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diff --git a/77829-h/77829-h.htm b/77829-h/77829-h.htm new file mode 100644 index 0000000..35d3c11 --- /dev/null +++ b/77829-h/77829-h.htm @@ -0,0 +1,3907 @@ +<!DOCTYPE html> +<html lang="en"> +<head> + <meta charset="UTF-8"> + <meta name="viewport" content="width=device-width, initial-scale=1"> + <title> + Screen Acting | Project Gutenberg + </title> + <link rel="icon" href="images/cover.jpg" type="image/x-cover"> + <style> + +body { + margin-left: 10%; + margin-right: 10%; +} + +h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; +} + +p { + margin-top: .51em; + text-align: justify; + margin-bottom: .49em; +} + +hr { + width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: 33.5%; + margin-right: 33.5%; + clear: both; +} + +hr.tb {width: 45%; margin-left: 27.5%; margin-right: 27.5%;} +hr.chap {width: 65%; margin-left: 17.5%; margin-right: 17.5%;} +@media print { hr.chap {display: none; visibility: hidden;} } + +div.chapter {page-break-before: always;} +h2.nobreak {page-break-before: avoid;} + +table { + margin-left: auto; + margin-right: auto; +} +table.autotable { border-collapse: collapse; } +table.autotable td, +table.autotable th { padding: 0.25em; } + +.tdl {text-align: left;} +.tdr {text-align: right;} + +.pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: small; + text-align: right; + font-style: normal; + font-weight: normal; + font-variant: normal; + text-indent: 0; +} /* page numbers */ + +blockquote { + margin-top: 0; + margin-bottom: 0; + margin-left: 5%; + margin-right: 10%; +} + +.center {text-align: center;} + +.right {text-align: right;} + +.smcap {font-variant: small-caps;} + +figcaption {font-weight: normal;} +figcaption p {margin-top: 0; margin-bottom: .2em; text-align: inherit; page-break-before: avoid; +} + +/* Images */ + +img { + max-width: 100%; + height: auto; +} +img.w100 {width: 100%;} + +.figcenter { + margin: auto; + text-align: center; + page-break-inside: avoid; + page-break-after: always; + max-width: 90%; +} + +/* Poetry */ +/* uncomment the next line for centered poetry */ +.poetry-container {display: flex; justify-content: center;} +/* .poetry-container {text-align: center;} */ +.poetry {text-align: left; margin-left: 5%; margin-right: 5%;} +.poetry .stanza {margin: 1em auto;} +.poetry .verse {text-indent: -3em; padding-left: 3em;} + +/* Poetry indents */ +.poetry .indent0 {text-indent: -3.0em;} +.poetry .indent2 {text-indent: -2.0em;} +.poetry .indent4 {text-indent: -1.0em;} + +/* TOC */ +.toc-container { + display: flex; + justify-content: center; +} + +/* faux-h2 for front matter */ +.front { + font-size: x-large; + font-weight: bold; + text-align: center; + page-break-before: avoid; +} + +/* misc text formatting */ +.small {font-size: small;} +.large {font-size: large;} + +/* indents */ +.rindent {text-align: right; margin-right: 5%;} + +/* Illustration classes */ +.illowp65 {width: 65%; max-width: 32em;} +.illowp100 {width: 100%; max-width: 50em;} + +/* Transcriber's notes (includes pagebreak before) */ +.transnote {background-color: #E6E6FA; + color: black; + font-size:small; + padding:0.5em; + margin-bottom:5em; + font-family:sans-serif, serif; + page-break-before: always; +} + </style> +</head> +<body> +<div style='text-align:center'>*** START OF THE PROJECT GUTENBERG EBOOK 77829 ***</div> + +<p class="front"> + SCREEN ACTING +</p> + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> +<p class="center"><span class="smcap">Copyright, 1921</span><br> +PHOTO-STAR PUBLISHING CO.<br> +<span class="smcap">Los Angeles, California</span></p> +</div> + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> +<span class="pagenum" id="Frontispiece"></span> +<figure class="figcenter illowp65"> + <img class="w100" src="images/frontispiece.jpg" alt="The Author and Daughter Mary"> + <figcaption> + <p><i>The Author and Daughter Mary</i></p> + </figcaption> +</figure> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<h1>SCREEN ACTING</h1> + +<p class="center">BY</p> + +<p class="front">MAE MARSH</p> + +<p class="center small">OF<br> +“THE BIRTH OF A NATION,” “INTOLERANCE,” “POLLY OF THE<br> +CIRCUS,” “THE CINDERELLA MAN,” ETC.</p> +<br><br> +<p class="center">ILLUSTRATED</p> +<br><br> +<p class="center">LOS ANGELES, CALIFORNIA<br> +<span class="large">PHOTO-STAR PUBLISHING CO.</span><br> +CHAMBER OF COMMERCE BUILDING</p> + +<p class="center"><i>All Rights Reserved</i></p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_ix">[Pg ix]</span></p> + + + <h2 class="nobreak" id="FOREWORD"> + FOREWORD + </h2> +</div> + + +<p>In her travels and through her amazing—to +put it mildly—correspondence, the motion +picture star finds that there is everywhere +a great curiosity about screen acting.</p> + +<p>What does it require? What, if any, are its +mysteries? What system of detail is there +that permits fifty-two hundred feet of celluloid +ribbon to spin smoothly past the eye to make +an interesting story?</p> + +<p>I look upon this book as an answer to the +thousands of letters I have received in the past +several years asking as many thousands of +questions. A motion picture star’s most intimate +audience, after all, is her correspondence.</p> + +<p>There comes to her sometimes the vague realization +that in a dozen different countries +little children, their sisters, their brothers and +their parents may be, at one moment, viewing +her image upon the screen in a dozen different +plays. It is all too stupendous; too impersonal. +But though she cannot be a breathing part of +these audiences she learns often what is in the +hearts of many. This message comes through +the mails; that is her broad point of contact +with her international public.</p> + +<p><span class="pagenum" id="Page_x">[Pg x]</span></p> + +<p>Five years ago these letters were largely to +request photographs and the star could tell +something of her popularity by the number of +pictures mailed out. But, as the screen has +grown in importance and merit, the star’s correspondence +has indicated a lively curiosity in +the art of camera-acting. So much ambition; +so many questions!</p> + +<p>I have often thought that to make a satisfactory +reply to the thousands of questions I +have been asked would be to write a book, and—well, +I wrote it. I have tried to outline the +important steps in the building of a screen +career. In doing this I have evaded technical +phraseology. It is not indispensable to a +knowledge of screen technic and might tend to +confuse.</p> + +<p>I believe that anyone desiring a career in +motion pictures can profit by that which I have +written out of my experience; that others can +learn from it something of the work-a-day life +of the screen actress.</p> + +<p>In conclusion I would take this opportunity +to thank the tremendous number of children +and grown-ups who have at one time or another +written me. They serve always to remind +me that those of us upon the screen have +an influence and responsibility that go beyond +a mere make-believe.</p> + +<p class="rindent"> + <span class="smcap">Mae Marsh.</span> +</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_xi">[Pg xi]</span></p> +<h2 class="nobreak" id="Contents">Contents</h2> +</div> + +<div class="toc-container"> +<table class="autotable"> +<tr> + <td class="tdl">Chapter</td> + <td class="tdr">Page</td> +</tr> +<tr> + <td class="tdl"><a href="#CHAPTER_I"> + I. The Universal Impulse</a></td> + <td class="tdr">15</td> +</tr> +<tr> + <td class="tdl"><a href="#CHAPTER_II"> + II. Stars and Meteors</a></td> + <td class="tdr">23</td> +</tr> +<tr> + <td class="tdl"><a href="#CHAPTER_III"> + III. Seven Qualities</a></td> + <td class="tdr">33</td> +</tr> +<tr> + <td class="tdl"><a href="#CHAPTER_IV"> + IV. Beauty and Expression</a></td> + <td class="tdr">43</td> +</tr> +<tr> + <td class="tdl"><a href="#CHAPTER_V"> + V. Story, Make-up, Costuming</a></td> + <td class="tdr">51</td> +</tr> +<tr> + <td class="tdl"><a href="#CHAPTER_VI"> + VI. Noses, Chins and Eyes</a></td> + <td class="tdr">61</td> +</tr> +<tr> + <td class="tdl"><a href="#CHAPTER_VII"> + VII. Camera-Consciousness and Such</a></td> + <td class="tdr">73</td> +</tr> +<tr> + <td class="tdl"><a href="#CHAPTER_VIII"> + VIII. Emphasis and Repression</a></td> + <td class="tdr">81</td> +</tr> +<tr> + <td class="tdl"><a href="#CHAPTER_IX"> + IX. Long Shots, Intermediates and Close-ups</a></td> + <td class="tdr">91</td> +</tr> +<tr> + <td class="tdl"><a href="#CHAPTER_X"> + X. About Atmosphere</a></td> + <td class="tdr">101</td> +</tr> +<tr> + <td class="tdl"><a href="#CHAPTER_XI"> + XI. Mr. Griffith</a></td> + <td class="tdr">109</td> +</tr> +<tr> + <td class="tdl"><a href="#CHAPTER_XII"> + XII. Home Life of the Star</a></td> + <td class="tdr">121</td> +</tr> +</table> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> +<p><span class="pagenum" id="Page_xiii">[Pg xiii]</span></p> +<h2 class="nobreak" id="Illustrations">Illustrations</h2> +</div> + +<div class="toc-container"> +<table class="autotable"> +<tr> + <td class="tdl"></td> + <td class="tdr">Page</td> +</tr> +<tr> + <td class="tdl"><a href="#Frontispiece"> + The Author and Mary</a></td> + <td class="tdr">Frontispiece</td> +</tr> +<tr> + <td class="tdl"><a href="#Page_27"> + Lillian Gish and the late Robert Harron</a></td> + <td class="tdr">27</td> +</tr> +<tr> + <td class="tdl"><a href="#Page_37"> + Charles Ray</a></td> + <td class="tdr">37</td> +</tr> +<tr> + <td class="tdl"><a href="#Page_47"> + Mary Miles Minter</a></td> + <td class="tdr">47</td> +</tr> +<tr> + <td class="tdl"><a href="#Page_55"> + Mary Pickford</a></td> + <td class="tdr">55</td> +</tr> +<tr> + <td class="tdl"><a href="#Page_65"> + Madame Nazimova</a></td> + <td class="tdr">65</td> +</tr> +<tr> + <td class="tdl"><a href="#Page_77"> + Blanche Sweet and Wallace Reid</a></td> + <td class="tdr">77</td> +</tr> +<tr> + <td class="tdl"><a href="#Page_85"> + Norma Talmadge</a></td> + <td class="tdr">85</td> +</tr> +<tr> + <td class="tdl"><a href="#Page_95"> + The Author and Some Beginners</a></td> + <td class="tdr">95</td> +</tr> +<tr> + <td class="tdl"><a href="#Page_105"> + Gloria Swanson and Thomas Meighan</a></td> + <td class="tdr">105</td> +</tr> +<tr> + <td class="tdl"><a href="#Page_113"> + Mr. Griffith</a></td> + <td class="tdr">113</td> +</tr> +<tr> + <td class="tdl"><a href="#Page_125"> + The Author at Home</a></td> + <td class="tdr">125</td> +</tr> +</table> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_xiv">[Pg xiv]</span></p> + + + <h2 class="nobreak" id="MAE_MARSH_MOTION_PICTURE_ACTRESS"> + MAE MARSH, MOTION PICTURE ACTRESS + </h2> +</div> + + +<p class="center"><i>I</i></p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0"><i>The arts are old, old as the stones</i></div> + <div class="verse indent2"><i>From which man carved the sphinx austere.</i></div> + <div class="verse indent2"><i>Deep are the days the old arts bring:</i></div> + <div class="verse indent4"><i>Ten thousand years of yesteryear.</i></div> + </div> + </div> +</div> + + +<p class="center"><i>II</i></p> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse indent0"><i>She is madonna in an art</i></div> + <div class="verse indent2"><i>As wild and young as her sweet eyes:</i></div> + <div class="verse indent2"><i>A frail dew flower from this hot lamp</i></div> + <div class="verse indent4"><i>That is today’s divine surprise.</i></div> + </div> + <div class="stanza"> + <div class="verse indent2"><i>Despite raw lights and gloating mobs</i></div> + <div class="verse indent4"><i>She is not seared: a picture still:</i></div> + <div class="verse indent2"><i>Rare silk the fine director’s hand</i></div> + <div class="verse indent4"><i>May weave for magic if he will.</i></div> + </div> + <div class="stanza"> + <div class="verse indent2"><i>When ancient films have crumbled like</i></div> + <div class="verse indent4"><i>Papyrus rolls of Egypt’s day,</i></div> + <div class="verse indent2"><i>Let the dust speak: “Her pride was high,</i></div> + <div class="verse indent4"><i>All but the artist hid away:</i></div> + </div> + <div class="stanza"> + <div class="verse indent2"><i>“Kin to the myriad artist clan</i></div> + <div class="verse indent4"><i>Since time began, whose work is dear.”</i></div> + <div class="verse indent2"><i>The deep new ages come with her,</i></div> + <div class="verse indent4"><i>Tomorrow’s years of yesteryear.</i></div> + </div> + <div class="stanza"> + <div class="verse right">—<i>Nicholas Vachel Lindsay.</i></div> + </div> + </div> +</div> + +<div class="poetry-container"> + <div class="poetry"> + <div class="stanza"> + <div class="verse right"><i>From “THE CHINESE NIGHTINGALE</i></div> + <div class="verse right"><i>and other Poems” by Vachel Lindsay.</i></div> + <div class="verse right"><i>Published by The MacMillan Company.</i></div> + </div> + </div> +</div> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_15">[Pg 15]</span></p> + + + <h2 class="nobreak" id="CHAPTER_I"> + CHAPTER I + </h2> +</div> + +<p class="center"> +<i>The dilemma of a casting director—A flood of letters</i><br> +<i>and their four objectives—What every-</i><br> +<i>one wants to know.</i> +</p> + + +<p>When Mr. Adolph Klauber, former dramatic +critic of the New York Times, was casting +director for a big picture corporation I +chanced to meet him one day in the Fort Lee +Studios.</p> + +<p>“Read this,” he said, tendering me a letter.</p> + +<p>It was from a young girl in Columbus, Ohio, +as I remember, who wanted to know how she +could get into motion pictures. It was not so +much the letter as a small snap-shot photograph +of herself which she had pinned to her +missive that took my attention.</p> + +<p>The picture showed a girl in a sitting position, +who was plump to the verge of fatness. +She had thick legs and ankles, straight hair, +probably brown, and dark eyes. So far as a +front view divulged her features were fairly +regular. It was not in any way a remarkable +picture. Nor did it promise any particular +animation in its subject.</p> + +<p><span class="pagenum" id="Page_16">[Pg 16]</span></p> + +<p>She had written to ascertain “what chance +she would have in motion pictures.”</p> + +<p>“What are you going to answer?” I asked +of Mr. Klauber.</p> + +<p>“That’s a poser,” he replied. “I was about +to write her that she didn’t have any chance; +that she probably would be happier if she remained +home; certainly so until she obtained +her parents’ consent for plans of a career. +Looking at the picture I should say she had +one chance in a million.”</p> + +<p>“That is probably true,” I said.</p> + +<p>“But do you know,” continued Mr. Klauber, +“that the more I think of it the less I believe +that I am endowed with authority to tell anyone +that he or she has no chance in motion +pictures. How can I know? We see about +us every day celebrated stars who, perhaps, +began their career with apparently no more +chance than this little Columbus girl.”</p> + +<p>Mr. Klauber paused.</p> + +<p>“For that reason I have not sent the discouraging +letter which it was on the tip of my +pen to write,” he continued. “Instead I am +going to send her a letter telling her that her +chance of screen success is altogether problematical; +that everything depends upon circumstance, +hard work and the native talent that +is developed before the camera.”</p> + +<p>“I should like to see a copy of that letter,” +I said.</p> + +<p><span class="pagenum" id="Page_17">[Pg 17]</span></p> + +<p>I never happened to see Mr. Klauber’s reply +to the girl in Columbus. But I am sure it was +interesting.</p> + +<p>In the past eight years I have received hundreds +of thousands of letters from motion picture +fans in every part of the world. In answer +now to a question I have often heard +asked, “Does a motion picture star immediately +read all her mail?” I can say for myself, +“Bless you, no.”</p> + +<p>A single mail has brought as many as a thousand +letters and I shall leave it to the reader +to determine how one could possibly read one +thousand letters and arrive at the studio at +8:30 o’clock. Personally, my secretaries are +instructed to attend to such fan letters as request +a reply—which practically all of them do—and +then preserve the letters that I may read +them in leisure moments.</p> + +<p>In that way I have managed I think to peruse +at one time or another the majority of the +letters that come to me. I find the reading of +them a great pleasure.</p> + +<p>It is nice to receive pleasant compliments on +one’s hard and honest effort to do something +worth while. I have on many occasions found +helpful criticism in my mail. Almost anyone +can dismiss a picture with a “I liked it” or “I +didn’t like it.” There is the exceptional one +in a thousand who will tell you he didn’t like +it and why, placing his finger upon a real defect. +Often that is a help.</p> + +<p><span class="pagenum" id="Page_18">[Pg 18]</span></p> + +<p>To get back to my point: The letters I receive +seem to be written with one, and sometimes +all of the following objectives—</p> + +<p>1. To request a photograph.</p> + +<p>2. To request an autographed photograph.</p> + +<p>3. To ask for “old clothes.”</p> + +<p>4. To find out how “I can learn to act for +motion pictures.”