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THE DESIGN AND PRODUCTION OF BOYS' STATE}

 

A DOCUMENTARY 16MM MOTION PICTURE
By

Richard H. Gerrero

AN ABSTRACT OF

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS
Department of Television and Radio

/ 1965

Approved j/I/Yfi.r /¢2:Z/(h_.-—

Major Professor

 

ABSTRACT

THE DESIGN AND PRODUCTION OF BOYS' STATE:
A DOCUMENTARY IOMM MOTION PICTURE

 

by Richard H. Gerrero

This study consists of two parts, a motion picture
film and this volume. The film is a twenty minute black
and white sound film sponsored by the Michigan Chapter of
the American Legion. It is a documentary film of the Boys'
State Convention held on the campus of Michigan State
University during the week of June 18, 1964. The writer was
involved in the filming, scripting and editing of the film.
This volume reports the problems of filming, the efforts of
scripting and the techniques of editing the Boys' State
film. The filming was done in a "newsfilm" fashion. That
is, the cameramen were only assigned to cover specific
events and thus did not shoot to a script or story outline.
The script was developed from the existing footage. In
addition to outlining a method of developing a script from
existing footage and a technique for pursuing an abstract
film style as used in the music montage, this study
suggests that a creative thesis done while working in an
actual production situation can provide the graduate student

with a realistic and beneficial creative experience. It

Richard H. Gerrero

seems possible to Justify student employment in a produc-
tion unit provided that professional standards can be
maintained.

The production of the Boys' State film has provided
the writer with a learning experience not normally afforded
the student of film or television. Under the excellent
tutorage of the head of Film Production, the project has
not only allowed a realistic and beneficial creative
experience, but has, at the same time, resulted in a
professional quality end product considered to be completely

satisfactory by the sponsor.

THE DESIGN AND PRODUCTION OF BOYS: STATE:

 

A DOCUMENTARY I6MM MOTION PICTURE

By

Richard H. Gerrero

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF ARTS

Department of Television and Radio

1965

ACKNOWLEDGMENTS

I am indebted to the many persons who assisted in the
production of the film and the completion of this volume.
I am deeply grateful to Mr. Layton Mabrey for his courage
in hiring a conscientious but inexperienced student. In
the production of the film, I am indebted to the members
of the film unit who's friendly spirit and unselfish help
provided an atmOSphere of learning: Mr. William Hughes,
production manager; Mr. Jack Leonard, cameraman; Mr. Ron
LaMothe, sound supervisor; Mr. Harry Howard, location sound
recording and Mr. Mike Gilmore, titles and artwork. The
writing of the script and editing of film was possible
only through the encouragement and tutorage of Mr. Edward
McCoy. I wish also to express my appreciation to my advisor,
Mr. Arthur Weld, for his confidence in the project and his
help in the organization of this volume. And last, but not
least, I do not know how to adequately express my indebted—
ness to my wife, Hildegard, for patiently proofreading the

scribbled pages of copy and tolerating my neglect to family.

ii

TABLE OF CONTENTS

Page

ACKNOWLEDGMENTS . . . . . . . . . . . . ii
Chapter

I. INTRODUCTION . . . . . . . . . . . 1

II. FILMING . . . . . . . . . . . . 7

III. SCRIPTING . . . . . . . . . . . . 1“

Viewing the Footage . . . . . . . . l7

Breakdown of the Footage . . . . . . 19

Boundaries of the Story. . . . . . . 21

Time Order . . . . . . . . . . . 22

Story Viewpoint . . . . . . . ' 23

Narration Relationships. . . . . . . 26

Story Outline . . . . . . . . . 3O

Script Outline. . . . . . . . 32

Boys' State, Final Draft . . . . . . 35

IV. EDITING . . . . . . . . . . . . 60

Music Montage . . . . . . . . . . 62

Adding Sound . . . . . . . . 66

The Interlock Showing . . . . . . . 68

V. EVALUATION. . . . . . . . . . . . 69

Summary . . . . . . . . . . . . 75

BIBLIOGRAPHY . . . . . . . . . . . . . 77

iii

CHAPTER I

INTRODUCTION

A creative thesis in television or film is a diffi-
cult venture, not that trying to do something creative
is more of a problem than an objective search of history
or an evaluative study of existing materials,but because
of the tremendous equipment and facility demands imposed
by any television or film production. Outside of his own
abilities, the student of history needs only time, a good
library, and a supply of paper. The evaluative study may
involve an audience survey, some statistics, and perhaps
several minutes of computer time, but even this is usually
within the financial resources of the individual student.
However, a student attempting a creative film or television
production, once he has written the script or program out—
line, needséfllextraordinary amount of equipment. The problem
is not only that the equipment rental is far above the
average students resources, but also that the equipment is
simply not available for his use. Michigan State University
has well equipped television studios as well as film produc—
tion facilities; however, these departments have production
commitments of their own and budgets that do not permit them

to donate manhour and studio time to independent productions.

l

And then, there is also the problem of talent. Professional
talent is expensive, and willing friends always sound and
look like willing friends. And so, by the time the student
reduces the program to bring down the cost of film or video
taping, simplifies the script so that it may be handled by
willing friends, sacrifices complex lighting and staging so
not to offend the volunteer crew, and restricts camera
action to that suitable to limited studio rehearsal time,

he finds that the end product is not at all a representation
of his abilities nor an acceptable product when judged by
professional standards. Also the learning experience gained
under these conditions is open to question. The natural
tendency is thus for the graduate student to choose a thesis
that avoidssuch complications. And yet, the experience of
working with a full scale production in addition to a well
planned program of formal classwork is a practical and
beneficial venture for the student desiring to enter prcw
fessional production.

Aware of these limitations and yet desirous of the
experiences, I began to investigate the possibilities of
work with a production unit that would at the same time
provide material for a thesis. I knew that I would never
be able to support the cost of a production on my own and
thus an alternative was to find a production job on campus
that would provide the actual working experience I desired
and permit a situation whereby material for the thesis could

be accumulated.

In my formal coursework, I was fortunate in having
taken two cinema courses under Layton Mabrey, who was also
head of the MSU Film Production Unit at that time. A good
many hours were spent with Mr. Mabrey in informal dis-
cussions after the scheduled classes. We had often talked
of the thesis problem; and in one such discussion he
informed me that he was considering taking a contract with
the American Legion to produce a Boys' State movie. A
similar picture had been done for the Legion by the MSU Film
Unit several years ago and they wished a new and updated
film made. This production would be in addition to the
unit's normal work load and thus would require some addition
to the staff. The possibility of my working with the unit
was discussed. This was the type of opportunity that I was
looking for; the only problem was that, since I was a
vstudent, I would have to be hired at the students rate,
which was quite a sacrifice when compared to my normal
income. However, with opportunities of working with film
production being far and few between, I took a three—month
leave of absence and accepted a position as cameraman with
the Film Unit. I filmed the Boys' State activity as planned
and stayed with the unit after the three month period to
work on other productions. In September of that year (1964),
Mr. McCoy replaced Mr. Mabrey as head of the Unit. Under
the direction of Mr. McCoy, I eventually wrote the script

for Boys' State and was assigned also to edit the film. The

end result was a learning experience that would have been
completely impossible had I attempted a production on my
own.

Admittedly the greatest value of this thesis is the
learning experience I personally derived from the project.
Nevertheless, a reader faced with the problem of deveIOping
a script from existing footage may benefit from the experi-
ence reported particularly in Chapter III; and the tech—
nique of developing a free form musical montage, as reported
in Chapter IV should provide a starting point for one
interested in pursuing an abstract film style. It would seem
that this volume would be of greater value should the reader
have an opportunity to view the Boys' State Film. In addi-
tion to the sixteen prints in circulation through the
Michigan American Legion Posts, a copy is available at the
film library of the Michigan State Audio Visual Center.

If nothing else, this thesis seems at least to suggest
a way in which the graduate student might approach the
Master's Thesis and derive a realistic and beneficial crean
tive experience in the effort. There is a fundamental and
very real difference between being hired by a production
unit and working only for credit. When a unit is paying an
employee, the unit has an investment in that person. He
must produce or he constitutes a financial loss for the
unit. The student working only for credit, on the other

hand, is indirectly a source of revenue to the unit and

can be tolerated provided that he stays out of the way and
does not slow down production. Thus the student ends up
observing the operation and writing a term paper. It is

not that the producer or department head has no interest

in students, it is simply that the unit has an obligation

to its client; and even though the client be the chemistry
department or the local school system, it expects and
deserves a professional quality production. Should the
department be forced to use any and all students signed for
the course, quality could not be stable. Then too, a stu-
dent is not normally available eight hours a day, five days
a week, and thus cannot be successfully integrated into a
production crew. However, when a student takes a full time
job with the unit, even though it be only at the student
rate of pay, the relationship between him, his fellow crew,
and his supervisor undergoes a drastic change. He is
integrated into the actual crew and, because he is being
compensated, is assigned authority and is expected to accept
responsibility. True, the quality of the production and

the obligations of the department to the sponsor of the
production cannot be sacrificed for training of students,
but the close supervision and patience displayed by Mr. McCov‘
in the development of the Boys' State film has, in this
particular case, provided a valuable training experience
for this student as well as a respectable product for the

sponsor. If this study be judged successful, then perhaps

future students will find the courage to undertake a similar
course of action, and perhaps film and television producers
in the academic environment will find encouragement in

Mr. McCoy's example and give the graduate student similar
opportunities——even though it might require more of their
already overtaxed time.

