With D.W., Lillian had been involved in all aspects of production, as had all the company members. I was able to relate because back in the dinner theater world of the 60's and 70's, so was I. We built sets and props. We built and took care of our costumes. We'd move sets between scenes and acts and keep up with our own props. I often had to run backstage after my lines to work the lights.
Lillian didn't mention working lights or camera, but she did all else: sets, costumes, props, made suggestions, helped with script selection and writing, viewed all the rushes and helped with editing. Because of the expense of film causing, they could do only one take of each scene Therefore, the company rehearsed the entire story, often for weeks, prior to actual filming. Since it was always rehearsed in the correct sequence, the company became intimately familiar with the story and had plenty of time to develop nuanced character. They were as involved with the storytelling as I was back in the dinner theater.
She left Griffith at about the same time that the unions were coming in. Actors were just that and were not allowed to move a set piece or manage their costumes or props. Scenes were rehearsed and shot individually and out of order, so the actors were adrift from the story. A number of other problems also conspired to remove her from California at this time, but the loss of contact with the storytelling was certainly a part of the reasoning for her decisions. She made movies in Europe and went back to the stage for awhile.
Now I am about to set out with her on the adventure of adapting to the "talkies"....
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