</p> + +<p>As for Numbers 1 and 2, the many of you +who are making a “collection” know that a picture, +autographed if requested, is sent you in +due time. Up to very recently the star has +considered it a matter of good advertising to +remember those friends who are kind enough +to ask for photographs. But the demand for +pictures has become so tremendous that some +of the stars are now making a flat charge of +twenty-five cents for their photographs. This +barely covers the cost of production and postage.</p> + +<p>It was Miss Billie Burke, I believe, who was +first to establish a cost charge on her photographs. +She did this during the war and +donated the receipts to charity.</p> + +<p>The most of us have feared to risk offending +those picture fans who have been at the pains +of writing us by asking them for a photographic +fee. We have spent from $10,000 to +$25,000 a year out of our own pockets—unless +by our contracts our producers agreed to bear +this expense—and have trusted that it was +money well expended. In the amount of pleasure +<span class="pagenum" id="Page_19">[Pg 19]</span>brought to the little ones I, for one, am +sure it has been.</p> + +<p>But, as the demand for pictures grows +greater and letters pour in from all parts of +the world, the cost of materials has been steadily +climbing. In 1915 I could send out three +photographs for what it now costs to send one. +That means something when thousands of +photo-mailers each month are being sent to a +dozen different countries.</p> + +<p>Recently a well known star, a particular +friend of mine, declared that it was but a matter +of months before all the more popular stars +would institute a photographic fee.</p> + +<p>As to Number 3, regarding old clothes, I am +sure that while the requests emanate from +worthy sources no star could possibly satisfy +these many supplications.</p> + +<p>To begin with if the story calls for clothes +that are actually old—old enough to be considered +“costumes”—they are usually supplied by +the producer and belong to him after production. +In the case of modern clothes—meaning +new ones—most stars are very pleased to wear +them themselves when they have finished before +the camera.</p> + +<p>Such is mine own case. Whenever there is +any danger of my reaching a point of clothes +saturation I have several growing sisters who, +so far, have been able to handle the situation. +After that our clothes go through certain pre-arranged +channels of charity.</p> + +<p><span class="pagenum" id="Page_20">[Pg 20]</span></p> + +<p>I make this point in the hope that many +young ladies who have written me for my “old +clothes” will understand that I have few or +none, as much as I should like to accommodate +each one of them.</p> + +<p>Which brings me to Number 4.</p> + +<p>“How can I learn to act for motion pictures?” +Six years ago in “The Birth of a +Nation” days my mail brought me many such +inquiries. Since then, with the motion picture +steadily gaining in favor, I have been +swamped with this universal request.</p> + +<p>“Do brown eyes photograph better than +blue?” “Is it necessary to have stage training +to act before a camera?” “Can a girl with a +big nose succeed in the movies?” “What is +the accepted height for a motion picture star?” +“Are the morals of motion pictures safe for +the average girl?” “If I came to Hollywood +and got work as an extra how long would it +be before I am featured?” “Do you know any +director who will star a small girl, of blond +type, who has played parts in high school comedies?” +“Are the star salaries we hear of the +real thing?” “Does Charlie Chaplin make +$1,000,000 a year?”</p> + +<p>I have picked at random these few questions. +I think I could go on and on, farther than Mr. +Tennyson’s charming brook, with others of the +same kind. Sometimes I am given to the +thought that every young girl in the United +States wants to go into motion pictures.</p> + +<p><span class="pagenum" id="Page_21">[Pg 21]</span></p> + +<p>Possibly I am right. You know as well as I. +Receiving so many of these letters I have begun +to feel as Mr. Klauber felt. I don’t know +exactly what to say.</p> + +<p>But since there are undoubtedly many thousands +of boys and girls not only in the United +States but in foreign countries—the Japanese +boy, for instance, is particularly keen on knowing +the how of motion picture acting—who +would like to get into motion pictures, I feel +that such information as I have acquired +through a wide experience will interest many +and perhaps prove of value to those others +who are destined to be our cinema stars of +tomorrow.</p> + +<p>As for my qualifications I was about to say +that I am one of the motion picture pioneers. +Yet when I say pioneer I think of Daniel +Boone. And Mr. Boone, had he lived, would +have been an old, old man.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum"><a id="Page_22"></a><a id="Page_23"></a>[Pg 23]</span></p> + + + <h2 class="nobreak" id="CHAPTER_II"> + CHAPTER II + </h2> +</div> + +<p class="center"> +<i>The myth of the “overnight” star—An instance of</i><br> +<i>success after long sustained effort—</i><br> +<i>What the beginner faces.</i> +</p> + + +<p>To become an artistic success one must assuredly +be in love with the art he has elected +to follow. In business or finance a so-called +lucky stroke may make of a man or a woman +a success without there being those qualities +of esteem and enthusiasm for the thing itself +that are so essential to artistic endeavor.</p> + +<p>Such lucky strokes are rare in pictures. Appearances +to the contrary, notwithstanding, +motion picture stars are not made over-night. +Every now and then some actor or actress begins +to assert his or her right to cinema stardom. +But if one will take the trouble to examine +the records in such cases he will usually +find that the privilege of stardom has come +only after a slow climb.</p> + +<p>There have been cases where producers have +tried to “manufacture” stars. But, in the +main, it hasn’t worked.</p> + +<p><span class="pagenum" id="Page_24">[Pg 24]</span></p> + +<p>To recall one example: One of the shrewdest +of our producers not long ago signed a +young, beautiful and talented vaudeville actress +to a long time motion picture contract. +Screen tests proved that she photographed +beautifully. She had the grace of carriage to +be expected of the professional dancer. Her +face was expressive. That a capable director +would find in her all the qualities necessary +for stardom the producer never doubted.</p> + +<p>Thousands of dollars were spent in an ocean +of advertising ink announcing the debut of this +star. Her name was flashed from one end of +the country to the other, indeed, around the +world, in electric lights and on bill boards. +Her photograph was published in the metropolitan +dailies and small town papers. So far +as the campaign was concerned it was an unqualified +success. By the time the little star’s +first picture was ready for release there had +been built up about her a tremendous curiosity.</p> + +<p>I own I was as curious as the next. I think +the majority of us, who had attained stardom +only after years of rigorous training, self +denial and hard work, were interested, even +anxious, to know if motion picture stars could +be developed after the formula of this producer. +It meant something to us.</p> + +<p>If the magnitude of the motion picture actress +was to be in proportion to the size of an +introductory advertising campaign then our +own position was none too secure.</p> + +<p><span class="pagenum" id="Page_25">[Pg 25]</span></p> + +<p>As a star this little actress failed. Thanks +to some natural talent her failure was not so +disastrous as it might have been. But as a +star, she was soon withdrawn. The fortune +spent in exploiting her was gone, but not forgotten. +As a proof of the impossibility of +“manufacturing” stars under the most favorable +of circumstances it probably served a purpose.</p> + +<p>Why did she fail? Why would a baby, who +had never walked, fail if she were told to run +a foot race? She simply didn’t know how.</p> + +<p>All the little important things that one can +learn by nothing save experience, things which +mean everything to successful screen acting, +were missing in her work. She was like one +trying to paint without knowing color, to compose +without a knowledge of counter-point, to +write without having learned grammar school +English. Contrary to a tradition which exists +in some localities the best swimmers are not +developed by throwing the child into the water +and telling him to sink or float.</p> + +<p>There is another interesting point in the case +which I have cited. When the plans to make +this young lady an over-night star failed she +became a featured player in a group. Surrounded +by experienced, capable screen actors +and relieved of the responsibility that stardom +entails she has developed splendidly and is, in +point of fact, a better actress today than she +was when she was advertised as a star.</p> + +<p><span class="pagenum" id="Page_26">[Pg 26]</span></p> + +<p>It has been simply a matter of training. If +sometime in the future she is again starred she +will be prepared to make a better job of it.</p> + +<p>I have brought up this case because it has +been my observation that there exists a feeling +that in motion pictures anybody can be a star +anytime. There is talk of influence, managerial +favoritism, luck and, goodness knows, +what not? There may be truth to some of +these assertions.</p> + +<p>But the year in and year out stars—Mary +Pickford, Dorothy and Lillian Gish, William +Hart, Mme. Nazimova, Douglas Fairbanks, +Charles Ray, etc.—are those who stand solidly +on the ground of genuine merit.</p> + +<p>And the solidity of their stance is usually +determined by the amount of their natural talent, +plus the excellence and length of their +training.</p> + +<p>I believe many people have the habit of falling +in love with an idea. The idea of becoming +a motion picture star is appealing. But +like many other general conceptions the idea +of the star’s life—as gathered from a smoothly +displayed picture drama or a magazine article +portraying the artist’s home, her automobile +and her pets—is misleading.</p> + +<p>Robert Louis Stevenson wept in despair over +the composition of many of his stories. A +great many of us have had occasion to weep +over our own more modest efforts. We have +found, indeed, that the most beautiful roses +are very often those with the cruelest thorns.</p> + +<p><span class="pagenum" id="Page_27">[Pg 27]</span></p> +<figure class="figcenter illowp65"> + <img class="w100" src="images/p027.jpg" alt="Lillian Gish and the late Robert Harron"> + <figcaption> + <p><i>Lillian Gish and the late Robert Harron in a love scene +from “The Greatest Question.”</i></p> + </figcaption> +</figure> + + +<p><span class="pagenum" id="Page_29">[Pg 29]</span></p> + +<p>It has been proved that motion picture stars +cannot be made over-night. It is equally true +that many promising actresses do not become +stars—in the accepted professional sense of the +word—even after long years of work.</p> + +<p>I suppose if I said that nobody can succeed +in motion pictures and that the star is the exception +to the rule I should be accused of being +a pessimist. Yet that is more nearly the truth +than may appear on the surface.</p> + +<p>Consider, for instance, the thousands of actors +and actresses who have appeared before a +camera in the past decade. After you have +done that count the number of genuine stars +now before the public. You can name the majority +of them on the fingers and thumbs of +four hands.</p> + +<p>Yet in the heart of each of the thousands, +who have stepped before the batteries of motion +picture cameras, there was undoubtedly +the hope that natural ability, circumstance or +hard work would bring success.</p> + +<p>It is well to take this into consideration when +one looks toward the screen for a career.</p> + +<p>But sometimes this law of average is defeated +by that exceptional person whose faith +is undiminished, whose confidence in one’s self +is boundless and whose capacity for work +never flags.</p> + +<p>Let me cite you the case of one of the best +known young actresses on the screen who, as +<span class="pagenum" id="Page_30">[Pg 30]</span>this is written, has never enjoyed the full privileges +of stardom though she has shared most +of its disadvantages.</p> + +<p>She began her screen career more than a +half dozen years ago. She was frail, and slow +to absorb the lessons of the screen. Even her +dearest friends never imputed to her a great +natural acting talent.</p> + +<p>But this young lady was dauntless. She +kept everlastingly at it. By systematically exercising +she gradually built up strength and +endurance. When she was given a part she +read everything she had access to which would +help her in the development of her character +portrayal.</p> + +<p>She over-came any tendency toward self-consciousness +while before the camera. She +became adept in the matter of thinking up business. +The fact that she did not attain stardom, +in its generally accepted sense, never deterred +her. Year after year she gave to the +screen and to her parts the best that was in +her.</p> + +<p>Her courageousness has been rewarded. It +is my opinion that in the past two years she +has contributed to the photographic drama two +of its most distinguished characterizations. +She is a motion picture star in the true sense +of the word. Her name is Lillian Gish.</p> + +<p>If I seem to be gazing on the darker side of +a screen career I assure you that it is not because +such is my habit. Quite the contrary. +<span class="pagenum" id="Page_31">[Pg 31]</span>But it appears to me that since there seems to +be such a universal impulse to gain fame +through the medium of the moving picture +drama that it is as well to consider some of its +difficulties.</p> + +<p>Trained actors and actresses from the +spoken stage to their sorrow have found these +difficulties. The established star finds sometimes +that success has seemed merely to double +her troubles.</p> + +<p>The beginner will discover, therefore, that +when he or she sets his or her face toward a +screen career there will come moments when +it will seem much easier to give up than go on. +Those who give up will be those who should +never have started. They will have wasted +time that could have been otherwise more +profitably spent.</p> + +<p>Those who go on—well, there is always hope +for such.</p> + +<hr class="tb"> + +<p>I am always interested in and can sympathize +with the young girl who yearns for a +career. It seems but yesterday that I was in +short skirts and Miss Marjorie Rambeau was +the most talented and beautiful actress that +was ever permitted upon the face of the earth. +After a matinee at the old Burbank theater in +Los Angeles a young girl friend and I often +followed Miss Rambeau discreetly and at what +might be called a worshipful distance.</p> + +<p><span class="pagenum" id="Page_32">[Pg 32]</span></p> + +<p>Then there was Mr. Richard Bennett. +What a masterful, handsome man was he! +My goodness! he was one to occupy one’s +dreams; to make one wonder if somehow it +might not be possible to grow up and become +his leading lady. I am sure that the very paragon +of modern-day leading men could not +come up to my childhood estimate of Mr. Richard +Bennett.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_33">[Pg 33]</span></p> + + + <h2 class="nobreak" id="CHAPTER_III"> + CHAPTER III + </h2> +</div> + +<p class="center"> +<i>Seven qualities that indicate fitness for a screen career</i><br> +<i>—Why they are important—An illus-</i><br> +<i>tration of vitality.</i> +</p> + + +<p>As I have said, I have been asked by thousands +of correspondents for the formula for +screen success. I have never felt able to answer. +I don’t believe there is any such +formula.</p> + +<p>Putting the proposition another way:</p> + +<p>If I were requested to choose from among +ten beginners the one who would go the farthest +in motion pictures I should unhesitatingly +lay my finger upon the one who possessed the +following qualifications:</p> + +<p>(1) Natural talent.</p> + +<p>(2) Ambition.</p> + +<p>(3) Personality.</p> + +<p>(4) Sincerity.</p> + +<p>(5) Agreeable appearance.</p> + +<p>(6) Vitality and strength.</p> + +<p>(7) Ability to learn quickly.</p> + +<p><span class="pagenum" id="Page_34">[Pg 34]</span></p> + +<p>I am sure that I should not go far wrong if +I were to place my trust in one endowed with +these qualities.</p> + +<p>A natural talent for acting implies more +than a mere desire to act. It is the art, +usually discovered during childhood, of mimicry, +and the joy in that art.</p> + +<p>How many of us have been convulsed in our +earlier years at some school girl friend’s take-off +of our teacher? How many of us, indeed, +have played the mimics? I seem to remember +that in my grammar school days I was called +upon more or less to take-off one of our +teachers.