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How to Get In!
Authoritative Advice on How to Become a Photoplayer, by Leading Players and Directors
Editor's Note : This series of articles began in the July issue of this magazine, which contained an article by Carlyle Blackwell. The series was continued in the Motion Picture Classic, which contained articles by Florence La Badie, Lenore Ulrich, Lillian Walker, Theodore Marston (director) and Iva Shepard. In the August number of this magazine were articles by Thomas Chatterton, Marguerite Clark, Anita Stewart and Lillian Gish. In the August Classic, Dustin Farniim, Wm. A. Brady, Cleo Madison, Edna Mayo and Edith Storey gave their valuable opinions. In the September Magazine we were enlightened by Warren Kerrigan, Bryant Washburn, Ralph Ince, Marin Sais, Gertrude Robinson, William Farnum, Marjorie Daw and Gail Kane. In the September Classic we were favored by Norma Talmadge, Crane Wilbur and Ruth Roland, and in the October Magazine by Antonio Moreno, Darwin Karr and Edwin McKim. In the October Classic Myrtle Stedman, Fay Tincher, Marguerite Clayton and Pauline Frederick were the writers, and our readers will hear from many other distinguished players and directors in following issues of both Magazine and Classic. Those who are interested in the subject should read each and every article, because that is the only way to get a thoro and comprehensive view of the situation. Besides, opinions differ, and each writer seems to throw some new light on the subject. We wish to make it clear that we are not inviting people to try to get into the Motion Picture business; we merely wish to show the requirements and possibilities, and to supply a longfelt want for dependable information on this important subject.
By KATHLYN WILLIAMS
The Versatile Morosco Star
The demand for pictures is almost impossible to fill. And good actors, especially those that screen well, can command almost any salary. The profession knows this, and as a result the studios are overrun with talented and experienced people. At the present time there are three persons for every position, and the person with the experience has the advantage. There is a demand for all types, but it seems as if the small women are preferred. An expressive face, a good figure and the ability to "put over" an idea are the principal requirements. As application letters are
not always answered, the applicant to apply sible, to the producer
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KATHLYN WILLIAMS (MOROSCO)
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it is advisable for in person, if pos
or the manager of the company. If this is impossible, the applicant should send three photos, a fullfaced, profile and full figure. Photographs are, however, not very satisfactory, as it is an easy matter to have a photo retouched. I do not advise starting as an extra, if one has had previous experience on the stage. However, I know some very fine actors and actresses who started as extras. The average salary for beginners is from $20 to $30 a week, and extras are usually paid from $2 to