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Index
MOTION PICTURE DIRECTING THE FACTS AND THEORIES OF THE NEWEST ART
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
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