</p> + +<p>If not called upon I volunteered. None of +my school chums got more enjoyment out of +my “imitation of Miss Blank” than I did. I +never dreamed at that time—or, if I did, they +were vague dreams—that I was to become an +actress. Since then I have come to the conclusion +that I was actually taking my first steps +toward what I chose as a career.</p> + +<p>Natural talent, as I have called it, is no more +than a tendency toward, or an aptitude for, +some form of endeavor. In youth my first +artistic loves were for mimicry and painting—the +latter of which took the form of sculpturing—and +both of these loves have been enduring.</p> + +<p>For that reason unless my candidate for +screen success had previously shown some love +for acting or mimicry I should come to the conclusion +<span class="pagenum" id="Page_35">[Pg 35]</span>that he or she was intoxicated merely +with the glamour of the profession, with no +especial love for the fundamental thing itself.</p> + +<p>This is an important point. If its significance +were duly impressed upon the thousands +of girls and boys, who would like to choose the +screen for a career, perhaps, some of them +would abandon their dreams and turn to things +for which they have displayed some natural +aptitude.</p> + +<p>Ambition must, of course, go hand in hand +with natural talent. In any form of vocational +training it is assumed that the student has a +feverish desire to succeed in the particular line +that he has elected to follow. It is the same +on the screen.</p> + +<p>Possibly I might have written down enthusiasm +in the place of ambition. After one has +attained stardom and thus, perhaps, achieved +his or her ambition the ability to sustain enthusiasm +in one’s work becomes more important +than ambition. But ambition and enthusiasm +are closely correlated.</p> + +<p>They mean that one has an ambition to gain +the top, and that to reach that position one has +the enthusiasm to practise all the forms of self-denial, +discipline and study that are important +to artistic success in any line.</p> + +<p>Personality is important for the reason that +the camera has a way of registering it unerringly. +It is keen in detecting the weak or +vapid.</p> + +<p><span class="pagenum" id="Page_36">[Pg 36]</span></p> + +<p>In my eight years before a motion picture +camera I have never met a person of inferior +fibre whose inferiority was not accentuated by +the camera. For that reason to sustain success +on the screen I believe there is nothing +more important than clean thoughts and clean +living. They do register.</p> + +<p>It is precisely the same with sincerity. In +any line there is probably little hope for those +who lack this salient quality. But a motion +picture camera seems especially to delight in +exposing insincerity.</p> + +<p>I think considerable of the success of Mary +Pickford and Charles Ray—to name but two +stars—is due to their absolute and abundant +sincerity. The camera, finding so much that +is clean and real, has joyously reproduced it. +It is the love that Miss Pickford radiates from +the screen and the obvious manliness of Mr. +Ray that are among their biggest assets. This +is sincere love and sincere manliness, or it +would never be so emphasized by the camera.</p> + +<p>My candidate for screen honors, therefore, +must have the God-given quality of sincerity. +Only that kind can feel deeply, think cleanly +and develop the sterling traits without which +neither a camera or a public can be very long +deceived.</p> + +<p>I now come to the matter of personal appearance. +This is a topic in which every man +under 65, and every woman under 100 years +seem interested. I sometimes wonder if it is +not the desire to see how they would look on +the screen, rather than how they might act, +that fills so many boys and girls and men and +women with an ambition for a screen career.</p> + +<p><span class="pagenum" id="Page_37">[Pg 37]</span></p> + +<figure class="figcenter illowp100"> + <img class="w100" src="images/p037.jpg" alt="Charles Ray"> + <figcaption> + <p><i>Charles Ray, plus his abundant sincerity, as reflected in “The Old Swimmin’ Hole.”</i></p> + </figcaption> +</figure> + +<p><span class="pagenum" id="Page_39">[Pg 39]</span></p> + +<p>I have found the subject of such universal +interest that I believe it deserves a chapter to +itself. Therefore I shall dismiss this matter +until the next. I may say, however, that in +my candidate I should rank agreeable appearance +and an expressive face as superior to mere +beauty.</p> + +<p>To paraphrase, nothing succeeds like good +health. Of itself it is the most valuable thing +that we should own. Good health can be +translated into terms of capacity for work. +Therefore since a screen career means both +hard and trying work I should insist that my +candidate possess or develop the qualities of +strength and vitality.</p> + +<p>I am aware that in many forms of art such +artists as Chopin, Stevenson and Milton, have +become famous in spite of great physical handicaps. +I do not believe the same can be done +in pictures.</p> + +<p>It seems to me that healthy persons like to +see and be among well people. Motion picture +audiences being invariably in first-class physical +shape themselves, desire that those who +appear before them on the screen be likewise +fortunate. It is my belief that an audience +is usually bored to tears by a convalescing hero +or heroine. If I were in charge of all the +<span class="pagenum" id="Page_40">[Pg 40]</span>scenarios played I should cut such episodes +very short. They beget more impatience than +sympathy.</p> + +<p>But it is not only because good health radiates +from the screen that it is important. In +point of nervous and muscular strain, and the +often long studio hours that are necessary +when production has begun, good health is +essential.</p> + +<p>To illustrate: While we were filming “Polly +of the Circus” in Fort Lee one morning I reported +at the studio at nine o’clock. We were +working on some interior scenes that were +vital to the success of the story. My director +at that time was Mr. Charles Horan. Mr. +Vernon Steele was playing the male lead.</p> + +<p>That day we became so engrossed in playing +some rather delicate scenes that before we +knew it—or at least before I could realize it—it +was six o’clock, and we weren’t half done.</p> + +<p>“What do you say to continuing?” asked +Mr. Horan.</p> + +<p>“Good; we’re right in the spirit of it,” I +replied.</p> + +<p>We had a bite to eat and worked on until +midnight. In spite of our hard and earnest +efforts there were several scenes with which +we were dissatisfied.</p> + +<p>“Well,” said Mr. Horan ruefully. “Tomorrow +will be another day.”</p> + +<p>As he spoke it dawned upon me how one of +<span class="pagenum" id="Page_41">[Pg 41]</span>the scenes on which we felt we had failed could +be done with probable success.</p> + +<p>“Why tomorrow?” I replied. “Let’s make +a night of it if necessary. We simply have to +get that scene.”</p> + +<p>Mr. Horan grinned. That had been his +wish. But he had feared breaking the camel’s +back.</p> + +<p>We worked until four o’clock that morning. +Things went swimmingly. It was broad daylight +when I ferried across the Hudson but if +I was very tired I was equally happy.</p> + +<p>Several times during “Polly of the Circus” +we had experiences which, in the number of +hours put in, were similar to that which I have +related. But in the end it was worth while. +We had a picture.</p> + +<p>At that time I was feeling in the best of +health but, even so, the long hours had been a +severe drain upon my none too great vitality. +For anyone lacking strength and vitality such +hours would have been impossible.</p> + +<p>It is not my intention to write a booklet on +health. But all of us should be very careful +of our most precious possession. I know of so +many young girls in motion pictures who have +let their health get away from them. And +some of the cases are so pitiful....</p> + +<p>My candidate, then, will have strength and +vitality and, equally important, he or she will +cling to both, whatever social sacrifices may +have to be made to preserve them.</p> + +<p><span class="pagenum" id="Page_42">[Pg 42]</span></p> + +<p>The ability to learn quickly will save anyone +going into screen work so much trouble and +possible humiliation that it may well be listed +as an essential qualification.</p> + +<p>The screen is no place for the mental laggard. +The beginner, particularly, must be +alive to learn the new lessons that each day +will bring, and learning them he must remember.</p> + +<p>During the course of production in a studio +things are at high tension. Time is money. +Each of us constitutes a more or less important +cog in a great machine. Those cogs that +inexcusably forget to function are eliminated.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_43">[Pg 43]</span></p> + + + <h2 class="nobreak" id="CHAPTER_IV"> + CHAPTER IV + </h2> +</div> + +<p class="center"> +<i>Beauty and the measure of looks upon the screen—</i><br> +<i>Expression most important—Tragedies of</i><br> +<i>doll-faces—Photographic “angles.”</i> +</p> + + +<p>What follows happened during the National +Convention of Motion Picture Producers +in 1917 at Chicago. The convention +was held at the Coliseum. There were jazz +bands, gay and costly decorations, and motion +picture celebrities from both Coasts. The carnival +spirit ran high and thousands of motion +picture fans squeezed into that huge old building.</p> + +<p>The opening was called “Mae Marsh Day.” +I shall not soon forget it. That night as our +party entered the Coliseum through the manager’s +private office I espied in the center of the +building a newly erected platform draped with +bunting and decorated with flowers.</p> + +<p>“You will make a little speech,” the manager +said.</p> + +<p>I gasped. I think I almost fainted. I had +never made a formal speech. The idea of it +<span class="pagenum" id="Page_44">[Pg 44]</span>was as foreign to me as becoming Queen of +the South Sea Islands.</p> + +<p>“All right,” I gurgled weakly.</p> + +<p>My voice has never been strong. As I +walked to the platform the Coliseum was a +bedlam of sound. I was introduced with difficulty. +With sinking knees I stepped forward.</p> + +<p>“Ladies and gentlemen I am sure I am +pleased to—”</p> + +<p>A jazz band, which seemed to be located +somewhere immediately beneath my feet, began +to loudly play. I didn’t know whether to dance +or sing. It was a medley in which “The Star-Spangled +Banner” was predominant. I blessed +the band. I doubly blessed our national anthem. +Looking about me I saw a small American +flag. I grasped it and stood waving it to +the strains of our national air. The convention +was duly opened.</p> + +<p>Afterward, when I stood upon a small table +giving away carnations until my wrist ached—smiling +like a chorus girl meantime—a woman +informed my mother that she wished to see +me on an important matter. In the press of +those thousands of children and grown-ups I +was virtually trapped.</p> + +<p>“Tell her,” I suggested, “to call at the Blackstone +Hotel tomorrow morning.”</p> + +<p>She came. She was a plain woman with an +honest eye. She brought along two small +<span class="pagenum" id="Page_45">[Pg 45]</span>daughters aged, respectively, ten and twelve, +I afterward ascertained.</p> + +<p>“Miss Marsh,” she declared, leaning forward +expectantly in her chair, “I think my two +daughters should succeed in motion pictures. +One of them is very beautiful, and the other +looks like you.”</p> + +<p>I told this honest lady, with as straight a +face as I could command, that while her +daughters were still too young to think of playing +in motion pictures that some day, perhaps, +I could do something for them, particularly the +one that looked like me.</p> + +<p>In approaching the matter of screen faces I +am strongly reminded of that Chicago lady. I +believe her logic was essentially sound. There +is no measure of looks for the motion picture +screen. If there is a yardstick it applies to expression, +or animation, and not looks.</p> + +<p>No one admires a beautiful face upon the +screen more than I. If it so happens that this +beauty is allied with ability then I am often +given to the thought that they are not a congenial +combination. For beauty, ever a queenly +quality, is diverting and manages in this way +and that to steal some of the thunder that +rightfully belongs to ability.</p> + +<p>If, as sometimes happens, I see mere beauty +being exploited on the screen with no semblance +of acting talent, I am ready to give up +my seat to the next one along about the third +reel. Nothing palls upon one more quickly.</p> + +<p><span class="pagenum" id="Page_46">[Pg 46]</span></p> + +<p>Therefore, I am at odds with those who believe +that beauty is necessary for the screen beginner. +Say for beauty that it has the merit of +more quickly attracting attention to the one +who possesses it and you have done it full justice. +But even then, if it is unaccompanied by +ability, it is just another tragedy of a doll-face.</p> + +<p>Acting is primarily the ability to express +something. If the face that conveys that feeling +is not disagreeable then it becomes a matter +of not how much beauty is in the face but how +much expression. That was certainly the case +with Mme. Sarah Bernhardt. All of us know +plain appearing persons whose faces, when +they have something to say, become interesting +and expressive.</p> + +<p>They impress us as individuals whose beauty +is inside or spiritual. That is a lovely quality +for the screen. On the other hand we know, +all of us, persons who are generally considered +beautiful whose faces, under any circumstances, +have no more animation than a mask. +These people strike us as spiritually barren, +lacking in humor, or something.</p> + +<p>If my candidate for screen honors has simply +an agreeable appearance and good eyes—which +I consider most important of all facial +features—I shall be satisfied provided his or +her face, and particularly the eyes, are expressive.</p> + +<p><span class="pagenum" id="Page_47">[Pg 47]</span></p> + +<figure class="figcenter illowp65"> + <img class="w100" src="images/p047.jpg" alt="Mary Miles Minter and Chester Franklin"> + <figcaption> + <p><i>A beautiful young star and her director, Mary Miles +Minter and Chester Franklin.</i></p> + </figcaption> +</figure> + +<p><span class="pagenum" id="Page_49">[Pg 49]</span></p> + +<p>It has been my observation that while beauty +or good looks is largely a matter of opinion—which +has furnished many lively debates—the +quality of expression or animation is seldom +denied those who possess it. For that reason +my candidate, if he or she has an expressive +face, will have a more valuable and certain +stock-in-trade than mere good looks.</p> + +<p>In spite of this logic most of us stars go on +wishing to be thought beautiful, or to have it +thought that we could be beautiful if we +wanted to be. I recollect that it took time and +courage for some of us to brave our publics in +other than our pet make-ups.</p> + +<p>There are, for instance, two stars who had +always regarded their curls as indispensable. +After many years of stardom one of them decided +to take what she thought was a desperate +chance. She skinned her hair back and played +the part of a little English slavey. The result +was that she turned out one of the most successful +pictures in her career.</p> + +<p>Another, a dear friend of mine, we used to +call “The Primper.” She never appeared upon +the set without her curls just so. I think at +that time she thought they were the most important +part of her career.</p> + +<p>She has reformed. As her art developed she +became less particular about her hair dress. +One night in a little theater in Jamaica, Long +Island, I dropped in to see one of her photoplays. +It was an excellent picture. Her hair +was drawn back tightly over her head into a +knot. That night I wired her congratulations.</p> + +<p><span class="pagenum" id="Page_50">[Pg 50]</span></p> + +<p>No; curls, Grecian noses, up-tilted chins and +rose-tinted cheeks are not the measure of success +upon the screen. It is something that +goes deeper than that.</p> + +<p>It is something that goes deep enough to +over-ride facial defects. There is one excellent +little star, for example, who, because of +a nose unfortunately large, must always work +full face when near the camera. I think she +is charming. Another, for an odd reason, permits +only a one-way profile to be taken. There +are many such cases.</p> + +<p>Indeed, the majority of us have our “angles.” +By “angles” I mean the full, three-quarters, +one-quarter or profile views in which +we think we appear at our best. Each star has +studied that point out for his or herself. And, +since we are taking largely our own opinion for +it, it is possible we are mistaken. But our +vanity upholds us.</p> + +<p>In my own case I was hauled into motion +pictures while sitting rather forlornly on a +soapbox waiting for my sister Marguerite. +Since at that time I was without curls, having +never had any before or since, and looked as I +look, so to speak, it has never been necessary +for me to expend any great amount of time in +make-up. That has been satisfactory to me.