MOTION picture director! da not always go outside the studios for their exterior settings. Many of the most adaptable ex terior sites about the film capitals, especially those such as gardens, verandas and vistas on the property of beautiful estates, have already served as backgrounds for motion picture scenes. Then again, the mechanics of the story are often such as to requlro the construction of some of the exterior settings,^so that they may be perfectly adaptable in construction and design, for the making of the particular scenes in volved. Far Away Spot. Other exteriors built within ttie studios represent various parts of the world of such a distance away that it would involve an immense ex penditure to take the company and cast to the real location to make a few scenes of the picture. In such ' cases, the exteriors are often built in the studio, as nearly as possible the replicas of the originals and con structed under the supervision of skilled technical artists who have made extensive research of the loca tion and structure in question. Examples of thl3 are the Versailles garden spot in the Paramount pic ture, ‘‘Beyond the Rocks,” starring Gloria Swanson, which was prepared by skilled landscape artists and dec orators; the exteriors of St. Mary's church. London, for another picture, and for still aiytther, the exterior of Shepherd’s Ho^el in Cairo. Egypt. In ‘‘To Have and to Hold.” the histor ical stockade at Jamestown In 1620, eras reproduced. Other exteriors within the studio have included a street in Shanghai. China, a street in the vicinity of Sixty-seventh street and Seventh avenue in New York, eta. Great Skill Required, William UeMillo almost consist ently builds his exteriors within the studio. His pictures have included several beautiful garden and veranda settings which have greatly en hanced their artistic and pictorial value and In which much of the ac tion has occurred. For instance, in "The Prince Chap," there was a very pretty Italian hotel exterior, in “The Azv bxtbpio^ GrAJSiDJBTV SB777A St&A? PJC DC/IL^T' JVITAflJV TJJJB' S^TCZDTO. 2VOr& TUB' QJ^AS'P &COP- JlE>OV&' Lost Romance," a California patio garden in a mountain home and in “Clarence," the veranda and garden of the Wheeler home. These com bine the finest skill and art In ex terior landscape decoration. Com plete lawns are laid by transporting the green turf in sections; trees and shrubbery are put In rnd flowers In profusion, in ' the whole set off by walks, fountains and other garden effects. It' Takes an Hour to Make a Minute! IT takes an hour, or two hours, or mayhap a day—or two or three— to put upon the screen that poignant minute of drama, heart In terest, comedy—whatever it was that taught your fancy when you last vis ited a motion picture theater. The time element is a factor in motion picture production seldom realized by the casual photoplay at tendant So quickly, so smoothly do the co-ordinated scenes flash over the screen that they create an illu sion of ease, of lark of effort, of play in the making as well as the projection. It's surprising how many of the uninitiated public have the impres sion that to make a scene in the studio required but little more time than that required to place it on the sliver sheet. Disappointed Visitors. “I had no idea it took that murh s*». work!” is a common saying of stu dio visitors. And hundreds admitted to the big picture plants have gone away disappointed because not a camera turned while they wore there. When one enters a Btudlo the first il luslon to be shattered is that of the average outsider who believes that picture stages are flanked by bat teries of cameras which click un ceasingly all day long while the ac tors and actresses pass in review be fore them. The time of photography is small. The time "before and after" is infinite. Let's take a typical scene for ex ample. Let's take'll vej-y famous one to make our Illustration carry real authority. In "Ebb Tide," the Robert Louis Rtevenson-Lloyd Osbourne classic of the South Seas there is a dinner in the home of Attwater, pearl conces sionaire; a dinner heralded by crit ics as being one of the greatest pieces of character delineation in all literary history; a dinner where the emotions of anticipated theft, hon esty cunning and ypngeance pass across the fares of four remarkable characters like squalls on a Summer lake. It will take hut a few minutes for you to read it In the book; (o see it on the screen. It took days for Di rector (ieorge Jlelford to record it on celluloid as an integral part of his new' picture. Ilim, Religion* l.igiil. First the rehearsal. They're spooky, ghost-like things < &CQU&/-//V& S frtWClTT- U4/*7jS:S A^//&?MC*2C> M^JTT&A/ /?/ViD /V*3^/r these mat ters are minor undertones and must not interfere—but It takes time and thought and practice to assure this. And in equal measure the dramatic part must be built up to a crashing climax, a climax so vivid that when James Kirkwood, in horror, rises from the table and crashes out to the surrounding garden the sympa thy and thrills of the audiences will be sure to go with Wm. ^ Half-hour, aiyhour, two hours for rehearsal. Then lights. When you've exclaimed over some particularly beautiful photo graphic effect, did you ever stop to think what brought this about? When an artist makes a light pffect on a piece of canvas It ts comparatively easy. He takes a little blue paint, a little white point, a little pink paint - daubs them here and there and presto n beautiful painting with only the exertion of a hand nd wrist to get ttt v netting Effect. Rut to "paint’’ such an effect in lights menns hard, grinding, physical labor, not only by the elnematogrs pher, but by a corps of electricians which may vary from three or four to fifteen or twenty individuals. I'nder tho orders of tho cinematng rapher, in thia case Ijgrt Glennon, they wheel back and forth heavy Klieg lights weighing 200 pounds each, they Jockey into position a "Sun Arc." a huge apparatus weighing half a ton which throws a concen trated flood of light on a certain place. And then two or three of their number emlilata tho monkey and climb to the top of tb» set where