American Cinematographer - May 1992 - 38
within the frame, as described at
the time by Nichols and Fairbanks.
He performed in a similar capacity
on
Wings (1927).
As
many
was
the custom of
shooting companies of the
time, Fairbanks always had musi¬
cians on the set to supply the proper
mood. A trio
consisting of an or¬
ganist, violinist and cellist are in
evidence in
one
behind-the-scenes
photograph taken
on the island
beach set. And while the film was
Above: On the
as
"treasure island"
backlot set at the
[linen bed] sheet,
PickfordFairbanks Studio.
Left to right:
cinematographer
Henry Sharp, ASC;
Fairbanks cohort
and stuntman/
actor
Charlie
Stevens (with
headband); Doug
Fairbanks;
unidentified man
with vest and tie;
fencing master/
duel choreogra¬
pher Fred Cavens;
unidentified
"mood musi¬
cians." Right:
Cameraman
Henry
Sharp, ASC, who
also photographed
Fairbanks' Don Q,
Son of Zorro
(1925), The Iron
Mask (1929) and
Around the World
in 80 Minutes
(1931), among
other films.
many
I
in production, Fairbanks once
again commissioned the distin¬
guished composer Mortimer Wil¬
son to create an
original score, as he
had done for The Thief ofBagdad and
Don Q. Original scores were the
| exception before sound: most films
| were given compilation scores with
| perhaps a bit of original material,
g but composed mostly of cues lifted
S from the vast
repertory of pub| lished and unpublished music. It
| also was not common practice for
|T the composer to have the luxury of
g writing his music while the film
was
being shot; usually the work
was a rushed affair done
during or
got to Jack's house with the
after the film
was in editorial.
Fairbanks told Wilson:
we attached it to
the limb of an oak tree about ten feet
from the ground. Jack got a
butcher's knife from the kitchen
and told me to climb up the tree.
"Make your score as artistic as you
and don't feel that you have to
can
jump like
a banderlog from one
mood to another at the expense of
the development of your musical
ideas." Other than the three
[From the limb] I pointed the knife
at the sheet, and took off. The sheet
crashed down, enveloping me like
a deflated
parachute. The knife
flew out of my hand and I landed
on the
ground, still smiling, with a
broken arm."
Two major consultants
worked on The Black Pirate long
before filming began and all during
the shoot. Dwight Franklin, an il¬
lustrator and authority on pirate life
and a disciple of famed illustrator Howard
Fairbanks films, the only music for
motion pictures written by Wilson
was
<
Pyle, was
shot.
was
the
English poet
Robert Nichols, who strangely enough was not in¬
volved in the script, except perhaps for some of the
titles, but worked
36
American
on
Cinematographer
an
original overture
Wagon (1923) which brought the
American Cinematographer - May 1992
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