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_51">[Pg 51]</span></p> + + + <h2 class="nobreak" id="CHAPTER_V"> + CHAPTER V + </h2> +</div> + +<p class="center"> +<i>The story, make-up and costuming—Rouge riots and</i><br> +<i>their disadvantages—The blond</i><br> +<i>and the “back spot.”</i> +</p> + + +<p>In any art or profession the ability to seize +opportunity when it presents itself is important. +This is especially true in motion pictures. +Things move very fast there. It is like a game +where the knack of doing the right thing at the +right time determines one’s value.</p> + +<p>After the beginner has done his extra work, +or small bits, if he is of the right stuff, he will +some day be given a part. He may be unaware +of it, but that will be the biggest moment of his +screen career.</p> + +<p>When doing extra work or small bits the +critics, the public, and the profession have paid +little attention to the beginner. But once the +beginner secures a part he comes instantly into +the eye of everyone interested in the screen. +We are all diverted by new faces.</p> + +<p>Thus the impression that the beginner will +make in his first part is one that will for a long +time endure. It comes very near making or +<span class="pagenum" id="Page_52">[Pg 52]</span>breaking him. This may seem hard. Often +it is unjust—a beginner may have a part forced +upon him for which he is unfitted. But it is +true. And we have to deal with conditions on +the screen as we find them.</p> + +<p>For that reason when the big moment comes, +and the part is secured, the beginner must do +everything within his or her power to be as +well prepared as possible.</p> + +<p>There are in this respect three important +mechanical details that must be looked after. I +should list them as follows:</p> + +<p> + <span style="margin-left: 1.0em;">(1) Studying the story.</span><br> + <span style="margin-left: 1.0em;">(2) Studying make-up.</span><br> + <span style="margin-left: 1.0em;">(3) Studying costuming.</span> +</p> + +<p>The beginner will be given the story—or +script—typewritten in continuity form. Continuity +means the scene by scene action +through which the story is told. Ordinarily +there will be some three hundred scenes or +“shots” to the average photoplay.</p> + +<p>The beginner will first look to the plot and +theme of the story. We want to know what +the author is telling and how he is trying to tell +it. We find the big situations and the action +that precedes them. More important, we locate +the why of it.</p> + +<p>When I have established the idea of the play +I immediately go over the script again with an +eye alert for business. By business I mean the +tricks, mannerisms, and the apparent unexpected +<span class="pagenum" id="Page_53">[Pg 53]</span>or involuntary moves that help to sustain +action.</p> + +<p>The value of good business cannot be over-rated. +It goes a long way toward making up +for the lack of voice. Without clever business +any photoplay would drag. The two-reel comedy, +which I have observed is popular with +audiences of all ages, is usually but a sequence +of business.</p> + +<p>If the business that is planned upon seems +natural to the character—the wiggling of a +foot when excited, the inability to control the +hands, the apparent unconscious raising of an +eyebrow, etc.—I am sure there can be no real +objection to it. The audience, who are the final +critics, love it.</p> + +<p>Just the other night I saw Mr. Douglas Fairbanks +in a play the final scene of which depicted +him in the act of making love to his intended. +That there might be some privacy to +the undertaking they were screening themselves +from the view of the guests—and the +audience!—with a large silken handkerchief.</p> + +<p>The girl might have stood still. If she had +there could have no criticism. Neither would +there have been much of anything else, as her +face was hidden from view. She laid her hands +over a balustrade and wiggled her fingers. The +audience roared.</p> + +<p>These are the things which keep a photoplay +from dragging. They give the action a piquancy +and charm.</p> + +<p><span class="pagenum" id="Page_54">[Pg 54]</span></p> + +<p>Now while the audience may believe that +these things are done on the spur of the moment +the facts are very contrary. These bits +of business must be planned in advance and it +is only an evidence that they have been well +planned when they appear to be done unconsciously.</p> + +<p>While it is true that we have all discovered +very telling bits of business during the actual +photographing of a scene, we can count this as +nothing but good fortune. To leave the matter +of business until the director called “Camera!” +would be fatal.</p> + +<p>Thus in going over a script I look for business. +I think of all the business I can, knowing +that much of it will prove impracticable and +will have to be discarded. Nor is that all. +When the scenic sets upon which we are to +work are erected at the studio or on location, +I look them over very carefully in the hope that +some article of furniture, etc., will suggest +some attractive piece of business. An odd fan, +a pillow, a door, in fact, anything may prove +valuable.</p> + +<p>I should suggest to my candidate that he +or she be just as alert for good business as the +star is. The good director is always open to +suggestion. Business may make all the difference +between a colorless and a vivid portrayal +of a part. Thus for the beginner who, in obtaining +a part, has reached the most vital moment +of his career, the value of keeping an eye +open to the possibilities of business is apparent.</p> + +<p><span class="pagenum" id="Page_55">[Pg 55]</span></p> + +<figure class="figcenter illowp100"> + <img class="w100" src="images/p055.jpg" alt="Mary Pickford"> + <figcaption> + <p><i>Mary Pickford’s love radiates from the screen. A scene from “Pollyanna.”</i></p> + </figcaption> +</figure> + +<p><span class="pagenum" id="Page_57">[Pg 57]</span></p> + +<p>Make-up, like much of everything else on the +screen, is a personal matter. There are, however, +some general rules that can be followed +to advantage.</p> + +<p>I should instruct my candidate not to make +up too much. It seems to me that I have observed +a tendency in this direction recently.</p> + +<p>Some actresses have laid on lip rouge so +thickly that their lips seem to run liquid. Rouge +photographs black. The result has been that +this riot of lip paint has given them the appearance +of having no teeth. Others have used too +much and too dark make-up about the eyes. +Nothing more quickly ruins expression. Such +eyes have the look of holes burned in a blanket +and for dramatic purposes are only slightly +more useful.</p> + +<p>Since my candidate will have youth, good +health and vitality he or she will not have to +resort to tricks of make-up. There are many +such. I recall the case of one actress who is +considered a beauty on the spoken stage. On +the screen she discovered that the motion picture +camera is not very kind to some people. +The lines and flabbiness which were in her face +were accurately reproduced. She thought, of +course, they were exaggerated.</p> + +<p>She was in despair until she found that by +laying heavy strips of adhesive tape over her +ears and behind her neck—she wore a wig—these +lines and flabbiness were overcome. The +<span class="pagenum" id="Page_58">[Pg 58]</span>tape pulled her face into shape! But, I am +sure it must have been painful.</p> + +<p>Another actress, it is an open secret, undergoes +periodic operations for the removal of the +flabby flesh underneath her chin. Others afflicted +with the hated “double chin” rouge the +guilty member heavily with more or less success. +Still others wear collars and necklaces to +thwart flabbiness.</p> + +<p>None of us need laugh; that is if we are in +motion pictures. If we stay there long enough +we may be driven to similar measures.</p> + +<p>In make-up, to begin at the top, is to consider +the hair. Let me say, first of all, that this +should always be kept very clean. The camera +has a way of treating us unpleasantly if it +isn’t.</p> + +<p>Some actresses have set styles of hair dress +which they seldom vary. I think of Madge +Kennedy’s “band of hair,” Dorothy Gish’s +black wig and the Pickford Curls.</p> + +<p>Dorothy Gish had tried many styles of hair +dress and found none of them to her liking. +She experimented with a black wig and was +delighted with the result. It contributed something +to her expression—brought it out, as it +were—which she felt had been lacking. Since +“Hearts of the World” she has never stepped +before a camera without her trusty B. W.</p> + +<p>But while most of us have a favorite style +of wearing our hair most of us are forced often +to lay aside that style to suit the character we +<span class="pagenum" id="Page_59">[Pg 59]</span>are playing. Playing a child we let our hair +hang. The length or abundance doesn’t seem +to particularly matter.</p> + +<p>If enacting the daughter of a well-to-do +business man then we may have our hair plain +or marceled to suit our fancy. Plain hair +seems to suggest sweetness. If playing a saucy +character we must contrive some dress that +will convey the desired effect.</p> + +<p>Blonds, in motion pictures, are traditionally +fluffy-haired. There is a very good reason for +this, by the way. Some years ago Mr. Griffith—who +usually does everything first—discovered +that by leveling a back spotlight on +Blanche Sweet’s fluffy, blond hair it gave the +appearance of sunlight showing through.</p> + +<p>On the screen it was beautiful. Since that +time the “back spot” has been worked to death. +In spite of the fact that it is an old trick it is +one that is still very much respected by the +actress—or us blond actresses, as it were.</p> + +<p>The back light shining through the hair has +a tendency to take away all the hard lines of +the face. It leaves it smooth and free from +worry. How often in a motion picture have I +heard the involuntary expression, “How beautiful!” +when such a shot—usually a close-up—is +shown.</p> + +<p>Many of you may have wondered why a +blond seems to have dark hair in many interior +scenes and blond hair out of doors. Here is +one fault, at least, that we can shift to other +<span class="pagenum" id="Page_60">[Pg 60]</span>shoulders. If a blond’s hair is dark indoors it +is because the cameraman has failed in his +lighting arrangement.</p> + +<p>But even with the most expert manipulation +of lights there is no rival in motion pictures for +the sun. For blonds and brunettes alike he is +Allah.</p> + +<p>And now since this matter of make-up requires +more space and this chapter is growing +long we shall skip to the next.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_61">[Pg 61]</span></p> + + + <h2 class="nobreak" id="CHAPTER_VI"> + CHAPTER VI + </h2> +</div> + +<p class="center"> +<i>More about noses and chins—Costumes as important</i><br> +<i>to the star as a story to the director—</i><br> +<i>Rags and riches.</i> +</p> + + +<p>In the matter of face and make-up we seldom +think of the forehead. Yet I personally +admire a pretty forehead very much and think +it is as important as a good mouth or nose, if +secondary to the eyes. Comprising as it does—or +should—one-third of the face it is nothing +if not conspicuous.</p> + +<p>If to be deep and learned is to have an extremely +high forehead then to be deep and +learned on the screen is to labor under one definite +handicap. For the girl with a too high +forehead cannot skin her hair back without appearing +ugly.</p> + +<p>Those of us with medium foreheads are +more fortunate. Whatever may be said for +our mental capacity we can, at any rate, skin +our hair back and thereby add very much to +our expression.</p> + +<p>The girl with the high forehead compromises +by trying to keep some of it covered but +<span class="pagenum" id="Page_62">[Pg 62]</span>it never gives quite the effect of hair drawn +tightly back.</p> + +<p>I should particularly admonish my screen +beginner against too much make-up about the +eyes. For blue or gray eyes, a light gray make-up +is used; for brown or black eyes, a light +brown make-up.</p> + +<p>We frequently hear it said that brown eyes +photograph best for the screen, but I have +never heard anyone whom I would accept as +an authority say that. I believe that all colors +are equally good. It is far more important +that a screen actress’s eyes be expressive than +it is that they be either brown or blue.</p> + +<p>Thus if we have expressive eyes and evade +the error of making them up so heavily as to +create the “burnt hole” aspect we shall have +nothing to worry about. Generally speaking +the more prominent the eyes and eyebrows the +less of make-up should be used. There are exceptions.</p> + +<p>A nose is something we can do nothing +about. We either have or haven’t a good nose. +If the nose is so badly out of symmetry with +the face as to be unsightly its possessor will +probably have to confine himself, or herself, +to character parts. There are some who have +attained stardom, even with ill-shaped noses, +but I think of very few. These by devious +practices conceal the defect as well as possible.</p> + +<p>Make-up for the nose is usually for character +and not star parts. A spot of rouge at the +<span class="pagenum" id="Page_63">[Pg 63]</span>tip of the nose will give it a turned up or pug +appearance. When playing a mulatto in “The +Birth of a Nation” Miss Mary Alden inserted +within her nostrils two plugs that permitted +her to breathe and yet had the effect of greatly +widening her nostrils. The late and beloved +“Bobby” Harron broadened his nose with +putty in the same play in one of the scenes in +which he doubled as a negro. The screen lost +one of its sweetest and most lovable characters +when “Bobby” Harron died.</p> + +<p>But these cases were characterizations. For +star purposes a nose is a nose. The pity is +that sometimes even well-shaped noses seem to +lose something or gain too much when they are +reproduced on the screen.</p> + +<p>The lips and chin require a light make-up +for the very good reason, again, that to overdo +in this respect is to stifle expression. It is my +opinion that those who are becoming addicted +to an extremely heavy make-up of lips are making +a mistake. It is unreal. It is not art. Such +thick, sensuous, liquid lips as I have beheld on +the screen during the past year have never +been seen on land or sea.</p> + +<p>The chin is a good deal like the nose. Very +little can be done about it. If it protrudes too +much, or is abruptly receding, its possessor +will probably find himself chosen for character +parts. Here what are otherwise considered +facial defects will be no handicap at all. On +the contrary they may be a decided help.</p> + +<p><span class="pagenum" id="Page_64">[Pg 64]</span></p> + +<p>As in the case of the ill-shaped nose there +are stars who have succeeded in spite of an +absence, or too great presence, of chin. They +have learned the photographic angles at which +they appear to the best advantage. In one way +or another, when working close to the camera, +they keep always within these angles. Thus +they prove that there can be an exception to +any rule.</p> + +<p>If in the matter of make-up I can convince +my candidate that he or she will be better off +by using as little as possible of it, I shall be +willing to pass on to the next topic.</p> + +<p>Hands, too, must be kept clean and are +usually made up with white chalk.</p> + +<p>I often think that costumes are to the star +as important as the story is to the director.</p> + +<p>Whatever may be the case in everyday life +clothes do make the man, or the woman, in +motion pictures. They establish character even +more swiftly than action or expression. No +where so much as in motion pictures does the +general public accept people at their clothes +value. There are the over-dress of vulgarity, +the shoddiness of poverty, the conservatism of +decency and so on, each of them speaking as +plainly as words of the person so attired.</p> + +<p>Now if mere over-dress, shoddiness, conservatism, +and so on, were all that were necessary +the process would be quite simple. But +the art of costuming is more subtle than that.</p> + +<p><span class="pagenum" id="Page_65">[Pg 65]</span></p> + +<figure class="figcenter illowp65"> + <img class="w100" src="images/p065.jpg" alt="Madame Nazimova"> + <figcaption> + <p><i>Madame Nazimova, one of the few dramatic stars who quickly +mastered the art of the screen.</i></p> + </figcaption> +</figure> + + +<p><span class="pagenum" id="Page_67">[Pg 67]</span></p> + +<p>In each costume there must be something +original and personal. In other words, something +that is peculiarly suited to the precise +character that is being portrayed. There must +be also a color contrast or harmony that will be +favorable to good motion picture photography.</p> + +<p>In addition, the costume in a broader sense +should harmonize with the scenic setting. The +costume, more than anything else, will establish +the fiction of age. To appear very young +or middle-aged is to dress young or middle-aged.