Motion Picture Classic (Jan-Aug 1919)

LASSIC The Man Who Is Never Himself — [Continued from page 40) ntrting. Doesn’t sound remarkable or irilling so far, does it? But you must ■member that we were just entering oon the so-called ‘quiet school of acting’ id, therefore, what happened made a g impression. I was madly jealous of le man involved, and entered tensely, )oke my lines in a low, repressed voice, ;ted as we do now on the screen, with nphasis, but always slowly and thinking e hatred and jealousy, which changed ly whole being.” The broad arm-chair in which Mr. awcett had been sitting suddenly conprted itself into a tete-a-tete, one of lose foolish, gilded things with brooded seats that were in vogue twenty [■ars ago. There wasn’t any fuss, no ^plosive opening of doors, but a jealous dividual at white heat came over to jat cooing couple and hoarsely whisred words which burned themselves to one’s memory. And the timid lover cepted the ‘‘Here’s your hat, what’s lur hurry?” invitation and departed. ‘‘The next morning I was famous. I mt mean by way of newspaper fame, t among the profession, among the big rectors along the Rialto. They said, /ho is this chap Fawcett ?’ I think I it about everybody in the profession thin a couple of days. The papers intioned the little scene, and I felt I IS a made man. Unfortunately, I was ung enough to let it go to my head, d within the month following I was ting all over the place. Say, I was nply rotten! Then I woke up. I saw e immense power of that style of actg, but also the necessity for effacing .e’s own personality and living, breathg the part. /‘After that I did ‘Blue Jeans.’ I was Svengali, of course. Everybody has en a Svengali at some time of his life, pu get it just like the measles and liooping-cough, but some recover more ickly than others. I’ve known men to [jffer in that way for fifteen years I'aight running. Lackaye created the le in New York at the same time that created it in the second big show put 4, mine being on the road in all Eastla cities. Then I did ‘In Old Kenbky,’ played with the Palmer Stock Dmpany of New York, next was a seaIn with Maude Adams in ‘The Little ’inister,’ went to England for three ars, came back and did ‘The Squaw •an,’, and have been in any number of ays of note for many years past. I am ireful in drafting a part. 1 study it am every angle — what would the natul man do in this or that situation? lat is how an author writes. He places lii characters in every conceivable conpon and position with relation to other jaracters, and asks himself questions jnstantly. I am a firm believer in this fcthod. Then I always actually live the jrt during the time I am essaying it. I iild not conceive being myself and ijart from the character. Even at home must eat, think, work, dress and in all / Seventy-one) ways live as that character naturally, would. That is my creed — -not to live my own life as George Fawcett, but honestly to give every thought force and every moment of time to the character I am, for the sake of realism and naturalness.” ‘‘You’re evidently a firm believer in working on the psychological side of acting.” ‘‘Without psychology no man can be a great director or actor. One must have that psychological insight, that intuitiveness, which enables one not only to read the thoughts of another, but to see his possibilities. If I want to act the part of an Irishman I’ve got to know him well. I must study his make-up mentally, talk as he does, absorb his mannerisms, smoke, eat, drink as he would. I’ve been an Irishman for six weeks at a time and hugely enjoyed it. Bill Hart has cultivated this trait for years— there is not much variation to his plays, but his characters ! He’s lived every one. Why does he have such tremendous appeal? It’s his sincerity. You cant be an actor and just act a thing. You have got to live and feel it. Bill Hart comes into a room in that sincere, loving fashion, just like a big, clumsy, lumbering Newfoundland dog. It’s his helplessness in love that appeals to women, his strength in love that knocks the men flat, his childlikeness in love that makes the kiddies love him. He can put it right over on the screen. If you think right, it comes thru the camera. There are lots of things which will cover deficiency in stage productions, but on the screen you’ve got to feel and think right in order to make your work effective.” ‘‘How about directors? Might one not feel all this and still be hampered because made a mere puppet by a director?” ‘‘Nearly every director has some special talent. With one it is photography, with another handling of mobs, another revels in melodramatic effects. The ideal director has a sense of authorship, a sense of photography, he is a psychologist, he is susceptible, resilient, plastic, and, above all, he is a true actor. To my mind, Mr. Griffith more nearly approaches the ideal today than any living man. His great power lies in visualizing the entire production before he takes a single shot. As for me, I am able to visualize but the one important scene in which I am playing. From this I go on to the next, and so on. This makes restricted vision. Mr. Griffith is like the architect, who can even see the trees surrounding the beautiful building he has in mind. Naturally, then, he would make fewer mistakes in direction. He has the art of suggestion, leaving it to the audience to supply that which is not actually put on the screen. He understands the power of suspense. ‘‘For instance, in ‘The Great Love’ I liad but a negative part, that of the [Continued on page 80) ONDS rCHES The Loftis Solitaire Diamond Cluster Ring the Exact Appearance of a Large Handsome Solitaire That Would Cost Thro* or Four Times as Much. Send for Free Catalog There areover2000 illastra* tions of Diamonds, Watches. 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