The professional film and television fields are
difficult to enter, somewhat like the prospective seaman's
dilemma. You cannot sail unless you possess seaman's
papers and you cannot obtain papers unless you have sailed.
On the pages that follow is a report of my year with the
Michigan State Film Unit. This report concentrates on the
learning experience and practical training gained in the
filming, scripting and editing of the Boys' State Film.

The creative thesis done under actual working conditions
may indeed break the seaman's dilemma; it has, at least,

for this writer.

CHAPTER II

FILMING

It was 8 AM, and although the freshness of the
morning had not yet worn off, the air was already heavy.

There was no doubt it would be a hot day. The sky was

clear and deep blue, an f/22 day. It was clear, too
clear, not a cloud in sight. The shadows would be deep
today. Reflectors would help but using reflectors in

unscripted shooting is a most difficult procedure. The
lighting man never knows what the cameraman wants to shoot
and, without a director, it becomes an impossibility. This
was going to be an every man for himself type of coverage.
If you don't get it, well, they sure are not going to do it
over just for you.

Twelve hundred and fifty boys would be arriving on
the campus of Michigan State University for the Twenty
Seventh Annual Convention of Wolverine Boys' State, and we
were assigned to make a movie of them, a twenty minute
documentary of their week of activity.

We loaded the equipment into the truck and headed
for the Brody Complex. The boys were already arriving when
we got there. Boys with baggage were getting out of busses,

trucks and train type motor vehicles that the American

Legion use in their parades. We parked the truck in the
center of the complex and a Kodak Cine—Special was mounted
on top of the truck for high angle coverage. An Arriflex
and a second Cine were used for ground coverage and close
up action.

We had the equipment set up just in time to catch an
American Legion train-mobile pulling into the area. I
climbed on top of the truck, framed up the camera and
followed the vehicle through several trees and into the area.
The train made an interesting shot, coming through the trees
with its bell swinging and great puffs of smoke billowing
from its artificial smoke stack. Bill Hughes was in close
with the Arriflex to cover the boys getting off the train,
Jack Leonard was back a little way and got the boys walking
towards the buildings. We wanted a variety of arrival
scenes so we moved over to where the busses were unloading
and then to the cars. By 10 A.M. we had shot about 800 feet
of boys, bags and vehicles.

We then moved inside to cover the boys signing in at
the registration desk. The registration tables had been
set up in the hallway of Brody. The lighting in the hall
was very low so we brought in six scoops from the truck
and changed to Tri-x film. By using a ColorTran transformer
on the scoops, we were able to flood the general area and
shoot at f/3.5. We set up the camera for a long cover shot

of the area and then moved in for some cut-aways of badges

on the table, boys signing the register and commissioners
pinning a badge on a boy's shirt. We then moved up to

one of the dormitory rooms to get a scene of a boy unpacking
his bag and meeting his roommate. 'Phe small room would not
require as much lighting as the hallway scene; and, without
running long feed cables from the fuse box, only the regu-
lar 110 volt room outlets on 15 amp fuses would be available,
so we took along a portable set of Lowel lights. This is a
set of six reflector floods packed together with clamps,
folding stands, barndoors and extension cords in a neat
lightweight compact case, and serves very well in limited
lighting situations. The scene had to be staged, that is,
two boys were selected and told to walk into the room, shake
hands with the roommate and then unpack their bags. The
room was a little too small for comfortable shooting. Even
with a 15mm wide angle lens, it was impossible to get a.
good View of the room, a view that would identify it as a
dormitory room.

After lunch, we were back outside again to cover the
city meetings. There were some twenty groups scattered
about the grounds, each with fifty boys. Each group was a
city, complete with flag. This was their first meeting
and they were getting together, out on the lawn, to pick
city officials. We decided to try a traveling shot of the
groups. With the camera mounted on top of the truck and

running at “8 frames per second to smooth out the travel,

10

we drove slowly past them. We then went close in.cw10ne Of
the groups for shots of the boys making speeches, voting,
and close up facial expressions.

It was three o'clock by the time we had finished
with the city groups. We would need the rest of the
afternoon to set up lights for the evening assembly. We
set up two kegs (2,000 Watt spots) and two scoops on the
right side of the auditorium and two kegs and four SCOOps
on the left. Special 220 feed lines had to be run from the
fuse box and heavy cables laid across the hall. The lights
were set to cross~light a large speaker's table in the
front of the room. The table could seat about twelve
people. The kegs were flooded out to get as wide a coverage
as possible, and even with a total of about 10,000 watts,
we could get only a f/2.8 reading. This gave adequate
lighting for the speakers table but it would be impossible
to light the auditorium or take reaction shots of the
audience. We built a four foot high platform on the left
side of the auditorium about one-third of the way back and
set up a Mitchell studio camera for general 45 degree
coverage of the speakers table. A lightweight camera would
be moved in and out of the center isle for head-on shots.
An Ampex tape recorder was set up in the hallway and tied
into the P. A. system. No system of camera—sound
synchronization was set up. The plan was simply to record
all the sound and then later match the sound to the picture

where needed.

ll

At the finish of the first days shooting, all the
camera gear was placed in a special store room and locked
for the night. The lights were left set up in the assembly
hall; activity was scheduled for each day in the same room.
To set up and take down the lights each time would require
an additional two or three hours each day. The availability
of a locked storage room also resulted in a considerable
saving of time by eliminating the necessity of loading and
unloading the truck daily to return the equipment to the
studio.

The shooting schedule, day by day, was taken from the
official daily program. Each evening, upon receiving the
revised program from the camp office for the next day, the
events to be covered were scheduled. Since many of the
events were new to us, a camp counselor was usually found
that was willing to describe the activity scheduled. He
would also suggest the events that he thought would be the
most interesting. Following are the events covered for

each of the seven days.

Thursday, June 18

Arrival of Boys
Registration
Dormitory Room
City Meeting
General Assembly

12

Friday, 19

Inspection of Quarters
Law Classes

Band Practice

City Election

Saturday, 20

Flag Raising

Breakfast

State Convention
Newspaper

Jennison Field House Rally

Sunday, 21

Church Service

Band Concert

Glee Club Concert
General Election
Inauguration of Officers

American Legion Zouaves Performance
Monday, 22

Radio Broadcast
Clinics
Wrestling

Mock Trial

Tuesday, 23

County and City Government Meetings
Office Staff

Post Office, Bank

Talent Rehearsal

General Assembly

13

Wednesday, 24

Speech Contest
Football Clinic
Retreat

Talent Show

Thursday, 25

Parade to Capitol

Governor's Speech on Capitol Steps
Inside Capitol Building
Commencement

Departure

In addition to the above events, each cameraman was free

to pick up events of interest when and where he found

them. Many shots of boys in informal conversations,
marching to meetings, talking to visitors, etc., were
accumulated in this way. As can be anticipated by the
variety of events covered, a good amount of film was
exposed during the seven days—-about 10,000 feet. The
footage wasfflfifilto the laboratory for processing at the

end of each day's shooting. When returned, in order to
avoid unnecessary scratching of the original, only portions
of each reel were viewed to check exposures and prOper
operation of the various cameras. The film was then stored
away until needed. As there were several jobs in various
stages of production scheduled for completion prior to the
Boys' State Film, the original was not sent out for work-

printing until several months later.

CHAPTER III

SCRIPTING

Late in September attention was once again directed
to the Boys' State project. A series of meetings were
held with representatives of the American Legion to deter—
mine the type of movie they might want. We came away from
the meetings with a list of statements. There were points
that they wished made and points that they wanted ignored
and a list of events to be shown. The list of statements

is given below.

Points to be Made

 

1. Give credit to the American Legion, Detroit
Edison, Consumers Power and Michigan Bell
for making the motion picture possible.

2. There were 1,165 boys attending Boys' State
this year.

3. The boys ate well.

A. This is the 27th year of Boys' State in Michigan.

5. The boys are juniors in high school now, will be
seniors next year.

6. The staff and teachers of public and parochial
high schools help in the selection of boys to be
invited to attend Boys' State.

14

10.

ll.

l2.

l3.

1“.

15.

16.

17.

Points to

15

The armed forces send men to Boys' State to act
as counselors.

There have been over 700,000 men graduated from
Boys' State since 1939.

Boys' State is not for underprivileged or
delinquent boys.

Boys' State is democracy in action.

The boys learn first—hand how State government
works.

Boys State may be small in size but it is large
in purpose.

The American Legion works a full year to prepare
for the seven days of Boy's State.

Boys make friends at Boys' State as well as profit
from its unique experiences.

They enjoy the various activities available at
Boys' State.

There are three types of Sunday religious services
held at Boys' State.

Not all good things are on the program,—-bu11
sessions, new friends, informal get-togethers,

etc.

be Ignored

 

1.

Do not mention the current year, the film should

be usable for several years.

l6

2. In some cases the boys are selected solely by
the principal of the High School.

3. The camp service office provides the boys with
games and sporting equipment to be used when
they do not have scheduled activities.

A. Girls' State at the University of Michigan
sent representatives to visit Boys' State this
year.

5. Sports should not be considered an important

feature of the Boys' State program.