</p> + +<p>In addition to its value in suggesting character +the costume has attained a new importance +in that the screen has become a sort of +fashion magazine. The thousands of young +ladies who live outside of New York, London +or Paris have come to look more and more to +the screen for the latest fashions, and are accordingly +influenced.</p> + +<p>With this phase of costuming my candidate +need not particularly interest herself beyond +remembering that women love to see pretty +clothes and that those who give them the opportunity +occupy an especial niche in their affections.</p> + +<p>The beginner who learns the knack of dressing +for the screen in a manner that is sharply +expressive of the character being played, and, +in a way to bring out what the actress herself +has come to regard as her strong point, will +find her pains rewarded.</p> + +<p><span class="pagenum" id="Page_68">[Pg 68]</span></p> + +<p>Mr. Griffith has always been extremely +painstaking about screen clothes. Even in the +early days of the old Biograph two-reelers we +had screen tests for costumes. It was no unusual +thing to hear him say, after one of us +had been at much pains to select a costume +which we thought did justice to both our part +and ourselves, “No, that won’t do!” Possibly +we were trying to do too much justice to ourselves.</p> + +<p>Anyhow we often had as many as four costumes +made before Mr. Griffith was suited. +Then he invariably suggested a ribbon, a fan, +a bit of old lace, etc., the effect of which upon +the screen was always pleasing.</p> + +<p>I have been told that one of the sweetest and, +at the same time, most pathetic scenes done in +motion pictures occurred in “The Birth of a +Nation” where I, as Flora Cameron, the little +sister of the Confederate soldier, trimmed my +cheap, home-made dress in preparing to welcome +home my big brother.</p> + +<p>It was Mr. Henry Walthall, himself a southerner +by birth, who suggested this bit of business.</p> + +<p>You will remember the situation. The Camerons, +an old and distinguished Southern family, +had been impoverished by the war. They +were preparing for the return of the big +brother—played capitally by Mr. Walthall—with +the mixture of emotion to be expected +under the circumstances. I, as the youngest +<span class="pagenum" id="Page_69">[Pg 69]</span>member of the family, was least affected by +our cruel poverty. The joy of being about to +see my big brother again overcame any other +feeling.</p> + +<p>I begin to dress. The sadness of my stricken +family cannot affect my holiday spirit. I have +but one dress. It is of sack cloth. I find that +its pitiful plainness is not in keeping with my +happiness or the importance of the event. +Looking about for something with which to +trim that dress I find some strips of cotton—“southern +ermine,” as it was called. With these +I trim that homely old dress, spotting the “ermine” +with soot from the fireplace, in a manner +that I think will be pleasing to my big +brother.</p> + +<p>Mr. Walthall suggested the “southern ermine” +and it was Mr. Griffith, always kindly +in the matter of accepting a suggestion, who +built the drama about it. I have had many +women, from the North as well as the South, +tell me that to them this scene is the most affecting +they ever have seen in the picture +drama. I know I have played few, if any, in +which I have felt more deeply the spirit of +the action.</p> + +<p>In “The Birth of a Nation,” by the way, all +of us were forced to do a great deal of research +work upon our costumes. This is a good thing. +It gets one quickly into the spirit of the drama +that is to be played.</p> + +<p><span class="pagenum" id="Page_70">[Pg 70]</span></p> + +<p>As I say, I have always appreciated the advantages +of modish dress upon the screen even +though I have had in my eight years of acting +only one “clothes” part. By clothes part I +mean one in which the star dresses in modern +garments in every scene. I began my career +as a screen waif with the result that the literary +men who have to do with the stories picked +for me, have kept me at this style of part.</p> + +<p>There is never a story written in which a +poor, little heroine conquers against great odds—usually +after much suffering and not a few +beatings—but that many friends rush to tell +me that so and so is “a regular Mae Marsh +part.” Such is the power of association.</p> + +<p>Yet I very much enjoyed my one dressed-up +part. That was “The Cinderella Man.” I understand +that there was great doubt expressed +by the scenario department that I should be +able to play such a role for, since the heroine +was the daughter of a wealthy man, there was +no occasion for her appearing in rags.</p> + +<p>Miss Margaret Mayo, the well-known dramatist, +who wrote “Polly of the Circus,” +“Baby Mine,” etc., was here my stanch advocate. +Both she and Mr. George Loane Tucker, +one of our greatest directors, insisted that I +could do the part. It was decided to make the +trial.</p> + +<p>“Go to Lucille,” suggested Miss Mayo, “explain +the story to the designer and let her show +you the kind of costumes she would suggest.”</p> + +<p><span class="pagenum" id="Page_71">[Pg 71]</span></p> + +<p>Expense was to be no object. Mr. Tucker +and I met one afternoon on Fifty-seventh +street and, entering Lucille’s, we went into a +clothes conference with a designer. The result +was a mild orgy of beautiful gowns.</p> + +<p>It was decided that Lucille should make two +dresses of a particular design, one green and +one gray, as the gown which I was to wear in +a great many of the scenes.</p> + +<p>Showing that cost does not indicate fitness +I remember that the gray dress—which was +$100 cheaper than the green—was the one +which we decided to use. My costume bill for +“The Cinderella Man” exceeded $2,000. There +are many actresses who spend far more than +that for clothes on every picture. But compared +with the amount that I had been spending +in my “poor girl” roles that $2,000 was as +a mountain to a sand dune.</p> + +<p>“The Cinderella Man” was a great success +and we were happy; particularly Miss Mayo +and Mr. Tucker, who had never doubted that +I could do a dressed-up part.</p> + +<p>The matter of costumes, then, is one of the +important things that the beginner must consider. +On the screen clothes may be said to +talk; even to act. The male artists, I am sure, +also realize this. But the actress, particularly, +must always dress in a manner to get the maximum +of benefit from her clothes whether they +be cheap or expensive.</p> + +<p><span class="pagenum" id="Page_72">[Pg 72]</span></p> + +<p>In “The Birth of a Nation” during the famous +cliff scene I experimented with a half +dozen dresses until I hit upon one whose plainness +was a guarantee that it would not divert +from my expression in that which was a very +vital moment.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_73">[Pg 73]</span></p> + + + <h2 class="nobreak" id="CHAPTER_VII"> + CHAPTER VII + </h2> +</div> + +<p class="center"> +<i>Camera-consciousness and a way to cure it—Why it is</i><br> +<i>fatal to imitate—Some scenes</i><br> +<i>in “Intolerance.”</i> +</p> + + +<p>The several qualities most likely to succeed +upon the screen having been discussed, and the +importance of knowing the story, make-up and +costuming having been established, my candidate +is now ready to go before the camera.</p> + +<p>All that has been done before is but to build +up to this vital moment. The camera tells at +once and usually in no uncertain terms whether +one is possessed of star possibilities.</p> + +<p>It is a sort of court from which there is no +appeal. For that reason every expression, +every movement, every feeling and, I verily believe, +every thought are important once the +camera has begun to turn.</p> + +<p>Now the actress or actor is standing entirely +upon her or his own feet. Previously they +have had the benefit of all the advice and help +that the many departments of a studio could +proffer. In a word they have been able to +<span class="pagenum" id="Page_74">[Pg 74]</span>lean upon someone else and to correct mistakes +at leisure.</p> + +<p>It is different before the camera. The beginner +will at once feel very much alone and +terribly conspicuous. This tends toward self-consciousness, +or camera-consciousness, which +must be immediately overcome or success is +impossible. Camera-consciousness is the bane +of the beginner. I think most of us have suffered +more or less from it. I have known +actresses who possessed it to such a degree +that, finding they could not rid themselves of +it, they left the screen. By extreme good fortune +this never happened to be one of my troubles.</p> + +<p>Self-consciousness on the screen is much the +same thing as stage fright in the spoken drama +and proceeds, I suppose, from the same source, +which is the inability to forget one’s self.</p> + +<p>When a dear friend of mine first began playing +small parts she found that she suffered +from it. She also saw that it would certainly +be fatal if she didn’t cure it.</p> + +<p>“For that reason,” she said to herself, “the +best thing to do is to think so hard about the +part that I am playing that I won’t have time +to think of anything else.”</p> + +<p>She gave herself good advice. Anyhow it +worked and I am sure it will be successful in +the case of the average beginner. If so, then +camera-consciousness will really be a blessing +in disguise, for it will have taught the actress +<span class="pagenum" id="Page_75">[Pg 75]</span>concentration upon her part and concentration, +in every fiber of one’s being, I believe, is the big +secret of screen success.</p> + +<p>I remember the case of one young actress +who came to me in tears saying that when she +rehearsed her part in the privacy of her own +home, or dressing room, she felt every inch of +it, but once under the gaze of the director, the +assistant director, the cameraman, possibly the +author and perhaps a number of privileged +persons about the studio, she seemed to wilt.</p> + +<p>“Look at it this way,” I advised. “When +you are acting the director has his work to do +and is doing it. So has the assistant director. +Likewise the cameraman and the assistant cameraman +have their work to do and are doing it. +So are the other actors. As for the lookers-on, +request that they leave. Then imagine you are +in a big schoolroom where everyone is busy at +his or her lessons. You have your lesson to +get which is concentrating upon your part. Go +ahead with it.”</p> + +<p>It helped the girl in question. She has become +a very excellent and charming star and +while she still prefers to work upon a secluded +stage she does not find it positively necessary, +as do some actresses. In any event there is no +trace of camera-consciousness in her acting.</p> + +<p>Camera-consciousness having been eliminated +the beginner can now throw himself or +herself entirely into the part being played. By +throwing one’s self into the part I do not mean +<span class="pagenum" id="Page_76">[Pg 76]</span>forcing it. Nothing is quite so bad as that. I +mean feeling it. If you do not feel the particular +action being played then the result will certainly +be a lack of sincerity. We have already +decided that that is fatal.</p> + +<p>Let me illustrate:</p> + +<p>While we were playing “Intolerance,” one +cycle of which is still being released as “The +Mother and the Law,” I had to do a scene +where, in the big city’s slums, my father dies.</p> + +<p>The night before I did this scene I went to +the theater—something, by the way, I seldom +do when working—to see Marjorie Rambeau +in “Kindling.”</p> + +<p>To my surprise and gratification she had to +do a scene in this play that was somewhat similar +to the one that I was scheduled to play in +“Intolerance.” It made a deep impression +upon me.</p> + +<p>As a consequence, the next day before the +camera in the scene depicting my sorrow and +misery at the death of my father, I began to +cry with the memory of Marjorie Rambeau’s +part uppermost in my mind. I thought, however, +that it had been done quite well and was +anxious to see it on the screen.</p> + +<p>I was in for very much of a surprise. A +few of us gathered in the projection room and +the camera began humming. I saw myself +enter with a fair semblance of misery. But +there was something about it that was not convincing.</p> + +<p><span class="pagenum" id="Page_77">[Pg 77]</span></p> + +<figure class="figcenter illowp100"> + <img class="w100" src="images/p077.jpg" alt="Blanche Sweet and Wallace Reid"> + <figcaption> + <p><i>Back to the old Mutual days with Blanche Sweet and Wallace Reid.</i></p> + </figcaption> +</figure> + +<p><span class="pagenum" id="Page_79">[Pg 79]</span></p> + +<p>Mr. Griffith, who was closely studying the +action, finally turned in his seat and said:</p> + +<p>“I don’t know what you were thinking about +when you did that, but it is evident that it was +not about the death of your father.”</p> + +<p>“That is true,” I said. I did not admit what +I was thinking about.</p> + +<p>We began immediately upon the scene again. +This time I thought of the death of my own +father and the big tragedy to our little home, +then in Texas. I could recall the deep sorrow +of my mother, my sisters, my brother and myself.</p> + +<p>This scene is said to be one of the most effective +in “The Mother and the Law.”</p> + +<p>The beginner may learn from that that it +never pays to imitate anyone else’s interpretation +of any emotion. Each of us when we +are pleased, injured, or affected in any way +have our own way of showing our feelings. +This is one thing that is our very own.</p> + +<p>When before the camera, therefore, we +must remember that when we feel great sorrow +the audience wants to see our own sorrow and +not an imitation of Miss Blanche Sweet’s or +Mme. Nazimova’s. We must feel our own +part and take heed of my favorite screen +maxim, which is that thoughts do register.</p> + +<p>It is true that we have good and bad days +before the camera. There are times when to +feel and to act are the easiest things imaginable +and other occasions when it seems impossible +<span class="pagenum" id="Page_80">[Pg 80]</span>to catch the spirit that we know is necessary. +In this we are more fortunate than our brothers +upon the spoken stage, for we can do it +over again.</p> + +<p>It is also very often true that even when we +are entirely in the spirit of our part, and believe +we have done a good day’s work, that +there will be some mechanical defect in the +scenes taken which makes it necessary to do +them over, possibly when we feel least like +so doing.</p> + +<p>In this event it is a good thing to remember +that it doesn’t pay to cry over spilt milk. +We must learn to take the bitter with the +sweet. Fortunately the mechanics of picture +taking are constantly improving.</p> + +<p>The hardest dramatic work I ever did was +in the courtroom scenes in “Intolerance.” We +retook these scenes on four different occasions. +Each time I gave to the limit of my +vitality and ability. I put everything into my +portrayal that was in me. It certainly paid. +Parts of each of the four takes—some of them +done at two weeks’ intervals—were assembled +to make up those scenes which you, as the audience, +finally beheld upon the screen.</p> + +<p>Therefore, when first going before a camera +it is well to resolve to put as much into one’s +performance as possible. We cannot too +greatly concentrate upon our parts. If we do +not feel them we can be very sure they will not +convince our audiences.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_81">[Pg 81]</span></p> + + + <h2 class="nobreak" id="CHAPTER_VIII"> + CHAPTER VIII + </h2> +</div> + +<p class="center"> +<i>Over-acting and a horrible example—the value of</i><br> +<i>repression and emphasis—How we</i><br> +<i>act with the body.</i> +</p> + + +<p>Good screen acting consists of the ability to +accurately portray a state of mind.</p> + +<p>That sounds simple, yet how often upon the +screen have you seen an important part played +in a manner that made you, yourself, feel that +you were passing through the experiences being +unfolded in the plot. I imagine not often.</p> + +<p>If a part is under-played or, worse, over-played—for +there is nothing so depressing as +a screen actress run amuck in a flood of sundry +emotions—it exerts a definite influence upon +you, the audience.</p> + +<p>You begin to lose sympathy with the character +itself. You are interested or irritated by +the mannerisms—often hardly less than gymnastics—of +the actor or actress. You never +identify such an actor or actress with the part +they are playing for the very good reason that +they are not playing the part. They are playing +their idea of acting <i>at</i> a part.</p> + +<p><span class="pagenum" id="Page_82">[Pg 82]</span></p> + +<p>In any event your interest in the story crumbles. +What the author intended as a subtle +character development flattens out. An ingenious +plot is ruined by its treatment. You index +that particular evening as among those +wasted. I know. I have done the same.