Pictures and the Picturegoer (October 1915 - March 1916)

PICTURES AND THE PICTUREGuER 326 to ERK RN-niNG rAX. b, i9;6 SEEING STARS (Oonttnid d /row pajfi 330.) short Bpace of time during which the actress smiled an interrogation ;it him. "Our camera days!" she repeated in her turn. " I )> >n*t you know what camera days areP \\'h\ they are v. hat Shakeapeure called ' < >ur salad days,' the daj a iwhen we are green and tender, when 'we are young.'' " ■• lint why attach the camera to salad daj s ? " t h" inten iewer persisted. ' Because they are days before the earners for us only as long as we arc young" responded the girl. " DonM yon know how "Id ] am? lam seventeen. My sister Lillian is nineteen. Loretta Blake, Douglas Fairbanks' leading lady is seventeen. All of the Griffith women. stars are young. The eye of the camera is not to be cheated, and it is the eye of the public, millions. "Hence we cannot offer :up to the great god ' Camera ' a mere illusion of youth for youth itself, as they do on the stage. 'We must give it youth—hence we are all young. " "After youth goes, what then?" the interviewer asked. " Well, some of us go upon the stage to play character leads." Miss Gish responded. "and some Of lis stay before the camera to do odds and all of which reminds me of my one great ambition. It its to cheat the i cm ra. " 1 don't mean that I shall always stay young. Mountains of cold cream are consumed in that vain feminine hope. But [ wish and aspire in < aclf succeeding period of my age my life— to attain to" the height of my art for that period. " That is to say. 1 wish before I leave girlhood' behind to play young girls 'as they have never been played . before, so that my creation will live ia cold film' the young star laughed " that's our immortality, cqld film." The interviewer stated bluntly that he thought Miss Gish had attained her aerial ambition as far as girlhood was concerned. But Miss Gish paid no attention to the compliment. "Then, when lam a young woman/' sha continued, "I want to develop my ait so that 1 will play young womanhood to the full of dramatic possibilities. And then comes middle-age. I desire to appear on the screen the sort of middle-aged woman that everybody" will want to s e as a heroine, and so with i ladi 8. " 1 believe it possible thus \o round • Mil an artistic career through the various ages of woman, and then, too, l>> thai time the photo-play will have so highly educated its public that there will be much art E »r Ai t s sake, and lo\ e will not necessarily mean all to the audience." From Footlights to Films ARTHUR M. CULLIN OOD afternoon baring rained over a week. It wasn't really, continuously for We looked up from our editorial desk and saw the smiling Pace of Arthur M. Cnllin, and then the afternoon set n I anyway. " Miserable weather! he ejaculated, as a sorl of afterthought, and weagreed as we proceeded to make him as cheerful as possible". "By the way. Mr. Cullin," we " we don't think' our readers have ever been told about your film work." And that's how it happened this littieinterview we mean for the actor, after a lot ARTHUR M. CULLIN in a stronar'y dramatic part. Photo shows him with Hilda Moony in the poison scene in M'/e .-•<> fo'Witht s , the tine Ideal production. . ALunchi I TrUbtf, Pi trl* (one of the late Captain H.dmes Chores productions / I Mtddlem , yy„ /',.;. toner of Z : | / \,n,'. Expect*. " J'm >■ and admired then all ! Well, that's very nice of you ti gree with yon that 'London' film? are all first-rate productions. Sine; playing for them I have appeared in tht •Ideal' prize story, n I S/M,as Thorne in the Turner-Ideal filn The Great Adroit ure, and in the cha lacter-sketch of the i: i Engbes in i Dt etf't Boa tman, Percy Nash's last production for Trans-Atlantic I hav€ lately Concluded the character lead <•! Roger Boskfh in Eve Balfour's new film Lore,a picturisation of Rathmore Wilson s famous novel. '* You've heard me -ins; ! Where : Oh! at the London Opera House <ee for the Cinema Ambuh Fund-' Oo)» fr. mi Zomerset.' Yes; I'm so glad yoh liked it. 1 also at the London Film B Concert at Richmond for the same good cause. I sing a good deal, and am very fond of singing. ' ""Tony" Cullin. as his friends call him. is the possi — c i f a fine tone voice, a penalty which m him popular in places wh< sing." " Hobbies ? I have little time 'em." Mr. Cullin smiled and pa to relight hi cigar. "Golf and cricket are my favonrites; put on a decent eigbteen-hole course and I'm happy. Then 1 do a little swimming and running, lam not lazy.; but acting for pictures is really my chief hobby. I like it better than anythi positive about the future of Bri ish productions and British pl;i Given the chance, they are bound tc win." And so say ail of n Befi re b« left we induced Mr. Cullin to pro mise to send us his latest portrait and now we have reprodu in this week's Gallery of Players. of persuasion, commenced to give us some interesting particulars about himself. " Well." he began. " to start with, you are aware. 1 know, that 1 am one of the oldest members of the original 'Savoy Opera Company.' and after that engagement 1 took • the baritone's pa t in George Dance's Duehesis of Dantzio Company. 1 was touring for many years, and finally settled down in London in those suee ssfnl productions The Earl a ,/ tin &irl and Qffi vr fiffft "Oh, yes: I am quite an old picture player. I've had four years of it. three of those years being in the Stock Company of the London Film Company. "For them I played in Tnt s"n« .</ LEAH BAIRD On Uncertainties L' WSm^'mmSm FAIT BAIRD bubble, over with fun when off the film, but there are times when sin can be sori >u>. This is not only when she plays emotional parts her favourite kind for 1 managed to catch her. writes our special interviewer. I \ DeUCh, in of her thoughtful spell between scenes at the Vitagraph studio. Ye-." she said. "' our lives are full of uncertainties, and. especial!] do 1 res this since I entered the motion pifield four years ago. 1 hate to think of it, but if anything should happen to its leading players, the effect n be i'eit in more ways than one." We cannot double like our theatrical brothers and sisters. A photoplay icompleted once, but a stage play is acted