Events to be Shown

 

Arrival; registration; American Legionnaires partici—
pating where possible; assignment of room; introduc-
tion of Boys' Nation President, Richard Stratton, by
Mr. C. 0. Hammond; nominations for city and county
officials; voting; various clinics; talks given by
various VIP's;feeding boys; visiting parents; news-
paper; entertaining parents; election and campaigning
for governor; voting; office personnel; getting mail;
banking; mock trial; first aid; band boys pledging
to flag; heads bowed in prayer; reveille; retreat;
fun night; marching to Capitol; graduation; awards;

packing and leaving Boys' State.

Film Length

 

The film length should be between 16 and 20 minutes so

that it can be used at dinner and luncheon meetings.

17

Audience
Future candidates for Boys' State, American Legion

Posts, and other service clubs and organizations.

The above list was not intended to be a required list of
points necessary for the film but more of a suggested

list of items that the sponsor felt should be included.

It must be remembered that the actual footage had been
shot some three months earlier and it was quite possible
that there would not be pictures available for some of the
points mentioned. In this case, it was felt that the

points could be made, nevertheless, through the narration.

Viewing the Footage

 

With the list of suggested statements from the
sponsor, the next step was the viewing of the total
footage. The original film had been work-printed and
thus could be handled and viewed as much as wanted with-
out danger of damaging or scratching the original. Along
with viewing, discussions with Mr. McCoy and Mr. Leonard
were quite frequent, and since there was a total of about
ten thousand feet, the viewing took almost a week. The
purpose of the discussions was to evaluate the technical
quality of the various takes and also to identify scenes
that could be used in support of the points suggested by
the sponsors. A log of footage was kept by Mr. Leonard.

This was an important step, for the various scenes were

18

not on the reels in any particular order. Several takes of
a breakfast scene might be on reel three while close ups

of the same scene taken with a different camera might have
been printed on reel seven. The viewing functioned to find
out what you had, how good it was, and where you could find
it when you wanted it.

In the viewing of the footage, even though the scenes
are random, one starts to develop impressions of the total
footage. One such impression to the disorganized footage
was that Boys' State was a military type of training camp.
This, no doubt, was caused by the abundance of marching
scenes present in the footage. It is a natural tendency
for cameramen to be attracted to moving subjects. Since
several cameramen were working independently through the
week, each attracted by scenes of boys marching to chow,
to meetings, etc., the coverage of marching was disprOpor—
tionate to coverage of other activities. In fact, when the
footage was broken down, almost A0 per cent of the total
footage involved some type of marching. It was obvious that
care would need to be taken in the writing and in the
editing in order not to give Boys' State a military look.
It is interesting to note that a substantial financial
saving in film and work print could have been realized if
marching footage had been limited or controlled. This
may be one of the stronger arguments for pre—scripting.

However, one could argue that raw film is probably the

19

least expensive item in a film production and also that if
the total footage had a military flavor, this was, in fact,
the way it appeared to a documentary cameraman. In this
case though, the Sponsor's interests had to be served and
a military youth camp flavor was not felt to be in the

sponsor's interest.

Breakdown of the Footage

 

After viewing the workprint, the next step was to
break down the footage into some useful grouping of subject
matter. This was necessary before any attempt at editing
was made; for, as mentioned earlier, various scenes of the
same subject and even various takes of the same scene were
often found in different reels of the workprint. Should
an editor wish to put together a one minute breakfast scene,
he would first have to go through the entire ten thousand
feet of workprint and collect all the breakfast footage.
The breakdown is simply the cutting out of the various
subjects from the 1,000 foot workprint reels and placing
the scenes of like subject together. This is also a
useful step for the script—writer. It is hard to know how
much time can be spent on food service until you know how
much footage you have and of which meals. In this case,
breakfast was the only meal covered and the total footage
was quite limited. Working from the viewing log, scenes
were combined under headings and sub—headings until sixteen

major categories were developed. The pigeon—hole breakdown

20

file available in the editing room made it impractical to

use more than sixteen categories. The classifications

used were as follows:

U3

L'EQ'ZID’JUO

*UOZZ

Arrival,Registration, Boys with Bags, Autos, Buses
Room Scenes--Unpacking, In Bed, Visiting,
Inspection

Marching-~General

Marching—-Reveille, Retreat

Outdoor City Meetings

State Conventions, County Party Meetings
Campaigning,—-Jennison Rally, Posters

General Assemblies—-Welcome, Commencement, Oath
of Office

Special Assemblies—-Variety Show, Mock Trial,
Zouaves

Voting

Visitors Day-—Visitors Outside, Church Service,
Concert

Activities-~Wrestling, Football, Lectures, News—
paper, Radio

Services-—Bank, Post Office, Nurse, Office Staff
Parade to Capitol—-Outside Capitol, Inside Capitol
Departure--Boys with Bags, Autos, Parents
Miscellaneous Events——Breakfast, Commissioners,
Individuals

Once the footage had been broken down, it was possible to

view all of a given category for editing and scripting

consideration.

21
Boundaries of the Story

The first consideration of scripting was establishing
or limiting the stage of activity. There is a lot of the
Boys' State story that takes place outside the week spent
on the campus of Michigan State. Legionnaires work all
year making arrangements for the physical accomodations
needed at M.S.U. Committees meet in almost every city in
Michigan to pick candidates. Individual boys and their
parents consider the merits and values of Boys' State before
they attend and, after the week of activity,they retain
some impression of it. All this, and no doubt much more,
is involved in the story, and although it is possible to
touch on many things in a rather short period of time, it
would also be possible to do a twenty minute movie on the
personality conflicts found in but one committee meeting.
It was thus necessary, early in the scripting, to make
some tentative boundary of activity and time. The stage of
action was to some extent already determined by the footage
that had been collected. This footage was limited to the
one week of activity found at the convention held on the
campus of Michigan State. Even so, it would be possible
to visit the home of a Boy Stater or a committee member and
thus extend the boundaries of the story. This would involve
additional shooting and of course additional expense.

Several meetings were held at which alternatives to the

22

story line were considered. One approach considered was
to find a former Boy stater who had since gained national
prominence in sports or business, start the picture in
his office and let him narrate the activities. He, of
course, would be able to say or imply how the Week was of
value to him. Another approach was to have a boy,
returning from the week of activity, visit with a group
of his high school friends and tell them about his experi-
ence. Many other approaches were considered, however,
none seemed impressive enough to warrant the expense of
additional shooting. A decision was thus made to limit
the story to the footage on hand--that is, the week on

the campus of Michigan State.

Time Order

 

Although it had been decided to limit the story to
the week of activity previously recorded, it would not be
necessary to tell the story in the order in which it had
happened. The story could start at virtually any point
in the week and then the various activities related to
this point. It would be possible, for example, to start
on the last day of Boys' State, the march to the Capitol.
As the march progressed (and we had plenty of parade
footage), the various events that led up to this day could
be reviewed. It would also be possible to start the movie

at the inauguration ceremony of the newly elected boy

23

Governor receiving his oath of office. Or the first

scene could have been the boy Governor sitting at Governor
Romney's desk. The importance of picking the right
opening scene is that it allows you to place the audi—
ence immediately in a key or high interest situation. The
first scene can also announce who and what will be impor-
tant in the movie. It seemed, if the inauguration scene
were to be used as the first scene, that the key concept
would be the winning of the election and that the value

of Boys' State to the individual boy would be in terms of
whether or not he was able to win. This was not the
effect wanted from the movie and thus a more or less
natural time order pattern was eventually decided on. The
week, and the movie, started with the boys arriving at
Michigan State and ended with them departing for home. All
political activity was presented in the actual sequential
time order; however, sports and other activities were
handled together regardless of when they took place in the
week in order to deal with them more quickly and to avoid

conflict with the political development sequence.

Story,VieWpoint

 

Another pre—scripting consideration was the story view-
point, that is, who would be telling the story. Several
vieWpoints would be possible; a boy who had lived through

the event; a news commentator who had watched the event; an

24

American Legionnaire that had planned the event; a parent
who had visited the event; or even a building janitor that
had been inconvenienced by the event. The most interesting
person to talk about the event seemed to be a boy experi-
encing or who had experienced the week. Also, if we were
allowed to hear the boy tell the story, it might be
possible to develOp some sort of individualism and in part
offset the mass of impersonal effect previously noticed

in the viewing of the work print. This coldness was felt
to be due to the abundance of mass scenes, of groups of
boys doing this and groups of boys doing that, and very
little attention to individuals. If it were possible to
develop a likable, believable boy in the sound track, the
camp-like effect of the footage might be softened. Now

it must be remembered that no single boy was followed
throughout the week and thus the created boy would have to
exist without being visually identified. It was felt that
this could be done if care was taken not to have the boy
speak at the same time that an individual boy might be on
the screen for any extended period of time. This consider-
ation was most important early in the movie. If the boy's
voice were to be heard for the first time at the exact

time that a close up of some boy were to come on the screen,
then the audience would assume that this is the boy that is
doing the talking. However, if the voice were first intro-

duced over a crowd scene of boys, there would be no attempt

25

to tie the voice to any particular boy. Once the audience
got the idea that they were not seeing the boy that was
speaking, more liberties could be taken. The boy, if
handled properly, could be each boy and every boy at the
same time.

