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Hov? a Star is Made
Like many beginners, Josephine Dunn had to cultivate the graceful, easy carriage which is now part of her individuality.
Marian Nixon clipped at the insistence of the hairdresser, and immediately got the sophisticated roles she had always wanted.
The first word you learn is obey! Clara Bow couldn't become a redhead until the hairdresser said O. K. Janet Gaynor, Joan Crawford, and others changed hue according to order, for photographic effect. Marie Prevost, forbidden to wear a blond wig, because it would make her head look too large, had to bleach her hair for a picture.
With this dominant thought of career, even your private life is rigorously ruled. It is practically laid out
for you along a certain pattern, which is in keeping with the type you are to play. You must remain "in character." Whatever you can do and say, within that latitude, is permitted. So many factors go to build and maintain stardom besides talent's progress. The public has the vote, and careful procedure is wise. The producers have this right of supervision, because they are investing money in you.
Naturally, the ways of developing a personality into a star are many, but they follow basic rules.
The first shot of your publicity campaign is the announcement of your discovery, accompanied by an optimistic statement from the producer giving your qualifications, and expressing high hopes for you. In all your publicity, you must be pictured to the mental eye very much as the screen will present you.
Publicity pictures, with celebrities, fashions, gags, portraits, newspaper items, articles giving your advice on a hundred subjects — all serve to build you up. All the material must express some particular motif decided upon for you. The society girl seeking independence, the home girl, the jazz-mad flapper, the athlete, the bookworm— any of a dozen such angles may form the keynote.
Never is the public permitted to forget Billie Dove's beauty, nor her social life which it influences. Clara Bow's publicity is bright and peppy, with such terms as "jazz baby," "flapper," "redhead," and that ever-recurrent "It." Marian Nixon was publicized, slowly, steadily, as a sweet, unsophisticated girl, which she was. So potent is the power of repetition, that, long before she was a player of any note, the fans' knew her, and practically forced the producers to give her her opportunity, and the emphasis of a dormant sparkle and smartness likewise won her more sophisticated roles later.
Under the tutelage of Elinor Glyn, Aileen Pr ingle's fastidious, ladylike qual• ities were introduced to us. Publicity stamped in the public mind her gentility, and
She shows here the disadvantage of a careless, awkward bearing.