:27:02
and we had to wear heavy make-up.
:27:05
You have a Technicolor adviser.
:27:07
You have the technicolour Natalie
Kalmus, who came with the package.
:27:12
She was advising on colour,
lighting, on fabrics, on sets,
:27:19
and she was generally regarded
as a bit of a pain.
:27:22
Natalie Kalmus was
the head of the company,
:27:26
and was always...
Every day, she was on the set.
:27:30
The directors of photography
were W Howard Greene of Technicolor,
:27:34
and Oscar winner Hal Mohr, familiar with
the Phantom stage since the silent days.
:27:40
Working with Hal Mohr was an experience
:27:42
because he was with you
when he was behind the camera.
:27:47
He was one of the great... Maybe
the greatest cameraman at that time.
:27:53
The incredibly mobile Broadway crane,
which Mohr had codeveloped,
:27:57
provided remarkable views
of the auditorium.
:28:00
The colour was so beautiful,
the actors were good,
:28:04
and the wonderful camera work,
:28:07
and the Golitzen designs, a great painter.
:28:11
Art director Alexander Golitzen re-dressed
the opera house for Technicolor.
:28:16
Wartime restrictions
on studio construction
:28:19
required ingenious use of existing sets.
:28:23
1925 movie audiences had relied
on their local theatre's music director
:28:28
to supply the sounds of silence.
:28:30
1943 audiences were treated
to a musical score
:28:33
composed and adapted by Edward Ward.
:28:37
And the music's important.
:28:39
It was important in his book.
The music's very important.
:28:44
Eddy was such a simple man.
He was an alcoholic.
:28:48
He had a bag of music, a bag of melodies,
:28:51
that he carried with him,
something for every occasion.
:28:54
Eddy's hands would shake when he'd
conduct but, by God, the music was there.
:28:59
Because of World War Il,
it was very difficult to get