One of the problems that became apparent in the
first attempt to write a boy's story was that there were
many things that had to be said that would not seem likely
or believable coming from a teenage boy. The boy could
say how he felt about what he did and what he saw, but he
certainly would be too young to comment on the value of
simulated experience as opposed to classroom discussions
in the learning about American democratic processes. You
would not expect him to know much about the history and
development of Boys' State nor the exact number of boys
attending. He would be more likely to have the impression
that there were just a lot of boys there. For this
reason the first draft utilized two vieWpoints. In addi-
tion to the boys' vieWpoint, a second vieWpoint, that of
an adult commentator, was used. The final draft, some
eight rewrites later, ended up with a total of four view-
points, that is, four separate voices on the narration
track. These four vieWpoints were: (1) The boy with an
impressionistic viewpoint; (2) A typical narrator with a
film makers VieWpoint; (3) A Boys' State organizer with a

philosophical viewpoint; (4) Actual sound recordings of

26

the activity, used as a continuity factor rather than back-
ground sound, as an objective viewpoint. An example of
this objective viewpoint is Governor Romney's speech to

the boys from the steps of the State Capitol. Here the
content of Romney's speech was important to the story
development and thus served as more than background sound
for the film. Although a certain freedom was gained in

the use of several vieWpoints, it was difficult to go

from one narration voice to another, and certain relation-

ships had to be worked out.

Narration'Relationships

 

One type of relationship that had to be worked out
was that between the narrators or voices. It would be
possible, for example, to have each narrator aware of the
other voices, somewhat like a round table discussion.

Each line would influence that which followed; and what
followed would, in part, be the consequence of the

preceding ideas. Even though the voices would change,

some thread or idea would weave its way through the

several voices. On the other hand, it would also be possible
for the various voices to exist totally independent of each
other. In this case, each would go on his way, unaware

that he had, from time to time, been interrupted by other

voices.

27

A second type of relationship that needed to be defined
was the relationship of the narrator to the pictures on the
screen. Here again several possibilities exist. Is the
narrator aware of the pictures on the screen, that is, is
he watching them and thus commenting on what he sees? If
-so, has he seen the pictures before and does he thus know
what will happen in the next scene? Or perhaps the narra-
tor is part of the recorded action and thus has no aware-
ness of the total scene nor the ability to anticipate
succeeding events. This relationship between voice and
screen may not be questioned by the audience but it must
be questioned by the scriptwriter and some idea must exist
of who it is that is doing the talking.

A third type of relationship is the relationship of
the narrator to the audience. The narrator may be con-
scious of the audience and intentionally explain things to
them or he may be thinking or talking totally independently
of an audience, with the audience permitted to hear him
only through the magic ears of the camera. The relation-
ship here would not only influence the style of writing
but also the choice of words. A person would not talk to
an audience of five hundred in the same manner that he
might talk to a friend or think aloud to himself. The
choice of words would be somewhat different in each case.

Since several types of narration or voice relationships
have been mentioned, perhaps a listing would serve to clarify

them.

28

I. Narrators' relationships to each other.
A. Aware of other voices.
1. Each voice influences succeeding comments.
2. Dialogue develops between voices.
B. Not aware of other voices.

1. Independent but parallel stories.

2. Continuity continues through the various
narrators even though they do not seem to
be aware of other information existing.

II. Narrators' relationship to pictures.
A. Narrator aware of picture.

1. Comments on the scenes as they appear on the
screen but does not seem aware of succeeding
scenes.

2. Has seen the film before and knows what will
happen next.

B. Narrator not aware of picture.

1. Someone talking or thinking about the event,
but at some later time.

2. Recording of someone talking at an event and
the recording used in the narration.

III. Narrators' relationship to audience.
A. Narrator aware of audience.
1. Talks directly to audience.
2. Explains things for the benefit of the audi-

ence but does not talk directly to them.

29

B. Narrator not aware of the audience.

1. The audience is permitted to hear his private
thoughts.

2. The audience is permitted to hear someone say
something to someone in an apparently private
situation.

This list is not an attempt to exhaust the possible treat—
ments of a narration track, it is only a list of the con-
siderations made in the development of this particular
script. These relationships were not decided on at the
pre-scripting stage; in fact, they became apparent only
after an attempt was made to use more than one voice in

the narration. An example of the need to change relation-
ships is seen in draft one. In this draft, two narrators
were attempted, an adult voice and a boy's voice. The boy's
voice is not introduced for some time and when it is
introduced, it is obvious that the boy is aware of what has

just been said.

ADULT VOICE: . . .he steps up to the table, signs his
name, and at that moment becomes a citizen of Boys'
State, the mythical fifty-first state of the union and
once registered, is entitled to all the rights and
privileges. He can plan to run for office, work to be
nominated and worry about being elected Mayor, Police
Chief, Governor or (fade voice under)

BOYS VOICE: It wasn't how to become Police Commissioner
or Governor that I was thinking about. I wanted to know
where to put my bags, how to find my bed and where they
hid the food.

 

The boy's contradiction to the adult voice made a nice

device to introduce the new voice but it would mean that

30

the boy was aware of everything that the other narrator
might say. Thus the boy would be in effect reviewing

the film with the adult narrator. This approach was
abandoned in following drafts because the effect wanted
from the boy's part was that the audience should watch the
boy live through the week and witness a development in the

boy's thinking about politics.

Story Outline

 

The advantage in making the boy live through the
week rather than reviewing the events of the week is that
it would be possible to show a certain amount of change or
development in the boy. This change would not be something
strikingly obvious but more of a social development or
maturation. It seemed that it might be more effective to
watch the boy learn the meaning of ”good loser" or "good
sport" than to have him tell the audience that he had
learned the meaning of consensus. Thus it seemed that a
good way to outline or structure the movie might be to
develop a boy's story that would involve him in the various
political activities and to have him come away from the
week with some type of gain or growth as the result of the
experience. The boy would need some type of motivation.
The motivation factors, no doubt, started before he
arrived at Boys' State. The group that sponsored him

probably expressed their'confidenceix1hds ability to bring

31

back honors. This would at least motivate him to try

and run for some type of office or post. The next step
would be his becoming involved with some political party.
At Boys' State, the boys are assigned to a city and to a
political party, given a city name and a flag. However,
after a few cheers and a march around the campus, that
group of fifty boys will be certain that they are the

best city at the convention. This team spirit is a well
known phenomenon. Be it company A of the First Battalion
or the reserve team of the West Side High, "our team" is
always best. Put fifty boys together in one wing of

Emmons Hall, give them a flag, a city name, and you have

a political party out to win the election. Somehow our

boy would have to become actively involved in the political
activity. This he could do by nominating his roommate for
office and later himself being nominated to the state con-
vention. Once the boy was running for office, a decision
had to be made on whether he should win the election. If
he were made to win the election, it might seem that the
value of the Boys' State experience should be measured in
terms of success, how successful the individual had been

in becoming elected. What was learned about the democratic
process would, as a result of the emphasis on winning, seem
to have little or no value to the individual boy. However,
should the boy be made to lose, it would then be possible

to have him discover how in a democracy the losing party

32

accepts the choice of the majority. He does not start a

war or set up a standing fight with the winner, but

actually turns around and supports the choice of the
majority. This simple underlying agreement among all
involved that they will accept the choice of the majority

is a vital element of the democratic process. In the

losing of the campaign, our boy can show a growth or

social maturity by the way he reacts to the winning
opponent. This, then would be the value that the individual
boy might gain from the Boys' State convention, and this

could be the story line skeleton of the Boys' State Movie.

Script Outline

 

With a good idea of what the boy's story should be
like and a list of points that the American Legion wanted
in the movie, it was possible at this point to outline the
movie. This was done before the first draft of the script
was attempted. The outline was revised after the first
draft to incorporate additional voices. The revised outline

is given below.

NARRATOR TYPE VIEWPOINT

Boy Impressionistic A typical Boy Stater
Dr. Rich Philosophical Boys' State Organizer
Narrator Factual Film Maker

Live Sound Actual Objective

SOUND
Rich

Narrator

Boy

Narrator

Boy
Boy

Live Sound
Narrator
Boy

Boy

Narrator

Boy

Boy

Narrator
Boy

Live Sound
Boy

Narrator

33

PICTURE
Montage
Cars, Train, Bus
Baggage, Boys
Arriving
Buildings

Registration

In Room
Marching
General Meeting
Outdoor city
meeting

Outdoor Meeting
CU of boys

Retreat

Reveille

Flag Raising
Breakfast
Inspection of
Quarters

Political activity
Election Room

County party
meeting

State Convention
Making posters
Rally-—Jennison
Voting Scene
Church Service

Band Concert
Tour

CONTENT OR POINT

 

History

Where the boys are from

My first impression

The American Legionnaires
help them get settled.

Meet other boys
We are a group

First General Assembly
"Welcome to . . ."

