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 Sample Final Exam #6
(Summer 2008; thanks to Hélène Martin)

1. Array Mystery
Consider the following method:
public static void arrayMystery(String[] a) {
for (int i = 0; i < a.length; i++) {
a[i] = a[i] + a[a.length - 1 - i];
}
}
Indicate in the right-hand column what values would be stored in the array after the method arrayMystery executes
if the array in the left-hand column is passed as a parameter to it.
Original Contents of Array Final Contents of Array
String[] a1 = {"a", "b", "c"};
arrayMystery(a1); _____________________________

String[] a2 = {"a", "bb", "c", "dd"};

arrayMystery(a2); _____________________________

String[] a3 = {"z", "y", "142", "w", "xx"};

arrayMystery(a3); _____________________________

1 of 9
2. Reference Semantics Mystery
The following program produces 4 lines of output. Write the output below, as it would appear on the console.
public class Pokemon {
int level;

public Pokemon(int level) {

this.level = level;
}
}

public class ReferenceMystery {

public static void main(String[] args) {
int hp = 10;
Pokemon squirtle = new Pokemon(5);

battle(squirtle, hp);
System.out.println("Level " + squirtle.level + ", " + hp + " hp");

hp = hp + squirtle.level;

battle(squirtle, hp + 1);
System.out.println("Level " + squirtle.level + ", " + hp + " hp");
}

public static void battle(Pokemon poke, int hp) {

poke.level++;
hp -= 5;
System.out.println("Level " + poke.level + ", " + hp + " hp");
}
}

2 of 9
3. Inheritance Mystery
Assume that the following classes have been defined:

public class Dog extends Cat { public class Cat {

public void m1() { public void m1() {
m2(); System.out.print("cat 1 ");
System.out.print("dog 1 "); }
}
} public void m2() {
System.out.print("cat 2 ");
public class Lion extends Dog { }
public void m2() {
System.out.print("lion 2 "); public String toString() {
super.m2(); return "cat";
} }
}
public String toString() {
return "lion";
}
}
Given the classes above, what output is produced by the following code?
Cat[] elements = {new Dog(), new Cat(), new Lion()};
for (int i = 0; i < elements.length; i++) {
elements[i].m1();
System.out.println();
elements[i].m2();
System.out.println();
System.out.println(elements[i]);
System.out.println();
}

3 of 9
4. File Processing
Write a static method evaluate that accepts as a parameter a Scanner containing a series of tokens representing a
numeric expression involving addition and subtraction and that returns the value of the expression. For example, if a
Scanner called data contains the following tokens:
4.2 + 3.4 - 4.1
The call of evaluate(data); should evaluate the result as (4.2+3.4-4.1) = (7.6-4.1) = 3.5 and should return this
value as its result. Every expression will begin with a real number and then will have a series of operator/number
pairs that follow. The operators will be either + (addition) or - (subtraction). As in the example above, there will be
spaces separating numbers and operators. You may assume the expression is legal.
Your program should evaluate operators sequentially from left to right. For example, for this expression:
7.3 - 4.1 - 2.0
your method should evaluate the operators as follows:
7.3 - 4.1 - 2.0 = (7.3 - 4.1) - 2.0 = 3.2 - 2.0 = 1.2
The Scanner might contain just a number, in which case your method should return that number as its result.

