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63 Q1 2019 / CINEMONTAGE Picture Arts and Sciences, the Louis B. Mayer Library at AFI, the Warner Bros. Archive at USC and the National Archives, home to the records of the National Labor Relations Board. To achieve her goals for this book, Regev had to spend thousands of hours sifting through these materials. The authenticity of this primary research is matched by solid writing that is sophisticated yet readable — if somewhat repetitive. Working in Hollywood is not a casual read. It demands concentration and a willingness to go beyond an industry insider's reaction, "Of course, I know that." Although it may seem obvious that the director was in charge, and had some leeway on the set even under the most rigid studio regimes, Regev explains why this was so, using the business' economic framework. Writers, actors, editors, cinematographers and others were just as likely to be as creative as directors, but their job functions could be compartmentalized and interchanged. Scripts could be written by various writers — sometimes working simultaneously or in succession. Actors were chosen by studio producers and given roles that fit their type or image. Costume designers could work alone to create clothes that fit an actor or period, but they also had to carry the studio's own "look." And editors could be completely isolated, often knowing nothing about a project until they received dailies, and then creating cuts meant to please studio heads. Major directors could be involved in the editing, but run-of- the-mill pictures were meant to be completed speedily and to the specifications of the producer. The director had to have a combination of skills on set: the knowledge of lighting; the capabilities of the camera; the placement of actors, scenery and props; the understanding of the script and a good sense of story; the ability to evoke performances from a variety of actors; and a personal way of promoting overall harmony to keep shooting on time and on budget. Attempts to segment various aspects of directing — such as what happened in early sound films when a dialogue director was brought in for talking scenes, and another director for everything else — were failures. Perhaps not failures in making a good picture, but failures in making films cost-efficient. Paying one person to cover the many facets of directing proved to make the most creative and economic sense. Regev reports that even Darryl F. Zanuck said, "On the set, the director has 90 percent control." CUT / PRINT CONTINUED ON PAGE 70