Structure of political
activity

I nominated someone

We felt proud

Typical Morning

I voted

I represent others

Process of politics
Letting others know
Everyone became involved
We voted

Parents visited

SOUND

Boy

Narrator

Live Sound
Boy
Live Sound
Boy
Live Sound
Boy

Narrator

Rich

3“

PICTURE
Inauguration
Wrestling
Football
Law Classes
Lectures
Newspaper
Speech and Radio

Competition
A Bank
A Post Office
Mock Trial
CU of boys talking
Variety Show
March to Capitol
Romney's Speech

In Offices

Commencement

Departure

CONTENT OR POINT

 

We accepted the results
of the election

The boys are provided
with many experiences

Judicial System in action
We had time to make friends
They entertain each other
We had someplace to go
America needs leaders

We were accepted

They took their week of
experiences home with

them

Was it successful?

The above outline was used throughout the entire

scripting even though there were changes in detail at each

draft.

pretty much the same.

changes with the pictures remaining mostly the same.

The order of events as set up in the outline remained

The changes made were mainly wording

There

was also a considerable amount of changing among the narra-

tors used to carry the various ideas.

has Dr. Rich speaking only twice.

him, as Narrator I, a total of eight times.

The outline above

The final draft used

An attempt was

35

made to place him throughout the script so that the
audience would not forget who he was, as may have been

the danger if he were made to speak only at the beginning
and end of the movie. Also, as the script developed, it
was evident that a philosophical vieWpoint was needed

for several points originally assigned to the boy. The
other voices were also broken down into smaller units.
Narrator II made eighteen appearances instead of the
original eight outlined. The boy's segments were increased
from thirteen to fifteen. The end effect was a greater
interplay between the voices. There was considerable
changing of the Opening and closing scenes at each draft.
The first writing had Narrator I Open and close the movie.
The final draft had the boy Open and close. The many
changes at each writing were in great part due to the
helpful and constructive criticism of Mr. McCoy, who
patiently read and made suggestions at each drafting. The
result Of the several weeks of writing is given below in

the final draft.

Boys' State Final Draft

 

Picture Sound

Fade in:
American Legion Emblem.
Fade out.

36

 

BOYS' STATE
Picture
Fade in:

LS Brody Hall.

Fade SUPER in:
American Legion
WOLVERINE BOYS'STATE
Dept. of Michigan

 

MLS motor train arriving.
Fade super out.

Boys getting off train.

Unloading baggage.

Pan to boy walking away

Dr. Rich and boy.

Sound

(Music up)

BOY:
Ever since they selected mo
Six months ago,

I've waited for just this day.

NARRATOR I:

 

Twenty—seven times I have
Watched these boys gather
For one short week.

I should, by now be used to it.

NARRATOR II:

 

Young boys and dedicated older
Citizens

Gather for the 27th American
Legion Wolvering Boys State

Convention

37

BOYS' STATE

High angle buses.
CU bus charter sign.

Boys getting off bus.

CU boys walking away

From bus

Boy walking with suitcase.

Unloading car truck.

Boy kissing mother goodbye.

NARRATOR I:

 

I remember back in 1935,
A fellow by the name of Hays
Kennedy--over in Illinois—-
Got the idea that
They should have a
Government program for youth.
They worked with it,
And we
Went over there
to study their idea.
By 1939 we had a program
going here in Michigan,
And it has

Been going ever since.

NARRATOR II:

 

They come from cities.
Farms.

And the

Suburbias inbetween.

To become citizens of a

Model state.

38

BOYS' STATE

 

Boys carrying luggage

To Brody.

MCU boys walking to

cameras .

Registration.

MCU of registrar.

Pinning badge on boy.
CU of registrar.

Hand shaking.

NARRATOR II:

 

A mythical Slst State of the
Union. But these boys are
Still youthful, high school
Juniors at most.

Before they stake out

A claim on the Governorship,
They stake out a claim on a
Room, a bunk, and some chow.
To start,

They sign in.

BOY:
You want something so much
And wait so long
You start worrying
That your name might not
Be on the roster.
But it is.
A badge
And you have a bunk.
Wing B, Third Floor, Bailey

Hall.

39

BOYS' STATE

 

Registrar's pointing.
Dissolve.

Commissioner giving direc-
tions, outside.

Boy shaking hands -
boy's room.

Boys entering building.
High angle~~boys walking
with bags.

Boys room.

Parents talking to boys.

Boys room

Commissioner and boys
outside of dorm.

Boys room.

NARRATOR II:

 

Out the door.
Turn right.

Across the lawn to Armstrong.
Emmons.

Or Bailey.

BOY:
Then you meet the guys
Down the hall,
Across the way
And in the next room.

A thousand guys

One clothes locker

Two beds

And a roommate.

NARRATOR II:

 

The boys are

A little confused at first.
But the American Legion
Commissioners

And adult advisors

Soon put them on the track.

40

BOYS' STATE

 

Boys room.

Dissolve

Boys marching with guitars.

Pan-~city flag to boys
standing.

High angle shot boys
marching left.

Dissolve.

LS group cheer.

Legionnaires sitting down.

Pan commissioners at table.

BOY:
Bailey Hall, Wing B, Third
Floor.
Fifty of us assigned to the

Same city

NARRATOR II:

 

Every city starts with a
Name.

A flag.

And a best foot forward.

(Marching sound up)

BOY:
Somehow our fifty seemed
different.
Marched faster. . . .
.Shouted louder. .
And we were the first
To give a group cheer
At the general assembly.
(Cheer sounds up)

SPEAKERS VOICE
(Lip-sync)

 

”Welcome to Wolverine Boys
State.

". . .it will be an active
week

L11

BOYS' STATE

LS audience.

Dissolve.

Travel shot of city meeting.

Boys, Red Cedar background.

Reaction shot of boys.

Boy giving a speech.

Hand raising.

SPEAKERS VOICE
(Lip-sync)

 

.we will do many things.

(Cheer sound up)

NARRATOR II:

 

On this first day at Boys'
State, the machinery of
Government begins to roll.
Twenty—two cities make up

The model state.

Each populated by fifty boys.
They meet in city groups.

In the shade of a tree.

On the banks of the Red Cedar
Or out under the good

Hot summer sun.

Every city needs officers.
Nominations begin with a speech.
And after the speech,

It takes a majority vote to

Get on the ballot.

42

BOYS' STATE

 

Pan 7
2nd boy giving speech.

Hand raising.

High angle shot of boys
addressing crowd.

Boys applauding.

LS city leaders.

Reaction shot.
Dissolve.
Boys marching

Dissolve.

High angle shot of boys
marching across field.
Dissolve.

High angle shot of boys
and city flag.

Flag lowering.
Dissolve.

BOY;
You get the idea right away.
If you know someone
That can handle the job.
You nominate him.
Then all fifty of you vote.
That's courage.
Making a speech
Nominating a roommate.
But you try it, too.
You talk.
Then you listen.
You get together.
On candidates.
On ideas.

You pick up the beat.

NARRATOR II:

 

Hut, two, three, four.
To chow.

To meetings.

To retreat.

(Trumpet)

“3

BOYS' STATE

 

Boys pledging to flag.
Dissolve.
LS of flag coming down.

End of pledge.

Boy folding flag.

Boy marching away from
retreat.

NARRATOR I:

 

In our Boys' State

As in any free state,

We expect our responsible
Citizens to join in
Expressing a common will.
Respect for authority

And love of order

Are strong forces in human
Nature.

"Consensus" may be too big a
Word, and "common will" much
Too abstract.

But they do stand together.
And this is the basis

For all political action.

BOY:
When you march away with
All the others
You feel that you belong.
You really want to do something
For your city.
I guess we were just
A proud bunch of guys.

(Marching sound up.)

44

BOYS' STATE
Dissolve

Boy sleeping.

Bugle call.
Pillow hits boy.
Boys making bunk.

Flag raising formation.

High angle flag raising.
Dissolve.

Chow line.

Boy sitting down at table.

CU of boy putting jam on
toast.

Boy drinking milk.
Boy eating toast

CU of boy eating.
Dissolve.

Room being inspected.
Dissolve.

Pan of boys in voting line
to voting machine

CU voting machine, interior.

NARRATOR II:

 

The boys are up early
At Boys' State.
(Trumpet)

One way or another

Flag raising at seven-fifteen.

(New trumpet call.)

Breakfast at seven-thirty.

Inspection of quarters at
Eight. .and by nine-forty-
Five political activity involves

The citizens of Boys State.

BOY:
Friday, July nineteenth.

I voted.

45

BOYS'.STATE

 

LS of boys

Interior of voting machine.

Boy leaving voting machine.
Dissolve.
Boy at Canteen.

Ping Pong room

Dissolve.

State Party meeting

Meeting Chairman.

And so did eleven hundred>
And fifty others.

We had listened to speeches,
Talked to candidates,

And now we had to decide.

You make your selection

And then you wait.

Vote by vote, someone gets

The majority.

NARRATOR I:

 

It seemed to us

Back in '39

That the best way

For the boys

To learn something

Was by doing it.

And this was our aim in the
Boys State program.
Education in the practice
Of government

That can't be learned

From a book.

46

BOYS' STATE

Boys applauding.

CU boys reaction

Boy giving nomination

Boy seconding speech

After Convention

LS of audience with poster

CU of poster

Boy sitting with poster

Boys making poster

Poster

BOY:
Our party did well
In the city election.
My roommate made treasurer
And the boy across the hall
Was elected Mayor.
Next came the state campaign.
I had talked about it so much,
My friends got the idea and
Nominated me to office.
My roommat e gave
An impressive speech
And with a seconding
From the Mayor,
I was off and running

In the state campaign.