4 of 9
5. File Processing
Write a static method blackjack that accepts as its parameter a Scanner for an input file containing a hand of
playing cards, and returns the point value of the hand in the card game Blackjack.
A card has a rank and a suit. There are 13 ranks: Ace, 2, 3, 4, 5, 6, 7, 8, 9, 10, Jack, Queen, and King. There are 4
suits: Clubs, Diamonds, Hearts, and Spades. A Blackjack hand's point value is the sum of its cards' point values. A
card's point value comes from its rank; the suit is irrelevant. In this problem, cards are worth the following points:
Rank Point Value
2-10 The card's rank (for example, a 7 is worth 7 points)
Jack (J), Queen (Q), King (K) 10 points each
Ace (A) 11 points (for this problem; simplified compared to real Blackjack)
The input file contains a single hand of cards, each represented by a pair of "<rank> <suit>" tokens. For example:
5 Diamonds
Q Spades
2 Spades 3 Hearts
Given the above input, your method should return 20, since the cards' point values are 5 + 10 + 2 + 3 = 20.
The input can be in mixed casing, have odd spacing between tokens, and can be split across lines. For example:
2 Hearts
j SPADES a Diamonds
2 ClUbS
A
hearts
Given the above input, your method should return 36, since the cards' point values are 2 + 10 + 11 + 2 + 11 = 36.
You may assume that the Scanner contains at least 1 card (two tokens) of input, and that no line will contain any
tokens other than valid card data. The real game of Blackjack has many other rules that you should ignore for this
problem, such as the notion of going "bust" once you exceed a score of 21.

5 of 9
6. Array Programming
Write a static method named allPlural that accepts an array of strings as a parameter and returns true only if
every string in the array is a plural word, and false otherwise. For this problem a plural word is defined as any
string that ends with the letter S, case-insensitively. The empty string "" is not considered a plural word, but the
single-letter string "s" or "S" is. Your method should return true if passed an empty array (one with 0 elements).
The table below shows calls to your method and the expected values returned:
Array Call and Value Returned
String[] a1 = {"snails", "DOGS", "Cats"}; allPlural(a1) returns true
String[] a2 = {"builds", "Is", "S", "THRILLs", "CS"}; allPlural(a2) returns true
String[] a3 = {}; allPlural(a3) returns true
String[] a4 = {"She", "sells", "sea", "SHELLS"}; allPlural(a4) returns false
String[] a5 = {"HANDS", "feet", "toes", "OxEn"}; allPlural(a5) returns false
String[] a6 = {"shoes", "", "socks"}; allPlural(a6) returns false
For full credit, your method should not modify the array's elements.

6 of 9
7. Array Programming
Write a static method named reverseChunks that accepts two parameters, an array of integers a and an integer
"chunk" size s, and reverses every s elements of a. For example, if s is 2 and array a stores {1, 2, 3, 4, 5, 6},
a is rearranged to store {2, 1, 4, 3, 6, 5}. With an s of 3 and the same elements {1, 2, 3, 4, 5, 6}, array
a is rearranged to store {3, 2, 1, 6, 5, 4}. The chunks on this page are underlined for convenience.
If a's length is not evenly divisible by s, the remaining elements are untouched. For example, if s is 4 and array a
stores {5, 4, 9, 2, 1, 7, 8, 6, 2, 10}, a is rearranged to store {2, 9, 4, 5, 6, 8, 7, 1, 2, 10}.
It is also possible that s is larger than a's entire length, in which case the array is not modified at all. You may assume
that s is 1 or greater (an s of 1 would not modify the array). If array a is empty, its contents should remain unchanged.
The following table shows some calls to your method and their expected results:
Array and Call Array Contents After Call
int[] a1 = {20, 10, 30, 60, 50, 40}; {10, 20, 60, 30, 40, 50}
reverseChunks(a1, 2);
int[] a2 = {2, 4, 6, 8, 10, 12, 14, 16}; {6, 4, 2, 12, 10, 8, 14, 16}
reverseChunks(a2, 3);
int[] a3 = {7, 1, 3, 5, 9, 8, 2, 6, 4, 10, 0, 12}; {9, 5, 3, 1, 7, 10, 4, 6, 2, 8, 0, 12}
reverseChunks(a3, 5);
int[] a4 = {1, 2, 3, 4, 5, 6}; {1, 2, 3, 4, 5, 6}
reverseChunks(a4, 8);
int[] a5 = {}; {}
reverseChunks(a5, 2);

