Famous Cameraman’s Career

Dominion, Volume 32, Issue 65, 9 December 1938, Page 18

Famous Cameraman’s Career

Rose In Profession With Greta Garbo And Norma Shearer

TVILLIAM DANIELS, the famous cameraman. who lias photographed regularly some of the most famous screen stars, literally attached his career to a star. In fact, two stars. He is distinguished as the favourite canieraman of Norma Shearer and Greta Garbo. It was the late Irving G. Thalberg, the famous Hollywood producer, who guided the careers of both stars to greatness. It was also Thalherg who gave Daniels the opportunity to reach the top of his chosen profession.

JAANIELS was born in Cleveland, Ohio, but moved to Los Angeles with his parents when still a youngster. While attending Lincoln High School, which also claims Robert Young as an illustrious old boy, he was an amateur photographer.

Garbo, Daniels was called to Thalberg’s office to meet another promising newcomer. a Canadian girl whose name was Norma Sh arer. He photographed one of the first pictures designed to build tier to stardom. ‘The Actress." He lias since been with her on every picture except two. New -Photographic Ideas. Recently Daniels has filmed "Marie Antoinette,” the picture that resumes Miss Shearer’s career. Always a keen student, he has never ceased to experiment. He is said to have brought out several new ideas of photography in the picture for which audiences can look with interest.

After completing his education at the University of Southern California in 1917, Daniels discovered that photography still interested him more than zoology. economics or ethics. He applied for a job at the old Triangle Studio, now Metro-Goldwyn-Mayer, and was assigned as an assistant cameraman on a Gloria Swanson feature, "Smoke,” which Jack Conway directed.

Ambition and a knack with cameras assured rapid promotion for the young cameraman. ‘Universal Studio hired ■ him as a second cameraman on a serial, “Robinson Crusoe.” starring Harry Meyers. Leo McCarey. director of “The Awful Truth,” was the prop boy with the same company. Together, they made brisk progress. On a Bert Roach comedy, Daniels received his first fullfledged cameraman assignment, and McCarey was made an assistant director. ■When he had a chance to go with Erich von Stroheim, Daniels accepted a temporary reduction in status, again becoming a second cameraman to gain experience on more important productions. He was with von Stroheim for thirteen months during the filming of “Foolish Wives.” Thalberg’s Productions. At that time Thalherg was the “boy wonder” of the motion picture industry, general manager of Universal at nineteen. He was filled with surprising new entertainment ideas and was eager to apply them. Daniels was making innovations in photography, developing new lighting systems and camera technique. This drew them together. They began their association when Thalberg made Daniels the cameraman on “The Merry-Go-Round,” his first real test. He made good. When Thalberg moved to Metro-Goldwyn-Mayer in 192-1, Daniels went with him. Once more a step down was a step up for Daniels. He became second cameraman to Oliver Marsh, dean of Hollywood cinematographers, on “The Merry Widow,” starring Mae Murray and John Gilbert. This assured his success.

“Fine photography as well as fine pictures,” said Daniels, “result from careful preparation. Advance work has become increasingly important to obtain the best results. 'Marie Antoinette’ offered a problem, because candlelight is the key lighting of the more important scenes.” To assure uniformity in lighting, Daniels worked months ahead. He originated a system of lighting charts, testing each of the 98. sets in advance and carefully noting the placing of each light. On one set, the ballroom in the Palace at Versailles, Daniels used 302 baby spotlights, a record number, giving the effect of thousands of flickering candles. Then he viewed the tests with Cedric Gibbons, the art director, rearranged his lights to obtain the effects he sought and had a definite guide Io go by when the scenes were actually filmed. Same Crew for Years. Daniels's crew, which has been with him for years, operates with almost unbelievable precision. His second, or operating cameraman, is Al Lane. His assistant is William Riley. With Lane, Daniels has worked out a technique of always having his camera focussed on the of interest, (Which proves again that "the hand is quicker than the eye.”

“For example,” said Daniels, “we are making a close-up of Miss Shearer as she sits in the royal box at the Paris opera. When she turns to address Joseph Schildkraut, the focus is changed in a flash and centres on Schildkraut, then turns back to her. Similarly, if Miss Shearer walks to a window and looks out, the focus switches to the object she is watching. This changing of focus is accomplished in a split second. Its object is to keep the attention of the audience centred on the point of action.” After 21 years as a cameraman, Daniels believes that the future of motion picture photography will produce greater miracles. “We are just beginning to learn a few of its secrets,” he commented.

A few months later, Daniels was introduced to a shy Swedish girl, Greta Gustafsson, who was to become world famous as Greta Garbo. He made some of her first tests. She liked them. So did Monta Bell, the director. Daniels was behind the camera for Garbo’s first Hollywood picture, "The Torrent.” He has photographed all of her films since, with the single exception of “Marie Walewska,” due to illness. Soon after he started work with