</p> + +<p>For those who would like to take up the +screen as a career, however, such an evening +may prove very profitable. For it is the learning +what not to do that is important. There +never was a character portrayal done upon the +screen that could not have been spoiled without +this knowledge.</p> + +<p>I have in mind a photodrama of 1920 that +because of the excellence of its plot gained +quite a success. But for me it was ruined by +the ridiculous overacting of the heroine.</p> + +<p>She had beautiful dark eyes and seemed to +think—it was a melodrama—that the proper +way to display screen talent was to dilate and +roll those eyes as though she were constantly +in terror.</p> + +<p>She had added to that trick one of dropping +her jaw which I understood to be her idea of +the way to register astonishment. I cannot +begin to describe the effect upon me of those +horrified eyes and open mouth. At the end of +six reels I felt like screaming. There was no +time when I should have been surprised had +she wiggled her ears.</p> + +<p>Either she was unfortunate in her choice of +a director or he, poor fellow, was powerless to +<span class="pagenum" id="Page_83">[Pg 83]</span>stop her once she had decided upon her program +of mouth and eyes.</p> + +<p>One of the first things that a screen actress +must learn is the value of emphasis. In the +case that I have cited above the actress threw +herself emotionally (?) so far beyond the +mark in little moments that when a big situation +in the development of the plot occurred +she had nothing left. The impression consequently +was one of a strained sameness. Than +that there is no quicker way to wear out one’s +audience. It is like shouting at one who has +sat down for a quiet chat. The shout should +be used at no distance less than a city block.</p> + +<p>No screen actress makes a shrewder use of +emphasis than Norma Talmadge. She seems +invariably to hold much in reserve with the result +that when she does let go in a big emotional +scene the effect is brought home to the +audience with telling force. There are other +actresses who play with reserve. But it is important +that with Miss Talmadge her repression +seems ever illuminated by the fires of potential +emotion.</p> + +<p>The student of the screen will do well to +study these matters of emphasis and repression. +They are all important. Our manner +of life itself is an accepted repression, outlined +by laws for the streets and conventions for the +drawing room. From the screen viewpoint repression +is a vital thing, if for no other reason +than the fact that it gives the audience a +<span class="pagenum" id="Page_84">[Pg 84]</span>breathing spell. After a breathing spell it is +the better disposed to appreciate emphasis.</p> + +<p>Whenever I study a scenario or story it is +with an eye for the contrast of moods and the +situations that call for emotional emphasis. I +plan in advance of the actual camera work the +pace at which I will play various stages in the +development of the story. By shutting my eyes +I can almost <i>see</i> how the part will look upon +the screen. If there is a sufficient contrast of +moods and opportunity for emphasis I feel that +I shall, at least, be able to do all within my +power to make the story a success.</p> + +<p>The physical strain before a camera is a peculiar +thing. At no time is the motion picture +actress or actor called upon for a sustained +performance such as is true on the spoken +stage. For that reason we should theoretically +be in condition to put forth our very best +efforts on each of the short scenes or “shots”—averaging +not over two minutes in photographing—that +we are called upon to do. The +ordinary director is well satisfied if he averages +twenty “shots” a day during production.</p> + +<p>But here, I should say, appearances are deceiving. +Genius has been described as the +ability to resume a mood. In the case of motion +pictures it is necessary that a mood be resumed +not once or twice, but possibly twenty +times during a day.</p> + +<p><span class="pagenum" id="Page_85">[Pg 85]</span></p> + +<figure class="figcenter illowp65"> + <img class="w100" src="images/p085.jpg" alt="Norma Talmadge"> + <figcaption> + <p><i>Norma Talmadge whose acting is notable for its +admirable repression.</i></p> + </figcaption> +</figure> + +<p><span class="pagenum" id="Page_87">[Pg 87]</span></p> + +<p>This is no less important than it is at first +difficult. There may be an hour or two hours’ +interval between scenes—often longer than +that—and picking up the thread of the story +where it was dropped, the actress must resume +the mood of her characterization.</p> + +<p>I can suggest no better aid to this undertaking +than retiring to one’s dressing room and remaining +quiet. Absolute quiet is an excellent +thing for the actress during the working day. +It gives her a rest from the turmoil of the +studio set. It provides her a chance to do a +little mental bookkeeping on the part she is +playing. I have found it a great help.</p> + +<p>This ability to resume a mood, however, +soon becomes something that is subconsciously +accomplished and for that reason need not be +too much worried over by the beginner.</p> + +<p>There is one quality on the screen that the +audience always likes. That is vivacity, and +by vivacity I mean both of the face and the +body.</p> + +<p>Vivacity in this respect is a lively and likable +sort of animation which goes a long way +toward establishing that mercurial quality +which is known as “screen personality.”</p> + +<p>I have never heard anyone give a very good +definition of “screen personality.” The most +that can be said is that some seem to have it +and some don’t. Certain it is that it is valuable +quality, for it will not stay hidden.</p> + +<p>In the news weeklies that are so popular on +the screen I can, in a group of men or women, +<span class="pagenum" id="Page_88">[Pg 88]</span>almost instantly pick those persons who have +screen personality. It makes them stand out +sharply in contrast to their companions. Ex-President +Wilson, for instance, has screen personality +while President Harding, I am certain, +will make a better President than he +would an actor.</p> + +<p>The movement of the body contributes to +this sought after animation. The body is almost +the equal of the face in expression and +the way to talk and use the hands and feet are +things that must be sedulously studied.</p> + +<p>Many stage directors have advised famous +actresses to “learn how to walk” and before a +camera one not only has to learn how to walk +but how to walk in many different ways.</p> + +<p>We would not, for example, expect a little +girl on New York’s East Side to employ the +same body carriage as a society girl walking +down Fifth avenue. There seem to be so many +schools of walking!</p> + +<p>Thus in going over a part it is of the utmost +importance that we decide upon the way our +heroine is going to carry herself and then +throw our body, as well as our thoughts and +expression, into our role. I have often used +this matter of walking—I was about to say art +of walking—to very good effect. I should advise +the beginner to observe the many different +<span class="pagenum" id="Page_89">[Pg 89]</span>ways in which various persons accomplish expression +through the movement of the body.</p> + +<hr class="tb"> + +<p>It was in the early days. It was in Yonkers. +We were making “The Escape.” It was a +street scene and we were working with a concealed +camera. Mr. Donald Crisp was playing +the brutal husband. He drew back his fist to +strike me. I was the forlorn wife.</p> + +<p>“If yu’ touch that lady I’ll knock yer block +off,” said a threatening voice.</p> + +<p>It was a young Yonkers bravo. Absorbed +in the scene he had forgotten that it was acting, +particularly with the camera concealed.</p> + +<p>I often think of that incident when at a picture +play I hear someone say: “People don’t +act like that in real life.”</p> + +<p><span class="pagenum" id="Page_90">[Pg 90]</span></p> + +<hr class="tb"> + +<p>If I were a director there is nothing I should +rank as more important than rehearsals. I do +not mean merely running over the scene before +it is filmed. All directors do that. The ideal +rehearsal is one which calls together the leading +parts perhaps a week before production +and meticulously works out every vital scene +in the story.</p> + +<p>No director of the spoken stage would +think of producing a play without doing this. +Yet in motion pictures a production that may +cost twenty times as much as the average +spoken drama is often put on with twenty +times less of care in rehearsal. It is illogical +and costly.</p> + +<p>Working with the director of the type who +leaves everything until the last minute the +actor or actress feels a strain that takes away +from the performance rendered. On the other +hand where painstaking rehearsal is practiced +the actor acquires a poise and deftness of +touch that justify the preliminary preparation, +say nothing of the labor spared in editing.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_91">[Pg 91]</span></p> + + + <h2 class="nobreak" id="CHAPTER_IX"> + CHAPTER IX + </h2> +</div> + +<p class="center"> +<i>Long shots, intermediates and close-ups—“Hogging</i><br> +<i>the camera” and ingenious leading men—</i><br> +<i>Keeping one’s poise under fire.</i> +</p> + + +<p>While the actress will exert herself in +every “shot” or “take”—as the separate exposures +of a scene are called—she comes to +know that the result of her acting upon the +screen is greatly influenced by the distance +from the camera that she has worked.</p> + +<p>There are, for our present purposes, three +different distances which we work from the +camera. There is the long shot, the intermediate +and the close-up or insert. With the gradations +of these we need not now concern ourselves.</p> + +<p>The long shot is usually taken to establish +the atmosphere and setting of a scene. In this +the actress finds herself ordinarily so far from +the camera that her facial expression registers +indifferently. For that reason the body movement, +with which she is playing a character, +substitutes for facial expression. She is known +<span class="pagenum" id="Page_92">[Pg 92]</span>to the audience by her costume and carriage +and makes her appeal largely through these.</p> + +<p>Most of the dramatic action is now played +at three-quarters length; that is from the face +to the knees. As we weave in and out of a +scene, very often the entire body is shown and +the feet have their opportunity for expression—they +assuredly act!—but the majority of the +intermediate shots through which the dramatic +action is conducted cut off the lower part of +the body.</p> + +<p>Here, in brief, is the combination of facial +expression and bodily movement that establishes +the actress. It will be through the intermediate +shots that my candidate will make or +break. All our preparation for a part and our +fitness for it are here brought to the test.</p> + +<p>An important item in this phase of screen +acting is the effect that those playing opposite +will exert upon one. The good actor or actress +helps one. Things seem to swim along. Work +becomes a pleasure!</p> + +<p>But very often the actress will find that she +is forced to work opposite other actresses or +actors whose style is disagreeable. If they are +too loud or too full of antics it has the effect +of taking your mind off your work—if you let +it! In such a case very often the director +will observe the difficulty and a word of caution +spoken in private to the offending actor or +actress will improve conditions.</p> + +<p><span class="pagenum" id="Page_93">[Pg 93]</span></p> + +<p>But sometimes the director is not observing +and you are forced to make the best of conditions. +I recall one rather well-known actor +who, to use a frank expression, “spits as he +talks.” If I should ever be compelled to play +opposite him again I should prepare myself +either with an umbrella or a bathing suit. I +think it was only his total unconsciousness of +this habit that made it possible for me to continue.</p> + +<p>We women are told that we are very vain. +Perhaps we are. But if my experience with +male actors may be taken as a criterion I should +say that vanity has been pretty well distributed +throughout the world.</p> + +<p>With a few notable exceptions, I make bold +to affirm that the leading man counts that day +lost when he has not stolen the camera from +the star (poor girl!) not once but several times. +In the profession we call this “hogging the +camera.”</p> + +<p>The tricks that some of these amiable gentlemen +will play to keep themselves in the immediate +center of the foreground deserve +nothing less than a volume. This leads to many +amusing experiences.</p> + +<p>I remember one leading man who had a habit +of falling back from the camera during the +progress of a scene. The result of this, of +course, was to turn me toward him, leaving +my back exposed to the camera. He was very +<span class="pagenum" id="Page_94">[Pg 94]</span>ingenuous. I thought, at first, the habit was +unintentional.</p> + +<p>But as work upon our play progressed he +repeated this maneuver often enough to convince +me that I was dealing with a rather +clever artist in his way. I began to anticipate +him. When he started to drop away from the +camera, instead of turning toward him, as I +had previously done, I stood still and practiced +talking over my shoulder.</p> + +<p>This had the value, at least, of showing my +face and not my back to the audience. In addition +it gave me an unequal prominence in the +picture, since he was standing three or four +feet behind me. Realizing his disadvantage he +quickly resumed a position beside me and +thereafter abandoned his little trick.</p> + +<p>Since that time, however, I have seen him +in other plays and he is quite as original as +ever.</p> + +<p>I might go on indefinitely with such instances. +Enough that the artist must be on +her guard for it seems to be acting-nature to +want to “hog the camera.” But as the stars +and directors are aware of this tendency its +accomplishment has become more difficult.</p> + +<p>It is particularly trying, too, to play opposite +one of your own sex who insists upon over-acting. +This is a common case. This kind of +actress generally realizes that she has but a +few important moments before the camera and +is determined to make the best of them even if +she has to “act the star off the set.” I have +actually felt sometimes as though I were being +pushed from the stage by some actress, who, +without any particular reason, has come in like +a whirlwind.</p> + +<p><span class="pagenum" id="Page_95">[Pg 95]</span></p> + +<figure class="figcenter illowp100"> + <img class="w100" src="images/p095.jpg" alt="A long shot"> + <figcaption> + <p><i>A long shot, the author, and some screen beginners in the days of “Hoodoo Ann.”</i></p> + </figcaption> +</figure> + +<p><span class="pagenum" id="Page_97">[Pg 97]</span></p> + +<p>The beginner will find himself best off if he +does not let the style of those playing opposite +him affect him too much. If the style is good +take advantage of it. It will be real help. If +it is bad one should the more concentrate upon +his part and thus maintain his own poise under +difficulties.</p> + +<p>If in these important intermediate shots +where the most of the dramatic action is sustained +we remember the various points that we +have discussed we should come off acceptably.</p> + +<p>The silent drama is silent only in its completed +product. Before the camera lines are +spoken and it is of utmost importance that +they be pronounced clearly and with feeling.</p> + +<p>In spoken sub-titles that are expressively +mouthed and well-timed in the cutting, the sub-title +seems to blend in with the voice—though +it be unheard—of the speaker, particularly so +to the spectator who is clever at lip-reading.</p> + +<p>While it is not necessary to memorize a great +number of lines, as on the spoken stage, it is +necessary that those lines which are read be +given with the correct shade of feeling, just as +they should be on the dramatic stage.</p> + +<p>Lines are particularly important to many +persons who show a maximum of expression +<span class="pagenum" id="Page_98">[Pg 98]</span>while speaking. Here the silent voice is a genuine +asset.</p> + +<p>Most close-ups, or inserts, as we call them, +are of the face alone. Sometimes there may +be a close-up of a hand, a foot, etc., but the +most acceptable style of direction these days +seems to be not to overdo in this respect.</p> + +<p>In the close-up the face of the actress is +usually about 24 inches from the camera. +Every line of her face, every thought, indeed, +her very soul, will now be more or less registered. +Nothing, in the whole range of screen +acting, is more effective than the close-up.</p> + +<p>The insert is always to depict a particular +emotion. In a single scene, in the intermediate +shots, we have perhaps expressed several degrees +of feeling but in the insert it is a matter +of one emotion at a time.