THE HOLLYWOOD PACE

Wairarapa Times-Age, 28 August 1940, Page 8

THE HOLLYWOOD PACE

SET BY DE MILLE. When historians sit down to write the complete story of Hollywood and motion pictures, then- task will be an easy one. All they will need to do is write the story of Cecil B. de Mille, for he is motion pictures and Hollywood. De Mille’s life has been and is so closely interwoven in the pattern that is Hollywood that is is difficult to think ,of one without the other. This amazing producer-director has given Hollywood most of its traditions, and has set the pace for all other producers and directors.

It was de Mille who produced and directed Hollywood’s and America's first feature-length film, “The Squaw Man.” This picture, made 27 years ago, was the foundation-stone on which the huge film industry of today was built. It was the turning point for motion pictures, and paved the way for the Hollywood we know today. It would be entirely wrong to say that de Mille has watched Hollywood grow. He has led it from year to year, always a little in the van of others, and always giving some new touch of creative ability to the work to which he has devoted his life. To stay ahead of one of the toughest professions in the world for 27 long years is indeed a remarkable record, but that is just what de Mille has done.

Today this 59-year-old director is producing his 64th feature-length film, and the starting of this picture, “Northwest Mounted Police,’’ was an event in the movie city. No Penny-Pinching Methods. “De Mille is starting his new picture,” cried all Hollywood. And it was a cry of joy, because it meant work for hundreds of hungry extras. This man always does things on the grand scale. No little budgets or penny-pin-ching methods for him. It must be the best or he doesn’t attempt it. In each new picture he tries something he has never done before. This time it is an all-colour film. He has used colour before. In fact, he was the first to use it in a feature film. Several scenes in “Joan the Woman” were hand-painted, and again he used colour for several scenes in “King of Hings” and "The Ten Commandments.” But now he is producing his first allcolour film.

De Mille is a kindly person, with a great sense of humour and eager to discuss his new picture and current topics. In many ways he reminds me of the feudal barons of old England, ruling his set and demain with an iron hand, yet seeing to it that his “serfs" 7 are well taken care of. An assistant follows the “baron” around the set carrying his chair, placing it directly behind him ea«;h time he stops, and even whispering in his ear to tell him whether it is high or low, so de Mille won’t have to look around or worry .where he sits down! On most sets it is the stars who count with the crew and the rest of the cast, but not on a de Mille set. Not even Gary Cooper, Madeleine Carroll, and Paulette Goddard, his present starring trio, can dim the glamour that surrounds the mighty “baron.” It’s what de Mille thinks, does, and says that keeps the crew and cast on their toes.

Tyrant is Loyal to Followers. A tyrant as far as efficiency goes, de Mille is generous, distributing largesse to those who are loyal to him. He will not tolerate laziness and slow thinking, and works three times as hard as any of his hard-working staff. He is as loyal to his followers as they arc to him. For more years than you can remember he has been using the one group of extras in his films. He always gives these faithful followers first preference. He has had the same film-cutter, script-girl, and secretaries for years.

Before the cameras start to roll on Iks first scene he has every detail, down to the last tiny camera angle, worked out on paper. He began his career in 1913.