 By transcription, Bedwell McCormick takes you behind the scenes in Hollywood. I heard someone ask the other day if motion pictures were taken first and the voice added later. Well, this is the first time it ever occurred to me that there was any doubt in anyone's mind on this point. The pictures are made and the voice is recorded simultaneously. Isn't that the way it's done? In most cases, yes. Although there are some instances, however, for it is necessary to make the picture and then dump in the voice. In the production of Disney cartoons, however, the procedure is reversed. The voice or music is recorded and then the action is drawn to synchronize with the soundtrack or voice recording. An entirely different voice is quite frequently used when an actor or actress is not deemed to have a satisfactory singing voice or cannot play a musical instrument the script calls for. This, however, is done generally for the lesser players. As the more important stars are accomplished vocalists or they just don't attempt a singing role. Technically, however, although the sound and the picture is made simultaneously, the sound actually leads the picture when it goes through the projection machine in the theater. Yes, 20 frames, I believe it is. And for this and numerous other reasons, the cutting of a motion picture must be in the hands of a skilled film cutter, because the slightest error would be magnified a thousand times and the ear of the audience would instantly reject the sound that did not synchronize with the lip movement on the screen and a musician would be quick to notice any error in cutting that might duplicate or leave out a note or what is worse, a portion of what. Guam Salvaged Island, latest of RKO Radio's This Is America series, brings to the screen the rehabilitation of starving and homeless Guamanians by the Marine Corps civil affairs teams of the naval military government. Produced by Frederick Ohlman Jr. from On the Spot Marine Corps Films. Arthur Willey, RKO Radio eastern talent scout has returned from Chicago where he was engaged in looking over a new screen possibilities as well as candidates for the forthcoming production of The Robe. Following a recent preview of those endearing young charms, the RKO Radio studio had no less than 18 requests from fan magazines for art and interviews on Bill Williams, who scores sensationally in the second male lead. Margarita Carmen Cancino, better known as Rita Hayworth, has made Mama and Papa Cancino very happy. The young lady has won her spurs as the phrase goes in both fields of endeavor her parents plotted out for her. Mama Cancino wanted her little girl to grow up to be an actress and do proud by some of her Shakespearean actor forebears, one of whom trooped with the great Edwin Booth. Papa Cancino wanted his little brown-eyed mucacha to grow up to be a dancer, a vocation at which the Cancinos, including Papa himself, have been celebrated for generations. Rita has managed to satisfy the wishes of both her parents. She is a half-Latin from Manhattan, having been born there October 17, 1918. Her father was born in Seville, Spain, and her mother in Washington, D.C. Rita has two brothers, Eduardo Jr. and Vernon, both of whom are in the Army. Rita started dancing with her father at the age of four and made her professional debut with him at six. But along about when Rita was fourteen, she joined the Cancino Dancing Act in earnest, and two years later she was dancing with her father in film theater stage presentations. This led to a four-week engagement for father and daughter at the Swank Alba Caliente Casino. Four weeks stretch out to slightly more than two years, in the course of which Rita became the toast of all tourists who ventured over the line from San Diego, and during which she commuted to Hollywood briefly to do a dancing turn in the picture, Dante's Inferno. Her real screen debut was with Warner Baxter in Under the Pompous Moon, and her first part of Consequence was with Warner Oland in Charlie Chan in Egypt. Not long afterward, she changed her studio affiliation to Columbia and decided to shuck her dancing with her Spanish name as supposedly detrimental to her career. So she gave away her dancing costumes and adopted her mother's family name to become Rita Hayworth Actress. And now a word from your local announcer. By transcription, Bidwell McCormick takes you behind the scenes in Hollywood. There is at least one girl in Hollywood who is in the ranks of the major players today because she turned down an increase in salary. Well, how come? I thought all Hollywood players were after the big money. Well, eventually, yes. But there is a little matter of knowing how to