Peter Milne

CONTENTS

PREFACE

Chapter I THE GREAT AND THE LESS GREAT

Chapter II THE PICTURE SENSE

Chapter III PREPARATION FOR PRODUCTION

Chapter IV THE METHOD OF WILLIAM DE MILLE

Chapter V CECIL DE MILLE ALSO SPEAKS

Chapter VI WHEN ACTING ABILITY HELPS

Chapter VII REX INGRAM ON "ATMOSPHERE"

Chapter VIII MAINLY ABOUT D. W. GRIFFITH

Chapter IX MOUNTAINS AND MOLEHILLS

Chapter X SOME OF THE ARTS OF SLAPSTICK COMEDY

Chapter XI OTHER TRICKS UP DIRECTORS' SLEEVES

Chapter XII SOME WORDS FROM FRANK BORZAGE

Chapter XIII WHAT TEMPO MEANS IN DIRECTING

Chapter XIV "OVERSHOOTING" AND THE SERIAL

Chapter XV THE METHOD OF THOMAS H. INCE

Chapter XVI DIRECTORS SCHOOLED BY INCE

Chapter XVII WHO CREATES A PICTURE?

Chapter XVIII MUSIC IN PICTURE PRODUCTION

Chapter XIX JUST SUPPOSE

Chapter XX "STEALING" AN EXTERIOR

Chapter XXI THE IMPORTANCE OF THE ART DIRECTOR

Chapter XXII DIRECTORIAL CONVENTIONS

Chapter XXIII ERNST LUBITSCH: GERMAN DIRECTOR

Chapter XXIV JOE MAY: GERMAN DIRECTOR

Chapter XXV ILLUSTRATING THE USE OF DETAIL

Chapter XXVI MARSHALL NEILAN SUMMARIZES

Chapter XXVII "BEST DIRECTED" PICTURES

TRANSCRIBER'S NOTES

Transcriber's Note:

The cover image was created by the transcriber and is placed in the public domain.

Motion Picture critic for over six years on Motion Picture News, Picture Play Magazine and Wid's (Film) Daily; and member scenario and production department of Famous Players-Lasky Corporation.