Movie Pictorial (May 1915)

10 MOVIE PICTORIAL ANENT THE LA5KY STUDIOS By DICK MELBOURNE The approach to this busy center, outwardly calm, nestling in cool restful shadows, denotes part of the spirit of surprise investing the place where genius of change is dominant HE Lasky studios give the impres- sion that you are in the center of a theatrical institution more than any other one I know. From the time you enter the outer office until the time you leave the stages and dressing-rooms, you distinctly feel the “professional” atmosphere. You feel this in the courtesies extended and in the businesslike order that prevails, as well as in the people you meet. There are times when you might go in blind- folded, open your eyes and look around and imagine you were in some eastern theatrical green-room or an actors’ club, the faces are so familiar. Here at one time or another have appeared in Lasky pro- ductions, Dustin Farnum, Edward Abeles, Edith Taliaferro, Edith Wynne Matthison, and other big stage stars who have played for feature films pro- duced by this firm. It is not these, however, I went to see, but the regular members of the com- pany, those who are permanently connected with the concern and who have , long been identified with it. It is quite remarkable how much has really happened at the Lasky studios in one year and four months’ time. I paid a visit to Fred Kley, the energetic little studio manager, the all-round man, and he summed the happenings as follows: “I was introduced to Cecil de,Mille at the Lambs’ Club in New York at six o’clock one evening on a Friday, got a job at six ten precisely, started for Los Angeles on Mon- day, and arrived here with Mr. de Mille on Decem- ber 12, 1913. “At that time there was the one rambling build- ing, an inadequate laboratory and a dinky little stage, poorly appointed. Today we have fine offices, squares of dressing-rooms well fitted up with every convenience, the best of laboratories, completely stocked property rooms, modeling rooms, spacious scene decks, and the largest glass studio in the state of California, besides one of the largest open air stages.” Fred Kley is a very interesting man. He started at the age of nine selling programmes in thea- tres, then, became usher and was finally given a part in “If I Were King,” with a sword to carry— NOT a spear, mind you! Another promotion, this time as prompter at eight dollars a week, at which time he also sold music at another afternoon theatre and earned another eight a week—so bit by bit he rose until he became first an actor (he admits he was never a very good one) and then stage-manager. His last engagement was with Dustin Farnum in “Cameo Kirby,” after which he accompanied that actor to Europe. Kley is very proud of his new association and is a valuable man. T NOTED the systematic offices and said “howdy” to Cecil de Mille, who has his room in one of the oldest parts of the original building—a work- ing man’s office without fur or feathers. Cecil de Mille has dark hair and not too much of it, kindly brown eyes, and it is only after one has watched his work or has talked with him that one under- stands the vital force of this unostentatious man. He is the managing director and the western head of the concern, besides being part owner. It is not easy to get him talking about himself, but he is very entertaining when the barrier has been judiciously broken. His parents did not want him to go on the stage —'anything else would do, but NO theatricals—so of course both he and his brother turned their attention stagewards. Cecil went a’soldiering for a short time, but he soon returned to New York and secured a small part in “Hearts Are Trumps,” in which Amelia Bingham and Edwin Arden ap- peared. After that he mixed writing in with his acting and wrote “The Genius,” which was re- The deserted woodland of a year ago, has been converted Into a place of teeming activity where shadows are projected to sustain the substance of picturesque poetry or vivid romance