get it. Ellen Drew is the girl I'm thinking of. Well, she co-starred, I remember, some time ago with Robert Lowry in Dark Mountain. Yes, but the pay increase she waived was when she was classified by the studio as a bit player. Others who were under contract at the same time were not so wise from a monetary standpoint and have since disappeared from the Hollywood scene. When a new and unknown personality is placed under contract by a studio, the contract provides for gradual pay increases up to four figure amounts per week. Ellen Drew was in training at the studio two years before she got her big break. If she had insisted on pay increases provided by the contract, her salary would have been more than was warranted by the work she was doing. Consequently, the studio would have dropped her. Ellen was wise enough to see that as long as she was in the minor group and waived pay increases and was kept on contract, she would eventually hit the top. It proved that way. And her big break came when she was cast opposite Bing Crosby and Fred McMurray in Sing You Sinners. Since then, she has done strictly all right. Bill Williams' hefty blonde discovery will co-star with Paul Lucas and Susan Hayward in Deadline at Dawn. This follows his featured part with Robert Young and Lorraine Day in those endearing young charms. In Town Criers, radio songsters have been signed for a featured spot in the novelty musical Radio Stars on Parade. Co-starred are the comedy duo Wally Brown and Alan Carney and Frances Langford. Edith Atwater, who scored as Monty Woolley's secretary in the original stage version of The Man Who Came to Dinner, makes her film debut in Body Snatcher. She has the leading feminine characterization. The War Activities Committee has advised that international pictures along came Jones, starring Gary Cooper and Loretta Young, has been ordered for showing overseas in the combat areas. This is Gary Cooper's first independent production venture. Passengers aboard the Mayflower during the famous ship's historic first voyage to America included a pair of sweethearts, John Brimmer and Elizabeth Manchester. A couple of years after the Plymouth Rock episode, John had hewed out a place in the New England wilderness and had acquired enough nerve to ask Elizabeth to marry him. She did. And the pair became the first American ancestors of Richard Dick's screen star. 250 years later, Richard was born in St. Paul, Minnesota. His father wished him to follow medicine, but the prospect didn't appeal to Richard. He quit the university where he was studying to become a surgeon and got a job in a bank. He soon tired of banking and tried his hand at an architect's office, but a future consisting of tracings and blueprints held no more appeal than one made up of scalpels and ledgers. He went to Northwestern Dramatic School evening classes and soon landed a birth in a local stock company. New York beckoned and young Dicks went east, putting another year to stock performances into the experience column before again heading west. In Los Angeles, he joined the now famous Morosco Stock Company as leading man and was an instant success. It was only natural that he should go into pictures after his stage successes. His first picture, Not Guilty, proved he had a good screen personality. He became a star and was headlined in his hit pictures. Later he made a number of successes, including Cimarron, and he is now under contract to Columbia. Dicks leads a quiet existence when not working in studios. He makes it a point to read at least five books a week, with biographic works flying with detective tales as his favorites. He swings a good racket on the tennis court and plays more than a passably good game. A farmer by nature, Dicks owns and maintains a great ranch near Hollywood, the location of which only a few personal friends know and on which he raises turkeys and chickens by the thousands. And there he says he can indulge in his two hobbies, pipe smoking and dog raising. He owns over a thousand pipes and 36 dogs, Scotty's and English setters. He doesn't sell dogs and will give one away only after he is sure that the recipient will provide a good home for it. Physically, Dicks is one of the screen's real he-men. He's six feet tall, weighs 180 pounds and has dark brown hair and eyes. An hour word from your local announcer. By transcription, Bidwell McCormick takes you behind the scenes in Hollywood. Two of Hollywood's favorite movie stars are really female impersonators. I don't tell me that we've been deceived all these years about some gorgeous glamour girls and a couple of my loveliest pin-up pictures will have to come down. Well, hardly as bad as all that. The