7 of 9
8. Critters
Write a class Minnow that extends Critter from HW8, along with its movement and eating behavior. All other
aspects of Minnow use the defaults. Add fields, constructors, etc. as necessary to your class.
Minnow objects initially move in a S/E/S/E/... pattern. However, when a Minnow encounters food (when its eat
method is called), it should do all of the following:
• Do not eat the food.
• Start the movement cycle over. In other words, the next move after eat is called should always be South.
• Lengthen and reverse the horizontal portion of the movement cycle pattern.
The Minnow should reverse its horizontal direction and increase its horizontal movement distance by 1 for
subsequent cycles. For example, if the Minnow had been moving S/E/S/E, it will now move S/W/W/S/W/W. If
it hits a second piece of food, it will move S/E/E/E/S/E/E/E, and a third, S/W/W/W/W/S/W/W/W/W, and so on.
?
The following is an example timeline of a particular Minnow object's movement. The ??
timeline below is also drawn in the diagram at right. Underlined occurrences mark squares ??
where the Minnow found food. ???
???
• S, E, S, E (hits food) ?
????
• S, W, W, S, W, W, S (hits food) ????
• S, E, E, E, S, E, E, E, S, E (hits food) ??
• S (hits food) ?
??????
• S, E, E, E, E, E, S, E, E, E, E, E, ...

8 of 9
9. Classes and Objects
Suppose that you are provided with a pre-written class Date as // Each Date object stores a single
described at right. (The headings are shown, but not the method // month/day such as September 19.
bodies, to save space.) Assume that the fields, constructor, and // This class ignores leap years.
methods shown are already implemented. You may refer to them
or use them in solving this problem if necessary. public class Date {
private int month;
Write an instance method named bound that will be placed inside private int day;
the Date class to become a part of each Date object's behavior.
The bound method constrains a Date to within a given range of // Constructs a date with
dates. It accepts two other Date objects d1 and d2 as parameters; // the given month and day.
public Date(int m, int d)
d1's date is guaranteed to represent a date that comes no later in
the year than d2's date. // Returns the date's day.
The bound method makes sure that this Date object is between public int getDay()
d1's and d2's dates, inclusive. If this Date object is not between
// Returns the date's month.
those dates inclusive, it is adjusted to the nearest date in the public int getMonth()
acceptable range. The method returns a result of true if this
Date was within the acceptable range, or false if it was shifted. // Returns the number of days
// in this date's month.
For example, given the following Date objects: public int daysInMonth()
Date date1 = new Date(7, 12);
Date date2 = new Date(10, 31); // Modifies this date's state
Date date3 = new Date(9, 19); // so that it has moved forward
Date bound1 = new Date(8, 4); // in time by 1 day, wrapping
Date bound2 = new Date(9, 26); // around into the next month
Date bound3 = new Date(12, 25); // or year if necessary.
// example: 9/19 -> 9/20
The following calls to your method should adjust the given Date // example: 9/30 -> 10/1
objects to represent the following dates and should return the // example: 12/31 -> 1/1
following results: public void nextDay()
call date becomes returns
date1.bound(bound1, bound2) 8/4 false
// your method would go here
date2.bound(bound1, bound2) 9/26 false
date3.bound(bound1, bound3) 9/19 true }
date2.bound(bound3, bound3) 12/25 false

9 of 9
Other documents randomly have
different content
 Courtesy W. W. Hodkinson Corporation.
An Old Whaling Ship Refitted to Make a New
Movie.
The George W. Morgan, nearly 100 years old, refitted
and sent to sea to make a whaling story called “Down
to the Sea in Ships.”