NARRATOR II:

 

If you want to get other people
To vote for your candidate.
You've got to tell them

About him,

Make them know who he is.

47

BOYS' STATE
Boy putting up poster

Poster

Poster
LS Boy making poster
Poster
Entrance with

poster

High angle LS making poster.

Jenison Rally crowd
High angle Jenison crowd
High angle Jenison crowd
Marching in aisles

Boys carrying candidate

Brown making speech
Pan applauding of boys

Dissolve

NARRATOR I:

 

The idea we developed

Was to set up a model
Government. .a mythical
Fifty—first state

Of the Union,

Patterned after the government
Of Michigan,

Brining together leader youth.
And giving them

An opportunity to put

Into actual effect

The studies they pursued

In school.

It became a laboratory

In government and politics.

Learning by doing.

NARRATOR II:

 

The effective citizen

Will not stop at having an
Opinion.

He acts to implement it.
By himself,

And with the group.

(Rally sounds up)

48

BOYS' STATE

 

High angle shot voting
machine

Inside voting booth

CU voting machine.

Boy leaving voting machine

Dissolve.

Parents outside

NARRATOR II:

 

The boys participate

In the voting process

Once again.

This time for state offices
And the important post of

Governor.

BOY;
I wasn't too worried
About the results.
We had explained our platform,
Debated the ideas.
Campaigned.
In four hours the returns
Would be in.
They would be anxious hours,

But I didn't mind.

Like 1000 others, I had two
Distinguished visitors.

A Mom and a Dad.

49

BOYS' STATE

 

MCU parents and boys

CU two shot parents

Dissolve

Boys praying

LS Church Service
Dissolve

Boy and Mother sitting
with paper

Family with small girl

Dissolve.

Glee Club

Audience applauding
Tuba

Conductor

Trombones

Trumpets

LS Band
Dissolve

Parents walking outside

NARRATOR II:

 

Sunday was visitors day.
There were many things

To show off

And places to go.

First.

Church service.

Each religion holding its
Own services.

A few moments to relax

After dinner,
And then the Band
And Glee Club Concert

(Glee Club singing)

(Band Concert)

BOY:

I put my instrument in the case,

And joined my parents

For a tour of the city.

50

BQXSL.§TATE_

Boys carrying sign
Introduction girls and boys
Introduction girl to boy.
Parent with camera

Parents standing

Parents walking away
Dissolve

Opponent receiving oath of
office

CU crowd cheering

We met some interesting friends

And took a few snapshots too.
I hated to see Mom and Dad go
Before the election results
Were in.
They will find out
Soon enough
That I hadn't been elected.
You know,
I felt lost and lonely during
That Inauguration program.
And when my opponent received
His oath of office,
I got up with the rest
And cheered.
(Cheers)
And applauded
(Applause)

.What was I cheering for?
I really had no reason
To be happy

I had lost.

BOYS' STATE

 

LS boys receiving oath
of office

LS Pan audience applauding

Dissolve.

Zouaves performing

51

But I was happy

And I cheered.
Believe it or not,
You accept the choice
Of the group

And you support him.

You're even happy that he won.

NARRATOR I:

 

When the citizen accepts.
The expressed will

Of the majority,

He has developed a mature,

Democratic vieWpoint.

.Call it a good loser,
A good sport,
Or whatever you like.
But without it
A democratic society would not

Be possible.

NARRATOR I:

 

The fast stepping Zouaves
Entertain the boys with an
Example of professional team-

Work.

52

BOYS' STATE

Dissolve
Wrestling

Football clinic

MCU Boys

LS coach with boys
CU coach

Law clinic speaker

Government clinic outside
Boy typing

Newspaper editors

Boy typing

Radio studio

Hand in mail box

Office girl taking mail
CU of Office girl

CU of boy

Office girl banking

(Drill sound up)
In addition to politics,
A variety of clinics
And activities
Provide the boys
With a well rounded
Week of experiences.
Wrestling and football
Clinics conducted by

Michigan State coaches.

.Law classes.
Under supervision of
Prominent State lawyers.
Government discussion groups,

A daily newspaper,

Speech and radio competition

A Post Office, combined

With a bank.

53

BOYS' STATE

 

Boy leaving Post Office

Dissolve

Judge at mock trial

Pan of boys audience

Girl enters surprise witness

CU crowd cheers

Girl taking oath
Boys cheering
Girl sits down

Dissolve

Boys sun bathing

Milk machine

And a chance to test the
Judicial system

With a mock trial.

JUDGE: (Lip sync)

”Hear Ye, Hear Ye.

COURT CLERK

 

”Do you swear to.

OFFICER: (Lip sync)

"I do.

NARRATOR II:

 

No trial is complete
Without a star

(Crowd cheers)

GIRL: (Lip sync)

”I do.

BOY:
Once in a while,
You take time out

To, just, lie around.

SA

BOYS' STATE

Two boys talking

CU of Year Book
Low angle shot of boys

looking at Year Book

Group around piano

Dissolve
163 through 211
Variety show—-montage--

Parade drum pull out to
parade

Traveling shot

Parade traveling shot

Talk to a friend.
About your home town,

And his home town.

May be plans to go to college.
When you look in the rec room
You see the piano getting

A good workout.

And on variety night

They really go.

(Variety Show)

(Parade sounds)

NARRATOR II:

 

The last day, the day

Of the big march.

The entire Wolverine Boys
State marches from East

Lansing to the State

Capitol.

55

BOYS' STATE

 

Boys parade right

Children watching parade

MCU boys in parade

Capitol building over

shoulder of flag bearers
Children waving

Pan down from Capitol Dome
Parade group

Nurses waving

Boys parade left

Boys entering Capitol Lawn
Girls watching

Statue

MCU Crowd Clapping

BOY:

We marched

.and marched
It was a hard march,
And it was long.
I am sure none of us would
Have hiked it alone.
But we weren't just
A bunch of boys
Nor only 22 cities
We were one Boys State.
A model organization
With elected leaders.
A program and a purpose.

We had someplace to go.

56

BOYS' STATE

 

LS crowd applauding

Dissolve

Governor speaking

Pan to crowd
MCU Crowd listening
Applause

Governor finishing speech

Boys following into Capitol

Dissolve

Governor's office boy
sitting down

Dissolve

Secretary of State's Office
Pan

Dissolve

Pan General Assembly

Dissolve

GOVERNOR ROMNEY:
(Lip syncI

 

"(freedom of this, freedom
of that)

BOY:

We were invited into the house

Of government

and, for this day,

Sat in the seats of authority.

We had traveled a long road

In a week.

The tired feet are easy to
forget,

But the pride of unity

And the honor

Of acceptance.

Experienced here this day
Will be with us for a long,

Long time.

BOYS' STATE

 

Speaker

Boys listening
Speaker

LS boys cheering
Dissolve

Boys with certificates

Dissolve
Pan building exterior
Dissolve

Boy shaking hands

Pan down on baggage

57

NARRATOR II:

 

A week is a short time.
It ends with a commencement

Speech

(Speech)

(Cheers)

A certificate,

And a pledge.

(boys giving pledge)

A round of goodbyes to friends
Buddies and old pals.

And one realizes

That this week has been

More than Just Seven Days

NARRATOR I:

 

Twenty seven times I have
Watched the boys arrive.

And I have watched them go.

58

BOYS' STATE

Boy closing suitcase

Boy at trunk of car

CU of boy picking bag up
CU boy picking up bag
Two boys picking up bags

Three boys walking away
with bags

Boy looking at map

Boy getting into station
wagon

CU map

Cars backing out

Parents and boys loading
cars

NARRATOR II:

 

They pick up their bags.
A tennis racket.

A coat.

NARRATOR I:

 

Twenty

Seven

Times,

And as they walk away,

I measure the week

Not by the seven days

Butby theyears that lie ahead,
A sort of investment

And hope for the future

NARRATOR II:

 

Luggage,
Experiences,
Memories,

And they return home
To the real world.
To soon put into
Actual practice.

The roles played here

59

 

BOYS' STATE
BOY:
Boy shaking hands goodbye Some weeks are just seven
days.
CU boy waving goodbye Some last a Lifetime.
Dissolve
Drawing of boys leaving (Music up)

SUPER CREDITS
Film sponsored by

Consumers Power Company

Detroit Edison Company

Michigan Bell Telephone Company
Michigan State University

Narrators

Dr. Dwight Rich
Dick Estell
Jerry Bock

Script & Film Editor

Richard Gerrero
Sound

Ron LaMothe

Harry Howard
Art

Mike Gilmore
FADE CREDITS

FADE PICTURE

CHAPTER IV
EDITING

As the script developed through the several drafts,
attention was directed to the task of editing the footage.
The idea was to bring the editing to a rough cut stage
prior to a final scripting. Changes in the script could
then be made to fit the available footage and also allow
the film, as it took shape, to stimulate new ideas for
the script. In this way a creative cycle was set up, or
at least was permitted to exist, in which the script could
provide a framework for the film-cutting and the rough cut
film would provide suggestions and ideas for script improve-
ment. Actually, this relationship between film and script
existed from the first viewing of the work print. The
original viewing provided ideas for the film outline; the
script outline suggested a system of film breakdown; and
the breakdown allowed development of the various sequences.
In this way, it could also be said that editing started
with the first script outline. Cuts were not actually made
with scissors, but mentally, scenes were selected or
eliminated from the first viewing of the workprint. This

editing-scripting freedom is a luxury not often enjoyed

60

61

in film production. In most cases the scripting and
editing are handled by different people, and the script
must be well firmed up before editing commences. However,
in this production, I was fortunate in that I had not only
been involved in the shooting but was also assigned the
scripting and editing of the film.