</p> + +<p>Here we are not aided by the action or expression +of any brother artist. It is entirely +a matter of imagination or feeling. The lens +of the camera, like the eye of a Cyclops, is +staring sheerly at us and it is not necessary to +feel its breath to believe that it is a living thing.</p> + +<p>When called upon for an insert we know +precisely the emotion that we are supposed to +express and will bend every effort to concentrate +upon it.</p> + +<p>To begin with there are two important +things to remember in the insert. One is that +the make up should be very much lighter than +<span class="pagenum" id="Page_99">[Pg 99]</span>in the long or intermediate shots; the other, +that the action will be slower.</p> + +<p>The reasons are fairly obvious. If the same +make up that is used in the dramatic action is +continued it becomes immediately too conspicuous. +Slower action is necessary because +at the distance of two feet the camera is limited +in the speed of movement that it can faithfully +record.</p> + +<p>In the insert we are ever reminded of the +value of repression. The mere expression of +the eyes may be all that is necessary to convey +to the audience the emotion of the player. The +truth is that the effectiveness of the close-up +seems to be in inverse proportion to the amount +of facial action in it.</p> + +<p>When we behold an insert in which there is +much grimacing and contortion of the face we +realize that there is no real depth of feeling. +It is playing at feeling.</p> + +<p>On the other hand I have seen vital emotion +so delicately expressed in the insert that its +effect was haunting and beautiful. Observe +in “Broken Blossoms” and “Way Down East” +the close-ups of Lillian Gish.</p> + +<p>Much as the good old “back spot” is popular +among the fluffy blonds, so is the insert welcomed +by all screen actresses. We believe that +it shows us off at our best and brings us nearer, +as it were, to our audiences.</p> + +<p>Yet there are some actresses favored over +others by the insert. One whose features are +<span class="pagenum" id="Page_100">[Pg 100]</span>naturally coarse, or hard, loses something +when in close contact with the camera. Others, +like myself, who have small features, and believe, +therefore, that we are often at a disadvantage +in the long and intermediate shots, are +only too glad of the opportunity to prepare for +an insert.</p> + +<p>Indeed, our directors sometimes make a jest +of saying that we seem to want a drama of +inserts. But it is never quite so bad as that.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_101">[Pg 101]</span></p> + + + <h2 class="nobreak" id="CHAPTER_X"> + CHAPTER X + </h2> +</div> + +<p class="center"> +<i>Atmosphere and studio morale—Where best work is</i><br> +<i>done—Importance of story—Value of</i><br> +<i>“Observation Tours.”</i> +</p> + + +<p>The beginner has learned that he or she +must at all times stand solidly before the camera +upon his or her own feet. I mean this in +a metaphorical sense. So much depends upon +courage and self-reliance.</p> + +<p>If it is well not to let the style of supporting +artists affect one, it is equally well to steel one’s +self against the conditions under which one +must sometimes work.</p> + +<p>The motion picture, after all, is a commercial +proposition. It is very much so to the producer. +For that reason the beginner will find +that different studios create and maintain their +own atmosphere. Here one will discover a +wide range. But since we may consider ourselves +called upon to work now in New York, +again in California, and sometimes in Florida, +passing from studio to studio, we shall win a +big battle if at the outset we will determine to +<span class="pagenum" id="Page_102">[Pg 102]</span>let conditions and studio atmosphere affect us +as little as possible.</p> + +<p>It is here, again, a case of taking advantage +of conditions if they are good, and trying to +ignore them if they are distasteful.</p> + +<p>I know from experience that this will be a +hard thing to do. If the actress finds, in the +very air of which she breathes, unpleasantness +and intrigue, she will be normally inclined to +resent it hotly. Yet such resentment only +takes away from her acting, for it diverts her +mind, and she will be the greater loser as between +herself and her producer.</p> + +<p>I have worked under such profound systems +as considered studio spies and time charts upon +make up, etc., as necessary to production. I +will leave it to the reader to decide how much +morale one will find in this sort of studio.</p> + +<p>Fortunately such a studio and such a morale +are the exception. But, if encountered in the +many vicissitudes that an actress will face, it +will be well to make the best of it; to steel one’s +nervous system against odds. Self-reliance in +such a case is no less than golden.</p> + +<p>But in the majority of studios the manufacture +of motion pictures is not put upon the +same level as the making of gloves or brooms, +and the beginner will find a kindly and friendly +atmosphere both charming and helpful.</p> + +<p>In those studios that glow with a warm, +friendly atmosphere there is always a good-natured +rivalry and spirit of fellowship which +<span class="pagenum" id="Page_103">[Pg 103]</span>is certain to reflect itself in the finished picture. +For that reason it is a genuine asset. +Here hours are buoyant minutes and the actors +and directors find their reward in the excellence +of their endeavor, as well as somewhere +in Heaven.</p> + +<p>Another point that the beginner must remember +is that it is much harder to make good +in pictures now than it was when I started. +That, of course, is because of the greater competition.</p> + +<p>Where ten years ago there was one boy or +girl ambitious for a screen career there are +now a thousand. I often think that the screen +has been very kind to those who had faith in +it in its babyhood. It has brought to so many +of these fame and fortune.</p> + +<p>And sometimes, when I observe some fairly +competent actress or actor thwarted in an attempt +to reach stardom, I wonder if the screen, +after its own fashion, is not asserting itself for +this lack of faith in those early days.</p> + +<p>At any rate those who got in first secured a +big advantage over those who wondered if a +multiple-reel picture could be a success and +doubted it for, as some said, “It would be too +great a strain upon the eye.”</p> + +<p>But if there are more aspirants now there +are assuredly more opportunities and my candidate +need have no fear. Sooner or later +merit may be counted upon to assert itself. All +<span class="pagenum" id="Page_104">[Pg 104]</span>about us in motion pictures we every day perceive +the truth of this.</p> + +<p>It is also true that the screen is in a state of +constant change. The methods of acting +change; the methods of direction; the methods +of presentation; the methods of story selection—all +is continually in flux.</p> + +<p>No one knows what another five years will +bring. But we do know that some of our +prized pictures of five or more years ago would +be instantly pointed out as old-fashioned by +the average theater-goer. That is because +there is no fundamental point about them that +has not been somehow affected by time.</p> + +<p>Yet no pictures I ever will make will be +dearer to me than my “The Sands of Dee,” +“Apple Pie Mary,” “The Little Liar,” “The +Escape,” “Hoodoo Ann,” “The Wharf Rat,” +etc.</p> + +<p>This constant evolution is a matter to be +reckoned with. To stand still is to be lost. We +must always be pushing ahead. For that reason +the beginner and the star will find it greatly to +their advantage to follow everything that is +done on the screen.</p> + +<p>In unexpected places we discover new development. +Some unheard-of player in a boisterous +two-reel comedy may disclose some little +trick, or expression, or bit of business, that +can be easily interpolated in the more serious +drama with good effect. And so on.</p> + +<p><span class="pagenum" id="Page_105">[Pg 105]</span></p> + +<figure class="figcenter illowp65"> + <img class="w100" src="images/p105.jpg" alt="Gloria Swanson and Thomas Meighan"> + <figcaption> + <p><i>A pair excellent in its screenic balance—Gloria Swanson +and Thomas Meighan.</i></p> + </figcaption> +</figure> + +<p><span class="pagenum" id="Page_107">[Pg 107]</span></p> + +<p>We must read widely. Try as they may, +we can be mortally certain that no scenario +editors can always supply the vehicle which we +feel is suitable for us to play. There will come +a time when the actress will be thrown upon +her own resources, either in the matter of rejection +or selection of a story. She must be +able to put her finger on what she considers a +vital defect in some narrative that appeals to +the editor, or discover for him good points in +some other story against which he is prejudiced.</p> + +<p>In any event it will be extremely hazardous +not to participate as much as possible in the +business of deciding upon the play.</p> + +<p>Nothing is so vital as a good story. Even +when poorly acted it will be of greater appeal +than a well played scenario of no merit. Motion +picture actresses prosper almost in exact +ratio to the inherent worth of their scenarios.</p> + +<p>At first this story matter will not greatly +concern the tyro. But as the beginner finds +himself or herself slowly crawling up the ladder +to stardom he or she will do well to think +often upon the type of story to be preferred if +given a chance to star.</p> + +<p>By this process the beginner will be visualizing +himself in a role. Of a certain his most +pleasant visualization will be the role in which +he feels that he would be at his best. In such +a way, when the chance comes, the star may +<span class="pagenum" id="Page_108">[Pg 108]</span>know exactly the story he or she will fit perfectly.</p> + +<p>Once the story is decided upon there are +many ways to bring to it genuine color. In +several of my early plays Mr. Griffith sent me +down into the New York slums on an “observation +tour.” We all made such tours. In “Intolerance” +I visited sick and stricken mothers +in baby hospitals. We spent a half-day once +in a jail observing the characters therein.</p> + +<p>It is always important in acting to show a +thing as it is, not as we think it ought to be, +and for that reason these “observation tours” +are of great benefit.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_109">[Pg 109]</span></p> + + + <h2 class="nobreak" id="CHAPTER_XI"> + CHAPTER XI + </h2> +</div> + +<p class="center"> +<i>Mr. Griffith and some of his methods of direction—</i><br> +<i>What everyone associated with the screen</i><br> +<i>owes to him—About patience.</i> +</p> + + +<p>I have planned all along to dedicate this +chapter to Mr. David Wark Griffith, and now +that I have arrived at it, I find that my pen is +unequal to the task. No mere chapter, nor +book, could undertake to tell Mr. Griffith’s importance +to motion pictures. The things that +he has accomplished in the past ten years, invariably +in the face of great odds, almost pass +belief.</p> + +<p>For Mr. Griffith I have the strong and mixed +feeling that the child has for its benefactor, or +the student for a beloved preceptor. At an +age now where I can more appreciate the many +trials that he endured I look back fondly to +those days when Mary Pickford, Blanche +Sweet, Lillian and Dorothy Gish, Robert Harron, +and myself were beginning our careers +and at the same time founding what has come +to be known as the Griffith school.</p> + +<p><span class="pagenum" id="Page_110">[Pg 110]</span></p> + +<p>Nor were we all. If the list of actresses, +actors and directors who spent the formulative +days of their screen careers with Mr. Griffith +were compiled I believe it would be found to +include many of those who have reached the +heights. Mr. George Loane Tucker, Mr. +Thomas Ince, Mr. Marshall Neilan and Mr. +Raoul Walsh, to name but four, were directors +that he started on the road to success.</p> + +<p>Those were the days of the old Biograph. I +am sure they were of the happiest that any of +us ever have spent. We made two-reelers then. +But we made good two-reelers. And the guiding +genius of the organization was Mr. Griffith, +tireless in his quest for something new, something +big, something that would expand and +elevate this new art to which he had pledged +his very soul.</p> + +<p>His energy in those days, just as it is now, +was astounding. Traveling from New York +to Los Angeles not long ago, I happened to +meet aboard the train Mr. Griffith’s private +secretary.</p> + +<p>“He seems never so unhappy,” she said, “as +when he is taking a day off. He mopes around +the studio, hands in his pockets, with an air +almost comical. It is as though he were +silently resenting such foolishness as days off.”</p> + +<p>With this energy I remember those early +days best for Mr. Griffith’s infinite patience. +I can truly say that he had the patience to make +us succeed. He never despaired no matter how +<span class="pagenum" id="Page_111">[Pg 111]</span>backward we might be. He kept at us constantly +to bring out the best that was in us. +And even on those extraordinary occasions +when he seemed to lose patience—usually when +we had worn his nerves to a frazzle—we always +had that wonderful feeling that he was +intensely loyal to all of us.</p> + +<p>Those were the days when in addition to +schooling us to pictures Mr. Griffith was constantly +experimenting with such things as +close-ups, fade-outs, etc., that were to revolutionize +the entire picture drama and lift it +above the atmosphere of the nickelodeon.</p> + +<p>For he did lift it. And he is still lifting it.</p> + +<p>Not only those privileged few of us who consider +ourselves of the Griffith school are indebted +to his genius. Every actress, or actor, +or director, on the screen today, who has a +weekly salary that runs into three figures, can +thank Mr. Griffith for making motion pictures +big and prosperous enough to so recompense +them.</p> + +<p>It is not the money that Mr. Griffith has +made possible, but the dignity that he put into +this new art for which we are most beholden +to him. Motion pictures were lightly held until +“The Birth of a Nation” shook an entire continent +and showed the deep significance and +possibilities of the screen art.</p> + +<p>It took the courage of the born fighter and +worlds of confidence to put on such a picture as +“The Birth of a Nation.” For here at one step +<span class="pagenum" id="Page_112">[Pg 112]</span>he was doing the unheard of thing, the thing +almost everyone in the profession said was impossible. +But it wasn’t impossible to Mr. +Griffith. He did it.</p> + +<p>He has continued to do things just as fine. +And if there is one fault to which the most of +us are addicted it is that we have come to expect +more than is humanly possible of this +patient, humble genius.</p> + +<p>In my correspondence I am often asked +many questions regarding Mr. Griffith’s manner +of directing. Wherein is it different from +other directors? Wherein does it excel? How +is it possible to become associated with him? +Can he make anyone a star? And so on.</p> + +<p>These questions are, in a way, difficult to +answer. So far as I know Mr. Griffith possesses +no magic lamp by which he makes a star +out of anyone. It is not any one quality—unless +it be patience—but a combination of +many that make him the foremost of our +directors.</p> + +<p>Mr. Griffith is extremely human. There is +no unnecessary flourish, or blowing of trumpets, +about his manner of direction. That has +the simplicity of true greatness. He never +lords it over his players as I have seen some +directors do. He is kindly, sympathetic and +understanding.</p> + +<p><span class="pagenum" id="Page_113">[Pg 113]</span></p> + +<figure class="figcenter illowp65"> + <img class="w100" src="images/p113.jpg" alt="Mr. Griffith"> + <figcaption> + <p><i>Mr. Griffith, at the left, directing a scene in +“Intolerance.”</i></p> + </figcaption> +</figure> + +<p><span class="pagenum" id="Page_115">[Pg 115]</span></p> + +<p>Perhaps we are about to do a very vital +scene. Mr. Griffith tilts back in his chair—he +has a manner of directing while seated—and +may say to the actress:</p> + +<p>“You understand this situation. Now let us +see what you would do with it.”</p> + +<p>Here is a direct challenge. The actress is +put upon her metal. After giving the matter +careful consideration she plays the scene after +her own idea. If she does it well no one is +quicker in his praise than Mr. Griffith. If +otherwise, no one is more kindly in pointing +out the flaws.</p> + +<p>In other words, Mr. Griffith gives the actress +a chance. How different from other directors +I have seen. They might say under the same +circumstances:</p> + +<p>“You understand this situation. Now here +is the way to do it. Follow me closely.”