Picture Play Magazine (Mar-Aug 1916)

Record Details:

Title:
Picture Play Magazine
Date:
Mar-Aug 1916
Publisher:
New York, N.Y. : Street & Smith
Volume:
Picture-Play Magazine
Leaf #:
000172
Language:
English
Subjects:
motion pictures, Motion pictures -- United States -- Periodicals
Collection:
Fan Magazines, Hollywood Studio System, and Early Cinema
Format:
Periodicals
Contributor:
Library of Congress, MBRS, Moving Image Section
Sponsor:
Library of Congress, Motion Picture, Broadcasting and Recorded Sound Division
Coordinator:
Media History Digital Library
Description:
Began publishing in 1915; mid-level fan magazine on par with Movie Classic and Screenland. Cost a twenty five cents an issue up until pricing pressure from New Movie (c. 1932) incited an across-the-board price decrease to 10 cents. Merged with Charm in 1941, which would later become Glamour magazine (1959). -- Anne Helen Petersen, 2013. Secondary sources consulted: Inside the Hollywood Fan Magazine by Anthony Slide and MovieMags.com.
Date Added:
August 29, 2022
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26 The Lasky Studio A general view of the open-air stage at Lasky's Hollywood plant, showing the inclosed glass-roof scudio in the background and the dressing rooms to the extreme right. wood's best citizens, and followed the path hundreds and hundreds of "extras" and regulars have taken, and which leads to the high inclosure that is the outer wall of the Lasky studio. I presented the letter that would pass me within the gates. Mr. Lasky, pleasant, genial, and radiating that enthusiasm for the movingpicture industry characteristic of all associated with it, kindly received me and allowed me to ask a volley of questions. And, what was still kinder, he answered most of them. He told me he had the best art director in the country in Wilfred Buckland, and the finest director in the business in Cecil de Mille; and then he asked me what could keep them from having the best pictures on the market. "Nothing does," it was easy to answer. I had heard a great deal about Wilfred Buckland, and knew he had been David Belasco's right-hand man for years in staging some of his finest productions. And I had seen Geraldine Farrar in "Carmen" just a night or two before. "I have a friend who has gone again and again to see the wonderful 'closeups' in 'Carmen,' especially where she tells her fortune by the red glare of fagots. He calls it a fine old Rembrandt," I said. "Yes — Mr. Buckland was striving for just that effect. Splendid pictures in light and shadow !" answered Mr. Lasky, greatly pleased. We were launched on the fascinating subject of Farrar. I got out a notebook and pencil, ready for real figures. "She must have been almost a priceless lady," I suggested.