The formal editing was started at about the sixth
script draft. A more or less conventional editing pro-
cedure was employed. First a string out was undertaken.
After picking a scene for each point in the script, the
full camera run of each scene selected was put together in
the order called for by the script. The script may require
only one foot of the scene; however, if the camera run is
ten feet in length, the entire ten feet are put in. Cutting
into the scene is avoided until it is fairly certain that
the scene will work. Too often, after cutting a scene, one
finds that it may work better in another place. But he may
also find that the previous cutting has now made it
unusable in the new position. Of course, he could go
through his trims and find the cut off ends. By slugging
the frames missing because Cd'splicing he can restore the
workprint to its original length. No doubt every editor
has at some time done this. But it takes so much time to
locate the trims, especially when working with 10,000
feet of film, that precautions are taken to minimize the

possibility of cutting errors. The string—out serves this

62

purpose. It allows you to project and view the full-length
scene many times and to rearrange the various scenes as
often as needed prior to cutting into the scene itself.
Once the editor is fairly certain that the scenes will
work in the order laid out, he can do a rough cut. In the
rough cut, the scenes are.cut down to approximate length

to get some feeling of timing, pacing and matched action.
Here again, the cautious editor will, when in doubt, cut
long. It is always possible to take out a few frames

but very difficult to put them back in.

At the rough-cut stage of editing, a final script was
prepared incorporating changes suggested by the evolving
film. A scratch track was recorded and played back several
times with the picture.3 On the basis of narration timing
and visual pacing, decisions for a fine out were made. The
fine cut workprint was then turned over to the sound engi-
neer, Ron LaMothe, for narration recording and sound

effect work.

Music Montage

 

There was a musical montage section that required
special editing attention and thus may warrant discussion.
The variety show was a general assembly held the sixth
evening of Boys' State. Several of the boys put on a
variety type of show to entertain the general assembly.
The show lasted about two hours and consisted mostly of

musical performances. There were solo features as well as

63

small combos with an abundance of rOck-'n'—roll music.
The performance was covered with two cameras, a Mitchell
set on a platform at the rear of the hall and a Kodak Cine
Special in close for cut—aways. The entire performance was
recorded on magnetic tape and magnetic film. The recordings,
however, were not slated or cued to the camera runs. The
cameramen rolled camera when they felt the scene to be
interesting. Bill Hughes Operated the Mitchell and I worked
with the Cine.

The editing problem was to give an impression of an
evening of entertainment in about a minute's worth of
screen time. There were several possible ways of approaching
the problem. One would be to use only one representative
scene but with a sort of musical medley accompaniment. The
music in this case would not match the picture. The reverse
would also be possible—-that is, to use a section of repre-
sentative music and to cut several scenes or a pictorial
montage to the music. Here again the music would not match
the picture. A third possibility would be to put together
several scenes with matching music, a picture-sound montage.
The problem in this case is to keep the music from sounding
like someone playing with the push bottons on a car radio.
The end result could be very disturbing if one were to
simply cut pieces and bits of various songs together. I
decided to use a pictorial montage with matching sound for

the first 45 seconds and then an organ solo sound track

6A

for the last 10 seconds with rhythmic cutting of various
scenes to the beat of the organ solo. This one minute
proved to be the most time consuming minute of screen

time in the entire movie. More than forty hours were spent
in the editing on this sequence. The main problem was to
get the sound track to make some musical sense rather than
an effect of random musical bits out together. This re-
quired the scenes to be edited to an arranged musical
sequence. First, several scenes were selected of the
various acts and the music was post-synchronized. This was
done with the aid of a Moviola. Since the entire sound for
the program had been recorded, there should be music avail-
able for any camera run selected. The only problem was to
find the correct sound for that particular scene. It
amounted to a sort of musical lip reading. It was possible
to determine the music by noticing the type of instruments
in the scene, tempo of body movement and various cues to
melody line. Once the picture and sound had been synchro—
nized, the magnetic film track and picture were marked with
grease pencil so that the sound track could be later matched
to picture by simply lining up the cue marks.

Once the sound had been limited to the available
pictures and matched with them, the track was transferred
from the magnetic film to tape so that it could be worked
with on a conventional tape recorder. The tape thus had

bits and phrases from the various musical selections for

‘65

which pictures were available. The task now was to pick
phrases from the various selections which could be put
together in somewhat of a musical montage in such a way
that it would not be too jarring to the audience. With
the musical samples on magnetic tape, it was possible to
cut up the tape and experiment in editing the musical
selections. It was found that if the cuts were made on
the first beat of a phrase, the changes in tempo and key
would not be too disturbing. Thus the musical montage
ended up being a series of four—bar phrases arranged to
give variety and interest in the changes of style and
tempo.

With the edited tape as a guide, I then went back.*
and laid out the magnetic film in A and B rolls—-that is,
the four bars of the first selection in reel A, the four
bars of the second selection in reel B, the four bars of
the third selection back on reel A, etc. This made it
possible to roll both reels in the sound studio and then
to cross dissolve between the selections and thus softenw
the effect of cutting from one selection to the next. This
produced an A-B mix for the one minute of music. Pictures
were then edited to the A-B mix, this not being too difficult
for they had previously been cued to the individual musical
selections.

For the final ten seconds of the variety show sequence,

I out many scenes, almost at random, to the beat of the

66

rhythmic organ solo. A new picture was cut on each beat
with two pictures on the third beat of each bar giving a
"one, two, three and four” rhythm—-five pictures to a

four beat bar. The full beat required eleven frames of
picture, the half beat required five or six frames, the
extra frame being made up every second bar. There were
over forty cuts within the ten seconds. The effect

hoped for was a rhythmic visual impression on the audience.
The actual scenes were not important, they would be
occurring on the screen so fast that it is doubtful that
the viewer would be fully aware of any individual picture.
In fact, a few scenes of boys typing, wrestling and raising
a flag were thrown in with the musical scenes, more or less
as though the events for the entire week got mixed up and
were seen in memory flashes. Perhaps there will be some
that object to this one minute abstract section on the
grounds that, being the only free style in the film, it may
be out of place. However, I felt that it would serve as

a change of pace for the audience and thus justifiable in

that it would increase the audience interest.

Adding Sound

 

Once the workprint had been completely edited, it
was given to the sound department for sounding. The
sounding required the recording of three narrations,

matching of several lip—sync scenes, background sound

67

effects and the addition of music. The recording of the
narration track was more complicated than usual due to

the fact that three separate narrations had to be recorded.
Each narrator was recorded independently of the others.
Dick Estell's narration was recorded to picture. That is,
the picture was shown in the studio and Mr. Estell was
seated such that he could see the picture as he read. In
this way he was able to pace his narration to the action

on screen. The script had been previously timed and it

was possible for a script girl to watch the film footage
counter and give Mr. Estell a light cue at the start of
each phrase. Mr. Estell is a professional announcer and
was capable of reading script, watching picture and observing
light cues. This system was not used for the other two A
narrators for it was felt that it would be too demanding of
the non-professional narrator. The other narrations were
recorded line by line, without picture or timing cues; and
then, later, each line was cut into the narration track at
its appropriate place.

The final sound mix involved the three narration
tracks, an effects track, a synchronized sound track including
the music montage, general background sounds and a music
track. These were mixed by Mr. LaMothe to produce a final
sound mix. The key problem in a mix is to keep the proper
relationship between narration and background sounds. Several
mixes had to be made before obtaining one acceptable to

Mr. LaMothe.

68

The Interlock Showing

 

An interlock showing was then scheduled for represen—
tatives of the American Legion. The interlock allows
viewing with sound even though the sound is still separate
from picture. The final mix is played back on the magnetic
film recorder and the edited work print projected on a
projector equipped with synchronous motor; the two are
started and held together by the interlock system. The
representatives gave their final approval on the film and
placed an order for sixteen prints. The original material
was then taken out of storage, matched to the edited work—
print and sent to the laboratory along with the sound mix
for printing. The delivery of the prints completed the

American Legion Contract.