On the other hand, in contrast to these hurriedly made, inaccurate

pictures, made to make money for ignorant people by entertaining
still more ignorant people, are the really worth while historical films
and others made with painstaking care. Some of the great American
directors maintain entire departments for research work, that check
up on the accuracy of each detail before it goes into production,
costumes are verified, past or present, details of architecture are
reproduced from actual photographs, and even incidents of history
and the appearance of historic individuals are treated with
scrupulous accuracy.
Valuable impressions of life in ancient Babylon could be gathered
from Griffith’s great picture “Intolerance.” While not necessarily
accurate in every detail, the wonderful Douglas Fairbanks films
“Robin Hood” and “The Three Musketeers” instruct as well as
entertain. In a magnificent series of historic spectacle films such as
“Peter The Great,” “Passion,” and “Deception,” the Germans have
set a high-water mark of film production that combines dramatic
entertainment with semi-historical setting.
It seems a pity after watching one of the really well-made historical
photoplays, to have to see a picture of the American Revolution so
carelessly made, in spite of its cost of nearly $200,000, that you feel
sorry for the poor British redcoats at the battle of Concord, when the
American minute men, outnumbering them about ten to one, fire on
them at close range from behind every stone wall and tree or
hummock big enough to conceal a rabbit. Why, according to that
particular director’s conception of the British retreat from Lexington,
the patriots might just as well have stepped out from behind their
protecting tree-trunks and put the entire English army out of its
misery by clubbing it to death in three minutes.
Leaving dramatic photoplays, then, let us turn to the other kind of
movie that shows what actually happens.
The news reels are the simplest form of this kind of movie. They
correspond to the headlines in the daily newspapers, or newspaper
illustrations. Indeed, a good many newspaper illustrations,
nowadays, are merely enlargements made from single exposures, or
“clippings,” from the news reels. You may yourself have noticed
pictures in the rotogravure sections of Sunday newspapers that
show the same scenes you have already seen in motion in the news
reels during the week.
 To get the news reel material camera men are stationed, like
newspaper correspondents, at various places all over the globe. Or,
when some important event is to occur at some far-away place, they
are sent out from the headquarters of the company, just as special
correspondents or reporters would be sent out by a big city
newspaper, or newspaper syndicate. Sometimes a camera man and
reporter work together; usually, however, each works separately, for
newspapers and movies are still a long way apart. If a new president
is elected in China, a news-reel camera man—Fox, or Pathé, or
International, or some other, or maybe a whole group of them—will
be on hand to photograph the ceremonies. If a new eruption is
reported at Mount Etna, some donkey is liable to get sore feet
packing a heavy motion-picture camera and tripod up the mountain
while the ground is still hot, so that a news-reel camera man—
possibly risking his life to do it—may get views of the crater, still
belching fire and smoke and hot ashes and lava, for you to see on
the screen.
The news camera men, like city news reporters, have to work
pretty hard, not infrequently face many dangers, and get no very
great pay. The tremendous salaries and movie profits that you
sometimes hear about usually go to the studio companies, and not to
these traveling employees.
Recently I talked with a “free lance” camera man, who had just
completed a full circuit of the earth—England, Continental Europe,
Turkey, and Asia Minor, through the Suez Canal and down into India,
then Australia, New Zealand, Samoan Islands, and back to New York
by way of San Francisco. He had paid his way largely with
contributions to news reels, sold at a dollar or a dollar and a half a
foot. The last part of the way home he had worked his passage on a
steamer. He had borrowed enough money from a friend in San
Francisco to get him back to New York. He had about ten thousand
feet—ten reels—of “travel” pictures, for which he hoped to find a
purchaser and make his fortune. But he owed the laboratory that had
developed his film for him a bill of some three hundred dollars that