</p> + +<p>With that the director will proceed to act +out a scene according to his notion of how a +woman would conduct herself under given circumstances. +The flaw in this is obviously that +a man and woman have a way of acting differently +in the same situation and Mr. Griffith, by +letting the actress show what she would do, is +shrewd enough to profit by Nature. Our self-sufficient +director, on the other hand, wants us +to act only as a man would think a woman +<i>ought</i> to act in a given situation.</p> + +<p>In this way Mr. Griffith draws out the best +that is in his players, and, by seeming to depend +upon them to stand upon their own feet, +maintains an enthusiasm among his players—a +<span class="pagenum" id="Page_116">[Pg 116]</span>sort of big family spirit—that I never have +seen equalled in any other studio.</p> + +<p>I hope no one understands me to say that the +actress, under Mr. Griffith, has the say of how +she shall act. Quite the contrary! No one has +a way of bringing a player more abruptly to +his or her senses when he or she is unqualifiedly +in the wrong.</p> + +<p>And no matter how well we think we have +outlined a scene Mr. Griffith may entirely +change it. When he does change it we know +it is for a reason other than a fondness for +showing authority. In other words, he has +built up among his artists a great and abiding +faith in his ability to do the right thing at the +right time, or, as importantly, have it done.</p> + +<p>For another thing, Mr. Griffith is big enough +not to be small about receiving suggestions. +His people know that, with the result that they +are always thinking up something to put into +a scene that has not been written there. He +listens attentively to these suggestions, even +though he knows in advance that he probably +cannot use one in a hundred of them. Yet that +one may be important enough to balance the +patience expended in listening to the other +ninety-nine.</p> + +<p>To illustrate:</p> + +<p>In “The Birth of a Nation,” when the Cameron +house was being mobbed by frenzied +negroes and the family had barricaded itself +in the cellar it was a matter of some moment +<span class="pagenum" id="Page_117">[Pg 117]</span>how the little sister, which part I was fortunate +enough to play, would be affected.</p> + +<p>I can hear your average director:</p> + +<p>“Roll your eyes,” he would say. “Cry! Drop +to your knees in terror.”</p> + +<p>In other words, it would be the same old +stuff. It is this same old stuff that makes so +many pictures positively deadly. The least +that can be said about this conventional style +of doing things is that, if it cannot be criticized, +neither can it be applauded.</p> + +<p>Mr. Griffith, when we came to the cellar +scene, asked me if there had ever been a time +in my life when I had been filled with terror.</p> + +<p>“Yes,” I said.</p> + +<p>“What did you do?” he inquired.</p> + +<p>“I laughed,” I answered.</p> + +<p>He saw the point immediately.</p> + +<p>“Good,” he said. “Let’s try it.”</p> + +<p>It was the hysterical laugh of the little girl +in the cellar, with the drunken mob raging +above, that was, I am sure, far more effective +than rolling the eyes or weeping would have +been.</p> + +<p>Mr. Griffith is quick to appreciate the involuntary +action of one of his actresses while a +scene is being played or rehearsed. As for +instance, in the court room scene in “Intolerance” +(“The Mother and the Law”) when I +began unconsciously to wring my handkerchief +and press it to my face.</p> + +<p>“Good,” he said, “keep it up!”</p> + +<p><span class="pagenum" id="Page_118">[Pg 118]</span></p> + +<p>We are gratified when Mr. Griffith accepts +any suggestion for business, etc., for we know +he has a fine sense of distinction and, for every +idea we give him, he returns a hundred.</p> + +<p>This system of suggestion extends beyond +the players to the mechanical department with +the result that camera men and assistants, as +well as assistant directors, are always on the +alert for something new. They know their +suggestion will be given due consideration. +And for that reason to Mr. Griffith and his +staff we owe credit for most of the new inventions +of telling a story by pictures. This director +is as expert in the mechanics of his art +as he is bold in story conception.</p> + +<p>We are familiar with that smoky, hazy, +beautiful close-up that Mr. “Billy” Bitzer invented +by using gauze or placing the camera +slightly out of focus. In some recent pictures +bearing the “D. G.” stamp I have seen some +beautiful blue values that I have not elsewhere +observed.</p> + +<p>I find the space allotted to this chapter beginning +to dwindle with a sense of having left +unsaid so many important and interesting +things about this wonderful director and his +methods. But someday someone will set down +the true estimate of the man who has done so +much for the picture drama. And Time will +write it even larger.</p> + +<p>Many of us are deeply indebted to Mr. +Griffith and none of us owe that which can be +<span class="pagenum" id="Page_119">[Pg 119]</span>repaid. For he gave us of his genius and personality +and for these there is no return coin.</p> + +<p>Other directors I have had of many experiences +and varied training. Sometimes we have +succeeded and sometimes we have failed, and +success is made only the more sweet by taste of +failure. But whether we failed or succeeded +we know, all of us, that we did our level best. +That is something.</p> + +<hr class="tb"> + +<p>In the matter of public acknowledgement +the stage has never been so kind to its directors +as the screen. We think of Belasco, Hopkins, +Cohan, not forgetting Mr. Oliver Morosco, +and are almost done.</p> + +<p>But on the screen, to name a few of many, +there are the De Milles, with their uncanniness +in seeming to make the screen talk; Tucker, +with his painstaking thoroughness and ability +to limn the separate values of a story; Neilan, +with his quality of gay, unexpectedness; Tourneur, +with his grand manner of picturization; +Dwan, with his workman-like comprehension; +Fitzmaurice, with his ability to make every +scene beautiful as a painting; Walsh, with his +all-around cleverness—all these are famous, +and there are more.</p> + +<p>No medium has equalled the screen in its +kindness to those who do creditable work. +Witness, for instance, our camera aristocracy.</p> + +<hr class="tb"> + +<p>While I have ridden faster than seventy +<span class="pagenum" id="Page_120">[Pg 120]</span>miles an hour in an automobile, have been +“ducked” in lakes, rivers, and oceans—two of +them—have braved the wintry blasts of New +England until I thought I was frozen, and +done scenes with tigers, bears and lions, I have +never feared greatly for my personal safety +nor need the beginner.</p> + +<p>In really dangerous scenes “doubles”—acrobats, +trick jumpers, bareback riders, animal +trainers, etc.—dress in feminine garb to resemble +the star, assume the role being played +and risk death or danger for so many dollars +a day. The star’s services are too valuable to +the producer for him to allow her to take any +unnecessary chances.</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="chapter"> + +<p><span class="pagenum" id="Page_121">[Pg 121]</span></p> + + + <h2 class="nobreak" id="CHAPTER_XII"> + CHAPTER XII + </h2> +</div> + +<p class="center"> +<i>Opportunity for home life of motion picture actress—</i><br> +<i>Los Angeles and New York as production</i><br> +<i>centers—Screen morals and such.</i> +</p> + + +<p>In this final chapter I shall try to say something +about the home life of the motion picture +actress. In general actresses are of two +classes: those who act both on and off the +screen, and those who confine their efforts +merely to the studio.</p> + +<p>The first class is not particularly open to +censure. For, unless I am mistaken, the public +desires to see its actresses act on an average of +sixteen out of twenty-four hours. One friend +of mine, a star, stoutly maintains that she +would not go to the theater in anything except +the most up-to-date garb and a conspicuous +car! Why? Because otherwise there would +be sure to be many who would be disappointed +in her! If there is anything funny about this +it is that it is somewhat true.</p> + +<p>Actresses, as public favorites, maintain a +peculiar position, as Gil Blas points out, somewhere +between royalty and the citizen without +<span class="pagenum" id="Page_122">[Pg 122]</span>being of either. The public seems to feel something +of pride when it points out some glittering +dreadnaught of an automobile, conspicuous +for color or equipment, and says, “There goes +Dolly Twinkletoes!”</p> + +<p>Personally I have never had this inclination +to act both “off and on.” I am afraid, having +been of a large family, I should have found it +extremely difficult even had I the inclination. +A number of sisters, and a brother or two, are +a fine cure for any tendency to undue importance.</p> + +<p>And now that I have an especially charming +daughter, and am happily married, I must +really be set down as a conservative. That +baby of mine! Being detained beyond hours +at the studio one night I hurried home to see +her before she was tucked in bed, having no +time to take off my make up. She gazed at +me as though she were beholding a ghost or a +total stranger!</p> + +<p>A Chicago picture critic once gave me such +advice as I think fit to pass on to those who +think of the screen as a career. “Save the pennies,” +she said, “they can always be spent if +you have them.”</p> + +<p>Yet how many, with a splendid opportunity, +do not save! Then some day they wake up and +find their golden chance gone. As an old +philosopher has pointed out, we, who find +money so easy at times, must guard against intemperance +and folly.</p> + +<p><span class="pagenum" id="Page_123">[Pg 123]</span></p> + +<p>But this is not a sermon. We live up in the +beautiful California mountains. There, in a +colonial house on a small acreage, with flower +and vegetable gardens, Airedales, chickens, a +car, a cow, and a cat, I have a feeling of substantial +worth-while happiness and that is the +kind that counts.</p> + +<p>Indeed, one of the best things about motion +pictures is that it permits of a home life. The +actress in vaudeville or on tour, or even on +Broadway with the uncertainty of the length +of runs, never has any surety where she will +be on the morrow. We, in motion pictures, +are fortunate enough to sign contracts that +usually call for a year or more work in one city +and that New York or Los Angeles. This, I +should say, is one of the most advantageous +things about the screen as contrasted with the +spoken drama. There are many others.</p> + +<p>Since Los Angeles and New York are the +two centers of the motion picture industry each +has its staunch advocates as to suitability, etc. +In any group of actresses and actors this will +usually be the topic of a lively discussion. Personally +I like Los Angeles. At a dinner that I +attended some time ago the head of a big distributing +company, who is interesting for his +shrewd observations, said there had never been +a really great picture done in New York City. +“For the entire atmosphere of life there,” he +continued, “is too superficial.”</p> + +<p>I agree with him. Los Angeles is friendly +<span class="pagenum" id="Page_124">[Pg 124]</span>and natural. Its climate is only one of its +many virtues.</p> + +<p>The screen actress will be called upon to +meet the people of the press. Interviews are +important. She will find that the number of +them will usually be determined by the degree +of success of her newest screen play. As for +screen writers, one will discover them, in the +majority, keen, sympathetic and altogether delightful. +No one need have the dread of coming +in contact with them that I originally had; +nor resort to the subterfuges to evade them. +I was very young then.</p> + +<p>Public appearance is another factor the +screen has to deal with and sometimes I think +this is rather overdone. During the separate +campaigns for the sale of Liberty Bonds all of +us tried to do our share. While I never hope +to be able to make a speech, I find that the +anticipation of being expected to do so fills me +with greater terror than actually being called +upon.</p> + +<p>I believe it is a good idea for the actress to +cultivate some companion art. In between +productions, or during an enforced vacation, +she will have something then as an off-set to +mere indolence. I have been interested in +sculpture for many years, and I have an ambition +to do something in it that will be of real +value. If I don’t, the ambition will have been +of real value, for it has assisted in providing +me with many happy and instructive hours. +That is the main thing.</p> + +<p><span class="pagenum" id="Page_125">[Pg 125]</span></p> + +<figure class="figcenter illowp100"> + <img class="w100" src="images/p125.jpg" alt="The author"> + <figcaption> + <p><i>The author at home and happy.</i></p> + </figcaption> +</figure> + +<p><span class="pagenum" id="Page_127">[Pg 127]</span></p> + +<p>The study of another art is interesting, too, +because we immediately perceive in its form +and substance the truth of the saying that all +arts are one. Sculpture is a matter of repression +and emphasis just as acting is. And when +I am doing the figure of my baby, or modeling +from life, I am startled to find that my errors, +in their way, are akin to the errors of the beginning +actress.</p> + +<p>There may have existed at one time a silly +idea that actresses shouldn’t marry; that it +hurt their box-office value, destroyed an illusion, +etc. As though actresses were not +women! Most of my actress friends are married +and glad of it. Almost without exception +those who have gone highest in the profession +are married. The public has invariably been +pleased about it.</p> + +<p>I should recommend any young actress to a +suitable husband. It will give her a better and +deeper insight into life and broaden her sympathy. +There is something a little pitiable, +something that doesn’t ring quite true, about +the actress too ready to boast of her star-spangled +freedom.</p> + +<p>I have often been asked about the morals of +motion pictures. Will someone tell me why +we, all of us, are so deeply concerned with our +neighbor’s morals? And when we find them +not all that could be desired are we filled with +<span class="pagenum" id="Page_128">[Pg 128]</span>sorrow and the wish to effect an honest reform, +or with a sort of unholy joy and a desire to +spread scandal?</p> + +<p>It has been my observation that in motion +pictures a girl can be as good as she wants to +be. In that way our profession is identical +with others. It is true that the glamour of the +screen has attracted people who would be undesirable +in any business or profession. But we +should recognize them as such and never mistake +them as representing the entire profession.</p> + +<p>The majority of those who succeed in motion +pictures do so by honest work. That means +long hours and application. I doubt if the average +successful business man puts in as much +time or as high-tension effort as the picture +actress, actor or director who gets somewhere. +My friends are of that kind. They are too +busy to worry unnecessarily over what the public +may think of motion picture morals. They +assume only to regulate their own conduct.</p> + +<p>I have enjoyed doing this book. From time +to time I have been forced to drop my work +upon the urgent appeal of my eighteen-months’ +old daughter. She has gorgeous blue eyes with +lashes long as twilight shadows. Her cheeks +are exquisitely pink and her little mouth is like +a rose-bud in spring. Her name is Mary. She +has brought me worlds of undreamed of happiness.</p> + +<p><span class="pagenum" id="Page_129">[Pg 129]</span></p> + +<p>Someday Mary may want to go upon the +screen. Even now she acts before the long +mirror. If she can, in any way, secure her +mother’s hat she gives a complete performance. +My blessed baby!</p> + +<p>When the time has arrived for her to start +upon her career I shall place my little book in +her hands and say:</p> + +<p>“There is the most and the best that I knew +about the screen back in those old-fashioned +days of 1921.”</p> + + +<hr class="chap x-ebookmaker-drop"> +<div class="transnote"> + <h2 class="nobreak" id="Transcribers_Notes"> + Transcriber’s Notes + </h2> +<p> + <span style="margin-left: 1.0em;">Inconsistent hyphenation has been retained.</span><br> + <span style="margin-left: 1.0em;">p. 30 changed “had” to “has” in “she has contributed”.</span><br> + <span style="margin-left: 1.0em;">p. 40 changed “The” to “the” in “Polly of the Circus”.</span><br> + <span style="margin-left: 1.0em;">p. 46 added a period in “mask. These people”.</span><br> + <span style="margin-left: 1.0em;">Removed excess whitespace at bottom of p. 89 and top of p. 90.</span><br> + <span style="margin-left: 1.0em;">p. 97 changed “diffculties” to “difficulties”.</span><br> + <span style="margin-left: 1.0em;">p. 99 changed “bonds” to “blonds”.</span><br> + <span style="margin-left: 1.0em;">p. 115 changed “closelly” to “closely”.</span> +</p> +</div> + +<div style='text-align:center'>*** END OF THE PROJECT GUTENBERG EBOOK 77829 ***</div> +</body> +</html> |