CHAPTER V

EVALUATION

In the evaluation of this project, two separate
factors should be examined. The first is the effective-
ness of the learning experience in the development of
the Boys' State Movie. The preceding chapters constitute
a detailed report of this experience. The amount of
learning is, of course, the difference in knowledge and
ability between the start of the project and the comple-
tion of the film. All gains in knowledge and improvements
in technical abilities realized in the Boys' State project
could be considered as learning derived directly from the
working experience. Although the writer had substantial
still photography experience and many hours of television
production classwork, motion picture production was a new
experience. But a camera is a camera. The method of calcu—
lating exposure is basically the same for the motion picture
camera as it is for the still camera. The rules of composi-
tion and following action hold equally for the film camera
and the television camera. And so, there were many things
that could be generalized from previous experience to the

new situation. The project gave ample opportunity to apply

69

7O

classroom theories to actual situations as well as genera-
alizing old experience to a new situation. In the filming
of Boys' State, the ability to Operate various motion
picture cameras was a necessity. In most cases, there was
little or no time to become familiar with a camera prior
to the actual filming of a scene. Within ten minutes of
starting on the job, I found myself on top of a camera
truck with a Kodak Cine Special, a camera which I had
never seen before. To increase the pressure, an American
Legion auto—train was pulling into the area and thus, if

I were to get the shot, I could not leisurely study the
camera features. The big problem was finding the shutter
release button. The button is located on the front of the
camera under the lens turret, a convenient place, once

you know where it is. As it turned out, this first shot
came out very well. Exposure correct, focus sharp, pan
smooth, and the auto-train was held nicely in frame as it
approached. The shot was used as the opening scene for
the movie. Certainly a considerable amount of learning
took place during the first ten minutes. Needless to say,
the learning experience was not confined to that first ten
minutes. Location lighting was a new experience for me.
That first day, lighting was set up in the Brody hallway,
in one of the dormitory rooms and in the convention hall.
Not only did I learn how to balance lighting but also,

by working closely with Bill Hughes, how to determine a

71

safe load for the fused circuits and how to tap directly
into the junction box for a 220 volt feed line. By the
time the week had come to an end, I had accumulated over.
60 hours of camera work as well as exposure to a multitude
of problems and situations. I may have started not
knowing how to turn on the Cine camera, but one week later
I was comfortable with several cameras in many situations
and under a variety of conditions.

During the scripting phase, under the excellent
tutorage of Mr. McCoy, I began to explore the relationships
between narrator, audience and picture. The situation in
scripting was quite different from the situation in
cinematography. I was proficient in the use of a still
camera and had some experience with television cameras;
therefore I only needed to learn the mechanical operation
of the movie camera before applying my previously acquired
knowledge of photography. In the attempt to write a
script, I was pretty much starting from scratch. The
relationships between audience, picture and narrator were
new to me. However, with eight rewrites, and with correc-
tions and suggestions at each draft by Mr. McCoy, the final
draft was much improved and respectable. I do not wish to
suggest that one might consider oneself a scriptwriter after
only one script. However I have written other scripts
since the Boys' State film and I can suggest that subsequent

scripts are considerably easier. Nevertheless, I will need

72

to write many more scripts before I feel confident at
scripting. But it must be remembered that I would not
have been able to find additional scripting assignments
had it not been for the Boys' State experience.

Although I had no editing experience before working
with the MSU film unit, I was able to gain some experience
prior to the editing phase of the Boys' State film. I

edited several sequences for A Century and Nine under the

 

supervision of Mr. Mabrey and also did string outs and
rough cutting on other jobs. In the Boys' State Film
editing was not a new experience for me, but the cutting
of a film to fit the proposed narration was indeed a
challenge. The procedure I used was to read aloud, with
stopwatch in hand, the lines for each scene. The time
needed was calculated in film feet and each picture was
then cut to take up the calculated time. Later a scratch
track was made while reading to the projected film and fine
adjustments were made in the places needed. The final
edit was quite smooth and well paced.

In all, with filming, scripting, and editing, it is
safe to suggest that a considerable learning experience has
been derived from the project.

The second evaluative factor that needs to be examined
is whether or not a student, while learning, can be justi-
fied by a department committed to serving a client expecting

a professional product. In this case we can ask, is the

73

client satisfied with the product? The client is the
American Legion and the product is the Boys' State Film.

In an attempt to answer this question, I arranged an inter-
view with Dr. Dwight Rich. Dr. Rich can be considered a
representative voice of the American Legion in matters
pertaining to Boys' State. Not only had Dr. Rich helped
organize Boys' State in Michigan, but has worked with the
program ever since. He also was the leading voice in

the committee supervising the production of the movie. In
a taped interview on September 3, 1965, several questions

were asked of Dr. Rich.

QUESTION: To what type of audience will the Boys' State
Film be shown?

DR. RICH: Well, this is what you might say "a general
film." It is hoped that it will be shown to
our sponsoring groups, and this includes not
only our own American Legion, but it includes
labor groups, any organization that wishes to
sponsor a boy. And then we hope to have it
shown to high school groups or boys who are
becoming interested in going to Boys' State.

QUESTION: Was there anything particular that you liked
about the film?

DR. RICH: Well, yes, I like the film. I worked with
~ them when they were making it. I liked the
angle at which they were able to show part of
nearly every activity [at Boys' State].

QUESTION: Was there anything in particular that you did
not like in the film?

DR. RICH: Well, I thought they went a little bit too
long on what we called our amateur night. I
think that was played a little bit too long.
I've seen the film several times, and whether
or not I'd have that effect in seeing it once
I couldn't tell you, but in seeing it several
times I felt that.

QUESTION:

DR. RICH:

QUESTION:

DR. RICH:

QUESTION:

DR. RICH:

QUESTION:

DR. RICH:

QUESTION:

DR. RICH:

QUESTION:

DR. RICH:

7A

Was the boy narrator a believable part in the
film?

Oh yes. Very good. That part was very good.
The film made some statements about the value
of consensus, good loser, and democracy. DO
you feel these statements have any value to
the intended audience andwill be effective

as presented? Or do you feel they have any
place at all in this type of film?

I think they do. Of course, you had an awfully
good group of boys here. They're top boys, but
at the same time, somebody's got to lose when
they come into the program. They know they've
got to lose, and I think we are trying to devele
op a good background of attitude toward this
matter of we can't always win. I think that's
what we are coming out with.

In the creation of the boy's part, once he was
involved in the political campaign, there were
two alternatives--he could win or he could lose.
In your Opinion then, you agree with the writer
in that the better alternative was to have the
boy lose the election. .

That's right. That's what we're getting at in
the study--that we can't always win in a democ-
racy, and you've got to give and take, and.
you've got to be brought up in that.

Were you satisfied with the technical qualities
of picture, sound and so on?

Oh yes, I was.

Do you feel that the Boys' State Film will serve
the sponsor's purpose?

Oh yes.

How could the film have been made to better serve
the sponsor's purpose? Is there anything that
you would suggest?

No, I don't think so. I think it did exactly
what the sponsors thought it would do. .The
value the sponsors hope to get out of this film
was the making it possible for boys to see what's

75

going to happen in Boys' State, and to want to
go and want to be part of the program. They're
interested in the furtherance of the program.

QUESTION: Actually then, we could say the evaluation of
the film would be in terms of whether or not a
prospective Boys' Stater would appreciate and
have a positive opinion of Boys' State before
attending.

DR. RICH: That's right. . .We get letters from the boys
saying they wished they knew more about it be-
fore they went.

QUESTION: Would the boys see the film on the first day
of Boys' State or would they see it in the high
schools before they were selected?

DR. RICH: They show it in the high schools.

The film was not available in time to be used in recruiting
for the 1965 Boys' State Convention. Thus it was impossible
to get a true audience reaction to the film. However, the
film has been passed out to all the American Legion commis-
sioners in Michigan and there have been a few showings to
other than prospective boy groups. From all indications,
the film has been favorably received. And as indicated in
the above interview, the film seems to completely satisfy

the sponsors.

Summary
The filming, scripting and editing of the Boys' State

Film has provided the writer with an opportunity to apply
classroom theories to actual situations as well as
generalizing previous experience to a new situation. It

has been an effective learning experience which at the

76

same time has produced as its end product a film of profes-
sional quality satisfying the sponsors. In addition to
outlining a method of developing a script from existing
footage and a technique for pursuing an abstract film

style as used in the music montage, this study suggests

that a creative thesis done while working in an actual
production situation can provide the graduate student with
a realistic and beneficial creative experience. It seems
possible to justify student employment by a production

unit provided that professional standards can be maintained.
Should this study be judged successful, then perhaps future
students will find the courage to undertake a similar course
of action and perhaps television and film producers will
encourage the graduate student and allow him to work with
actual production assignments available in the academic

environment.

SHORT BIBLIOGRAPHY

Books

Baddeley, Walter Hugh. The Technique of Documentary Film
Production. New York: Hastings House, 1963.

 

 

Brodbeck, Emil E. Handbook of Basic Motion-Picture Tech-
niques. New York: McGraw-Hill Book Company, Inc.,
1950.'

 

Buchanan, Andrew. Film—Making From Script to Screen.
London: Phoenix House Limited, 1951.

 

Clark, Charles G. Professional Cinematography. Hollywood:
American Society of Cinematographers, 1964.

 

Grierson, John. Grierson on Documentary. New York:
Harcourt, Brace and Brace, 1947.

 

Offenhauser, W. H. 16MM. Sound Motion Pictures. New York;
Interscience Publishers, 1999.

 

Reisz, Karel. The Technique of Film Editipg. London:
Focal Press, 1961.

 

Rotha, Paul. Documentary Film. London: Faber and Faber,
1952.

 

Spottiswoode, Raymond. Film and Its Techniques. Berkeley:
University of California Press, 1957.

 

Periodicals and Manuals

 

American Cinematographer. Hollywood: American Society of
Cinematographers.

 

Journal of SMPTE. New York: Society of Motion Picture
and Television Engineers, Inc.

 

American Cinematographer Manual. Hollywood: American
Society of Cinematographers, 1960.

77

HICHIGQN STATE UNIV. LIBRQRIES

II III "LII!!! III III!!! III III

31293 02852997