he couldn’t pay, and was offering to sell the results of his whole
year’s work for fifteen hundred dollars. And at that he couldn’t find a
purchaser.
News reels and travel pictures, and beautiful “scenics” too, are
only the forerunners of much more ambitious efforts to come, that
before many more years have passed will be bringing the whole
world before us through the camera’s eye. Did you happen to see
the marvelous record of sinking ships made by a German camera
man on one of the U-boats during the ruthless submarine campaign
of the Great War? Or the equally remarkable series taken of the
marine victims of the German cruiser Emden? They show what the
camera can do, when the movie subject is a sufficiently striking one.
More than two years ago a camera man named Flaherty secured
the backing of a fur-exporting firm to make a trip with his camera to
the Far North. After laborious months of Arctic travel he returned to
the Canadian city whence he had started with some thousands of
feet of splendid negative. While it was being examined—so the story
goes—a dropped cigarette ash set it on fire. Celluloid burns almost
like gunpowder. The entire negative was destroyed in a few
moments.
But Flaherty started out again, and returned once more with
thousands of feet of film depicting the Eskimos’ struggle for life
against the mighty forces of Nature in the frozen North. From this
negative a “Feature Film” was edited, called “Nanook of the North.” It
showed how the Eskimos build their snow huts or igloos, how an
Eskimo waits to spear a seal, and how he has to fight to get him
even after the successful thrust.
At first the big distributing companies that handle most of the films
that are rented by theater owners in this country didn’t want to
handle the picture because it was so different from the ordinary
movie that they didn’t think audiences would like it. But finally, after it
had been “tried out” successfully at one or two suburban theaters,
the Pathé Company decided to release it. Likely you’ve heard of it. It
has been a big success. It is now being shown all over the world. It
will probably bring in more than $300,000. Flaherty, as camera man,
director, and story-teller rolled into one, has been engaged by one of
the big photoplay producing companies at a princely salary to “do it
again.” This time, he has gone down into the South Seas, to bring
back a story of real life among the South Sea Islanders.
Quite a number of years back a man named Martin Johnson went
across Africa and secured some very remarkable pictures of wild
animals. These jungle reels were released by Universal, and proved
such capital entertainment that they brought in a fortune. Others
followed Johnson’s example, but for years no one was able to equal
his success. As Flaherty has done more recently, Johnson next went
to the South Seas and made another “Feature Film” of life upon the
myriad islands that dot the Southern Pacific Ocean. The film was
fairly successful, but did not begin to make the hit that had been
scored by the animal reels.
“Hunting Big Game in Africa,” the next big “reality” film to make a
hit with American audiences—aside from short reel pictures and an
occasional story-scenic—“broke” on the New York market in 1923. It
was made by an expedition under H. A. Snow, from Oakland,
California, and represented some two years of work and travel, with
a big expenditure of money.
Snow’s experience in getting his picture before the public was not
unlike that of Flaherty. The motion-picture distributors and exhibitors
were so used to thinking in terms of the other kind of pictures, the
regular movies or photoplays that you can see nearly every night in
the week, that they were afraid people wouldn’t be interested in “just
animal stuff.” In spite of the success made by “Nanook of the North,”
and the Martin Johnson pictures before that, they were afraid to try
out pictures that were different from the usual run.
“Hunting Big Game in Africa” was more than ten reels long—two
hours of solid “animal stuff.” The Snow company finally decided to
hire a theater themselves and see what would happen when the
picture was presented to a New York audience.
You can imagine what the audience did. They “ate it up.” The
picture started off with views of the ship that was carrying the
expedition to South Africa. Then there were shots of porpoises and
whales. And thousands and thousands and thousands—they
seemed like millions—of “jackass penguins” on desolate islands near
the South African coast. Funny, stuffy little birds with black wings and
