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It is a combination of both, if I may say so,” she answered in that deliberate, earnest way of hers.
We spoke frankly of her beauty; as frankly as we should have spoken of the beauty of a picture she had painted or a flower she had grown.
“Looks,” she presently went on, speaking slowly, and the process of thinking slowly indicated by the formation of two thin parallel depressions that ran, like an etcher’s lines, from brow to nose — “looks are a great asset to a girl just starting out to be an actress. The public and the managers are predisposed in favor of the attractive girl. Looks will very often get her her chance. But looks alone will take her only so far. I never placed my real reliance on mine.”
“You relied more on what’s called the temperament for the stage ?”
“I believe I have a very emotional nature,” she returned gravely. “Oh, not one that spills over for every sentimental triviality — not now, at any rate,” and she smiled wearily. “Emotions come to the surface quicker when one is young than when the years have gone by; and I have remembered my emotions, and, you might say, stored them for my work.”
“You remember how you felt when you were sixteen ?”
“Of course! What girl doesn’t? I remember how I thought of love, how I fell in love, when I was sixteen — what girl doesn’t? It was a thrill that filled every thought; nothing but love mattered. And I have,” she smilingly sighed, “found the memory of it very helpful in playing that act of The Varying Shore’ in which Julie is sixteen. I’ve tried to recreate from memory and give Julie some of those old (poor abused word!) ‘vibrations.’ I’ve even tried to remember and reproduce the unformed way in which a girl of sixteen speaks.”