they sit precariously on narrow pieces of boards and operate spot lights which play down on the heads <>f the players and give ^»at attractive glowing'' effect which adds so much to the excellence of the photography. Tt means art, correct lighting, hut It takes time and a liberal applica tion of good old human "elbow gTonse " And then comes rehearsal with the lights to test them to see If every thing l« working well. It develops that one of the lights has an asth matic flicker that needs correction and the lighta are turned off while an electrician slips In a new carbon and Iwlsta nuts and bolta here and there to make the thing behave again. Heady to Mart. Finally everything is set so that Director Melford can call “Camera." The seme unfolds. Raymond Hat ton as the slimy “Hulsh'* digs ravenously Into the food: George Fawcett as "Captain Davis" pours wine Into his glass with a shaking hand; Noah Hcery as Attwater tells the story of his domination on the pearl island while "Herrick" the Oxford bred failure smokes a cig arette and listens to tho recital. "Cut," calls the director. Seem ingly the scene is ready for' (jjtjor poration Into the finished photoplay. Rut it Isn't. “I think: a little sterner expression at tho start Noah," says Mr. Melford "And ‘Hulsh' that side expression of ZOOK INS OUT TK5J^30!Vr &/7Z3ZOZC3r ZapJjvjjrzsziae SKrg&Z zpjg&, N. tjOCTBUJCR- QjTUDBN Z>EYOT?D - l^r&yrusrB&B’auiLT. orv iallfti th& rr/toBr ZMB- &4TIO Gd&D&lV CPA CADIPOJ5NM SVlOCrjVZtf/JV MDftfB S' P23&&4X&D OVTPP STUDIO STAGS’— JVOT£f &£& POOIVTPIP7, WALKS' JsJV OTIIBP IAIIDSGAP&&P&CEP yours was great do It again only a little broader next time." Then he returns to hi* canvas chair by the camera. Hut does he call "CameraT“ Not at all, there's a lot to be done before the scene can be "shot" a second time. A new helping of food has to he placed on alt the plates. The bottle of wine used by Fawcett has to bn refilled Just to the exact original level. The property man hands to Mr. Kirkwood a new cigarette which he must puff rapidly for about 30 seconds to bring to the sumo length as at tho start of the scene. And the players can't move except by' per mission of the photographer for he has them tn exact focus and to re-do this work would cause the loss of much valuable time Tf It Is really necessary for therrt to get up. and it was tn the case of Raymond Hatton who had a big putty "wart" on his noee « hlch required careful revamp ing every few minutes, the property man cornea forward (with a piece of chalk and carefully marks the play er's feet and the feel of tha chair tn which he was sitting so that both can be replaced quickly when the scene starts again. rhetographlng a Song. "Camera" Is called for the secoud time and the scene is repeated. And a third and a fourth and maybe more times for there must he st lrsst two perfect "negatives'* and the dtreo tor can not run the risk of Imperfec tions In any single roll of film. And each time a repetition of the same round of real physical and mental labor and use of time. Just a few minutes on the screen— but tt meant several dajs' hard work for twenty or thirty people. And there are Instances where a whole day has been spent lust to fit a "flash" on the screen that doesn't last more than two or three seconds. In "Forbidden Fruit" Cecil R. Re Mtlle wanted a "shot" of a canary bird stngtng to emphasise later scenes where Clarence Burton throws cage and canary out of the tenement window, killing the btrd. hts wife's one pet For an entire day a motion picture photographer stood vigilantly by - watching to see the first rremonttlon of song. But milady canary wai temperamental—and for hour* and hours she eat huddled on her perch, talf asleep with no apparent Interest In the proceedings whatsoever. And then suddenly, late in ths afternoon when the camera operator had almost given up hope, she sat up suddenly as if galvanised by elec tricity and opened her throat to give forth glorious spasms of melody, the physical part of which was Immedi ately recorded In celluloid. Take stunts where something has to be thrown and a light in test a certain way. They take time. Take 'Blood and Sand" where Rodolph Valentino tosses his toreador’s hat towards the bandit "Fluminas’ sit ting in the grandstand. Time end la bor-yes, indeed bo! To Second f hanre. And great uprooting storm* I ke that in "The Old Homestead’ may means days and days of careful prep aration before a camera Is e'en turned. In cases like this, where de struction :s involved, the time is all beforehand, for there is no duplica tion of takes. A big battery of eight or ten cameras all crank at once and long shots, close-ups and medium close-ups are all secured at the asms litre In such an instance the actual lime of taking is small but to make I’.fl for this there are hours and hour* of careful forethought Truly, in motion pictures *lt takes »n hour to make a minute!"- Bf Barrett C. Kiesling. >.tght-fent Meals Snoeeissfal. Frtsoners in the Washtenaw coue-' lj Jail, in Ann Arbor, M’ch., gained "eight during the last year on meal* hat cost S cents each. Several ctvsea *ere cited by the SberifT where loeg" lerm prisoners had gained as murl is 3d pounds. Color Process Used in New Film Coior photography of a row kind Is tried In Cecil It IteMIUe's produc tion. “Adam1* RJb“ The system used U what ta known as a perfect ed "spotted" process. The system ha* been perfected by Loren Taylor, who has been work ing on It for some lime. The color 1* shown through the regular blacks and grays of the ordinary celluloid film. "All Over" color photography carried to the tints of the skin ts ad mlttedly far from perfection, accord ing to Paramount executives. The scene in which the spotted col* or appears is a night ball-room in which appear a large group of danc ers. They are furnished with large Japanese lanterns. The main lights of the room are turned out and the lanterns lighted. Each lantern has been "spotted" In a different color, red, blue, yellow, purple and tusny tints. ♦ 1/7AY11TI rfc ^ 1S narrow:soulcd Pc°pk a* with narrow-necked bottles— ^jjUlUv: 11 the less they have in them the more noise they make in pouring out.