white waistcoats, that sat straight up on end like dumb-bells in dinner
jackets—armies and armies of them, a thousand times more
interesting (for a change at least) than seeing the lovely heroine
rescued from the villain in the nick of time, in the same old way that
she was rescued last week and the week before. And for that matter,
two or ten years ago—or ever since movie heroes were invented to
rescue movie heroines from movie villains when the movies first
began.
From the penguins on, “Hunting Big Game in Africa” was certainly
“sold” to each audience that saw it. There were scenes that showed
a Ford car on the African desert, chasing real honest-to-goodness
wild giraffes, and knocking down a tired wart hog after he had been
run ragged. Only at the very end of the picture was there any
particularly false note, when a small herd of wild elephants, that
appeared very obviously to be running away from the camera, were
labeled “charging” and “dangerous.” Possibly they really were
dangerous, but the effort to make them seem still more terrible than
they actually were fell flat. When you’re telling the truth with the
camera, you have to be mighty careful how you slip in lies, or call
out, “Let’s pretend!”
Then there came another Martin Johnson picture of animals in
Africa, possibly even better than the Snow film, and quite as
successful. As usual, Martin Johnson took his wife along, and the
spectacle of seeing a young woman calmly grinding away with the
camera, or holding her own with a rifle only a few yards away from
charging elephants or rhinoceri was thrill enough for any picture. At
many of the scenes audiences applauded enthusiastically—a sure
sign of unqualified approval.
An interesting discovery that has come with the success of these
“photographic” pictures, that show what actually happens as pure
entertainment, so interesting that you don’t think of its being
instructive, is that ordinary dramatic movies can be made vastly
more interesting and worth while if a good “reality” element is
introduced.
 The Germans were on the trail of this when they had wit enough to
plan their historical pictures based on fact and actual historical
personages, that would appeal to people of almost any civilized
nation on the globe. So good was their example, that we have
followed suit, here in America, with “Orphans of the Storm,” and the
big Douglas Fairbanks pictures, and a whole lot more.
But now, we have gone a step farther, a step that adds to the
danger and difficulty in picture making, but that shows more and
more the wonderful possibilities of the screen.
Take “Down to the Sea in Ships.”
A writer named Pell who lived up near New Bedford,
Massachusetts, where the old whaling industry used to center, in the
days before steam whalers carried the business—or what there is
left of it—to the Pacific coast—had an idea. He wrote a story about a
hero who turned sailor-man and went to sea on a whaler, and
harpooned a real whale.
They make some wonderful motion pictures in Hollywood, but they
don’t harpoon many whales there. When you’re a motion-picture
actor, harpooning a real whale is a good trick—if you can do it.
Pell took his story to Mr. D. W. Griffith, famous ever since “The
Birth of a Nation.” But Mr. Griffith didn’t have time to play with it, so
he turned it over to a director named Elmer Clifton, who decided that
a picture of a real whale would make a “real whale” of a picture. He
got a company together and went to work.
Courtesy W. W. Hodkinson Corporation.
Capsized by a Real Whale.
Remarkable picture, taken during the cruise of the George W. Morgan, of a
whaling-boat attacked by a wounded whale. (See page 62.)
Courtesy W. W. Hodkinson Corporation.
Aiding Nature by a Skilful Fake.
In the original of this picture the boat appeared much as in the photograph
above. Added dramatic value has been given by “retouching” or painting in
the imaginary flukes of the whale, as he might have raised them if he had
been more accommodating. (See page 62.)
Courtesy W. W. Hodkinson Corporation.
Real Danger on the High Seas.
Imagine working to right an overturned whale boat in shark-infested waters,
with a dangerously wounded whale still cruising about in the vicinity, just for
the sake of a motion picture! (See page 62.)
Courtesy W. W. Hodkinson Corporation.
The Second Step to Safety.
The hero of the picture again sitting in the righted boat. A microscope will
show the pains taken to secure realism in its film; the actor actually became
a sailor for months, with hair grown in the fashion of sailing days. (See page
62.)

