(charles lang) von sternberg developed a kind of a lighting that was very, very interesting.nd it was different from what other lighting was. and it was important to change things. and at that time german film was really the best, especially, i think, modern in that they were way ahead. so that these germans, lubitsch and von sternberg and marlene dietrich and billy wilder, fritz lang. and naturally i didn't start out working with them. i just was a draftsman; it was a great learning period. quite literally top executives particularly from paramount and universal would regularly go to europe for what were perceived over there as talent raids. to demille, art is international. so tonight we find him looking at a european picture, starring a young hungarian, franciska gaal. stop the picture a minute. get me budapest. c.b., it's 5:30 in the morning in budapest. you can't get that girl out of bed. and why not? operator. get me budapest, miss franciska gaal, g-a-a-l. (thomas schatz) and of course we're not importing movies, we're importing the talent developing in other countries.