stars I refer to are canine lovelies, the famous Daisy and Lassie. They were both assigned roles contrary to their sex, earned fame and their screen names have stuck. In spite of the fact that both dogs have recently appeared in male roles, I'll bet they'll continue to be known as Daisy and Lassie. Probably. Daisy has become pretty well known as the Bumstead's dog in the Blondie series, but his real name is Spooks, which was bestowed upon him by dog trainer Renny Renfrow when he was bought as a five-month-old pup in a pet store for $2. Lassie, too, won his name from his first screen role Lassie Come Home. It was given a five-year contract at the MGM Studios. Yes. Lassie, a pedigreed collie, was given the name of Powell by his owner and trainer, Rudd Weatherwax, who acquired him in a settlement of a debt of $10 when the dog was a pup. A new variety of rows of serice red has been named after Dinah Shore, co-star of Bell of the Yukon, technical or musical production by International Pictures for RKO Radio Release. The blooms were developed by Nicholas Grillo, flora-culturist of Milldale, Connecticut. William Getz has purchased screen whites to Weidemar Bosner's murder mystery, The Dark Mirror, which Nunnally Johnson will produce and rewrite for the screen as his next international pictures production. It's the story of a psychologist falling in love with a girl while trying to prove her sister guilty of murder. Edna Mae Wonecott, 13-year-old grocer's daughter discovered by Alfred Hitchcock, has been assigned by producer-director Leo McCarrie for an important role in The Bells of St. Mary's, which RKO Radio will release. Frankie Carl and his orchestra have been signed to a long-term RKO radio contract, thus ensuring the appearance of the pianist and his new musical group in forthcoming film musicals from this studio. Carl's recording of his own composition, Sunrise Serenade, is a current platter hit. Just to keep the public records clear, Janet Blair wants it distinctly understood that she's no Hollywood glamour girl. She started out in life as just plain Martha Janet Lafferty of Altuna, Pennsylvania, and Columbia Studios has done well by her to date by casting her mainling in the role that she likes best for herself, a typical American girl with a gay and gaelic personality. Back in Altuna, they'll tell you that Janet inherited her twinkling Irish eyes and perpetually elfin appearance from Florence and Fred B. Lafferty, a prosperous Celtic commission merchant. Miss Blair, she adopted her professional name after the Pennsylvania county in which she was born, has also inherited a disposition that seems utterly immune to spoiling and an ingeniousness that captivates all. Altuna acclaimed her as the town's most talented child. It was about this time that Miss Blair thought she'd like to become a ballet dancer. Just as she was getting somewhere in the Pavlova department, the quality of her voice became too obvious to overlook, and so she switched to a vocal career. It was while she was auditioning for radio in New York that Hal Kemp heard her. He signed her to sing with his nationally famous band. She became an instantaneous hit with Kemp's band. Then there was arranged a screen test for her. She made it at Columbia. Stardom reached Janet Blair in My Sister Eileen. She had been given the obviously stellar role of Eileen to play in a cast which also boasted Rosalind Russell and Brian Eharen. But Miss Russell's studio contract read to the effect that in all her pictures, she was to be the only feminine player starred. Miss Russell waved that clause in her contract on the ground that in as much as the role of Eileen was the name one. There was no reason why the name Janet Blair shouldn't be in letters and lights just as large as that of Rosalind Russell. Miss Blair had arrived. Because at home in Altoona she lived in a house which gave the impression of spaciousness, Miss Blair duplicated it in Hollywood. It's a large house for her five feet four inches of feminine loveliness, but she says she needs it for her gaily spirit of freedom. Miss Blair's favorite flower is the gladiolus. But in case of a gladiolus story, she'll gladly settle for orchids, gardenias, or johnquals. She weighs about 110 and wears a size five glove and a five and a half shoe, and incredible as it may seem in these days of specialized foundations, she wears no girdle. As for romance, it's just on the public record that having issued a statement to the Hollywood boys when she first came to the film capital that she just wasn't interested. The reason became apparent in July 1943 when she married Louis Bush, former pianist in Kemp's band. Now a word from your local announcer.