They decided the first thing to do would be to get the whale. If that
part worked all right, they’d go ahead and make the rest of the
picture, if it didn’t—well, they could start over again and make some
other picture, of a cat or a dog or a trick horse that wouldn’t be so
hard to play with.
They held a convention of old sea-captains, who decided that
Sand Bay or some such place, in the West Indies, would be a likely
spot for whales. They fitted up an old vessel, the last of the real old
whalers, and sailed away.
Luck was with them. They struck a whole school of whales almost
as soon as they had dropped anchor at the point that had been
selected.
 Green hands at whaling, they started off with every whale-boat
they had, and cameras cranking. They tried to harpoon the first
whale they came to, I’m told,—and missed it. But luck was with them
again, decidedly. Missing the big whale, which happened to be a
female, the harpoon passed on and struck a calf on the far side of
her, that the amateur whalemen hadn’t even seen.
Ordinarily, they say, a school of whales will “sound” or dive and
scatter for themselves when one of their number is harpooned, but in
this case it was a calf that was struck, and its mother stuck by it, and
the rest of the school stuck by her, while the movie-whalers herded
them about almost like cattle. They got some wonderful pictures.
Later, they captured a big bull whale, and had an exciting time of
it. More pictures, and a smashed rowboat.
Then they returned to New Bedford and completed the photoplay.
As a “Feature Film” the final picture, “Down to the Sea in Ships” is
nothing to boast about, except for the whales. Without the whaling
incidents, it is a more or less ordinary melodrama, beautifully
photographed, of the whaling days in old New Bedford. But the real
whales make the picture worth going a long way to see.
A Scandinavian film, released in this country by the Fox
organization under the name of “The Blizzard,” does the same thing
as “Down to the Sea in Ships.” Only, it has a reel that shows reindeer
incidents, instead of whales. But it is just as remarkable. You see a
whole gigantic herd of reindeer—hundreds and hundreds of them,
the real thing—follow their leader across frozen hillsides and rivers
and lakes, through sunshine and storm. Finally, in a blizzard, the
men holding the leader that guides the herd get into trouble. One of
them falls through the ice, while the other is dragged by the leader of
the herd over hill and dale, snowbank and precipice until at last the
rope breaks. The herd bolts and is lost.
It’s a wonderful picture. Because of the reindeer incidents. But it
couldn’t have been made in Hollywood. It combines fiction with
fascinating touches of actual fact.
 About the time the reindeer picture was released in this country, a
five-reel film that was made in Switzerland was shown at the big
Capitol Theater in New York. It was made up of scenes of skiing, ski-
jumps, and ski-races, in the Alps. Nothing else. But it furnished many
thrills and real entertainment.
Here we come back again to the crux of the whole matter,
entertainment. A picture has to entertain us, whether we want to be
instructed, or only amused. But between the two kinds of pictures
that I have outlined in this chapter—the movies that merely tell a
story and the pictures that show facts—there is this difference:
Photoplays that are designed to be merely entertaining, to be good,
have to seem real.
But photoplays that actually are real have to be genuinely
entertaining.
Courtesy United Artists Corporation.
A Douglas Fairbanks “Set” Used in “The Three Musketeers.”
Note the wheelbarrow, the peddler’s box, and all the wealth of minute
properties and detail necessary to properly costume and equip the actors
and “dress” this elaborate set. (See next illustration).
Courtesy Goldwyn Pictures Corporation.
How a Movie “Set” is Made.
The scaffolding shows the flimsy construction of the movie buildings. Only
the walls that will appear in the picture are constructed, propped up from
behind by undressed scantlings. Note the reflectors set up to throw
additional light on the scene that is being photographed.
 CHAPTER IV
INSIDE THE STUDIOS

