r v i c e s

f o r WRITER a s o r d e r i n g l u n c h e o n ,

sh o p p in g ,

and p a y i n g

b ills . 5.

PERFORMS DUTIES OF DEPARTMENT SECRETARY As D e p a r t m e n t w o rk d e m a n d s a n d a s WRITERTS w o rk l o a d p e rm its , p erfo rm s d u tie s

o f DEPARTMENT SECRETARY u p o n

r e q u e s t b y ASSISTANT SECRETARIAL DEPARTMENT HEAD.

156 PtSOjiA. Analyst

/s/

Isl

E d ito r

__________ /s / S e c r e t a r i a l & M im eograph D ep artm en t head

W rite r’s S e c re ta ry

ATTESTED TO: 15 S i g n a t u r e s

NOTE; W r i t e r s ’ s e c r e t a r i e s o n P a y r o l l num b ered f i f t e e n a t d a t e o f Jo b A n a l y s i s R e v ie w , S e p te m b e r 15, 1947.

_____________ L s l

O N IV B R S ltr O P SO U T H *" * flA M W W Itt W

w il