If you have never been inside a motion-picture studio, an

interesting experience lies ahead of you. For what soon becomes an
old story to any one working “on the lot,” is fascinating enough to any
one who sees it for the first time.
At Universal City, California, just across a range of hills outside
Hollywood, lies a motion-picture plant that covers acres and acres.
Administration and executive offices, big “light” and “daylight” stages,
property rooms, costume department, garage, restaurant, power
plant, carpenter shop, laboratory, great menagerie even, are all
grouped along the base of rolling California hills that furnish
countless easy “locations” for stories of the Kansas prairies or
Western ranchos, or even the hills of old New England.
In the heart of New York City, close beside the roaring trains of the
Second Avenue “L” and within hooting distance of the tug-boats on
the Harlem River, stands the old Harlem Casino—for years a well-
known East-side dance-hall. In this building, now converted into a
compact motion picture studio, the first big Cosmopolitan
productions came into existence—“Humoresque,” “The Inside of the
Cup,” and all the rest.
Both the great “lot” at Universal City, under the blazing California
sun, and the old Harlem Casino, with dirty February snow piled
outside under the tracks of the elevated,—each absolutely different
from the other—are typical motion-picture studios.
In each you can find the same blazing white or greenish-blue
lights, with their tangled cables like snakes underfoot, the same kind
of complicated “sets” on various stages, the same nonchalant
camera men chewing gum and cranking unconcernedly away while
the director implores the leading lady with tears in his voice—and
perhaps even a megaphone at his mouth—to: “Now see him! On the
floor at your feet! Stare at him! Now down—kneel down! Now touch
him! Touch him again, as if you were afraid of him! Now quicker—
feel of him! Feel of him! He’s DEAD!”
Suppose we step inside the door of a typical motion-picture studio.
We find ourselves in a little ante-room, separated by a railing from
larger offices beyond. The place seems like a sort of cross between
an employment office and the outer office of some big business
enterprise. At one point there is a little barred cashier’s window like
that at a bank. There is usually an attendant at a desk or window
marked “Information,” with one or two office boys, like “bell-hops” in
a hotel, to run errands.
Coming and going, or waiting on benches along the walls, are a
varied assortment of people: a young woman with a good deal of
rouge on her cheeks and a wonderful coiffure of blonde hair, an old
man with a wrinkled face and long whiskers, a couple of energetic-
looking young advertising men, and a chap with big hoot-owl
spectacles and a flowing tie who wants to get a position as scenario
writer. In the most comfortable chair a fat man, with eyeglasses
astride a thick curved nose, is waiting to see the general manager,
and fretting at being detained so long.
A very pretty girl comes into the office with a big collie dog on a
leash, as a motor purrs away from the door outside. One of the boys
like bell-hops jumps to open the inner door for her, and she sails on
through without even a glance around. She is one of the minor stars,
with a salary of about six hundred dollars a week. The collie is an
actor, too: he is on the pay-roll at $75 a week—and worth every
dollar of it to the pictures.
At one side is the office of the “casting director,” who passes on
the various “types,” hires the “extras,” and decides whether or not
this or that actor or actress is a real “trouper” who can fill the bill. Into
this office the army of “extra people” who make a precarious living
picking up a day’s work here and there around the studios as
“atmosphere” gradually find their way; here the innumerable
applicants for screen honors come to be looked over, and given a try,
or turned away with a shake of the head, and perhaps a single
comment such as “eyes won’t photograph well—too blue”; here the
many experienced actors, temporarily out of work, come to be
greeted by: “Hello, Harry! You’re just the bird I wanted to see! Got a
great little part for you in an English story; older brother—sort of half-
heavy”; or: “Sorry, Mame—not a thing to-day. Try us next week. We’ll
probably begin casting for ‘Wheels of Fate’ about Friday.”
Courtesy Goldwyn Pictures Corporation.
Applying the Mysteries of “Make-Up.”
A veteran actor building a beard, bit by bit, with a
surgeon’s artery-holding apparatus, an orange-stick,
spirit gum, wool-carder, and a fine comb.
Courtesy W. W. Hodkinson Corporation.
A Typical Movie “Interior.”
Notice the carbon arc lights at sides of the picture, used to illumine the set.
The glaring oblong faces of the lights can be noticed in the center lights on
the right. From the glare of these lights actors often get an intensely painful
affliction called “klieg-eyes.”