Picture Play Magazine (Mar-Jul 1929)

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Iowa ALWAYS Ask For DENISON'S-53 Years of Hits Comedy -Dramas, *|| BWfi& Vaudeville Acta. FarceB, Musical |FI D B Jfe Monologs.Dialogs, Comedies.Revues, ■ ■■■■ ■ Entertainments. Chalk-Talk, Amateur Circus and Magic Books. Black-faceSkits.MIIUQTDFI ©Snappy Posters, Opening Choruses.""™* I lit I.* Window Cards. Complete First-Parts, with Song Programs. New Clever COMEDY SONGS for your show. Make-up Goods, Wigs. CATALOGUE FREE. T. S. DENISON & CO., 623 So. Wabash. Dept. 52 Chicago Big Money with a Buesctner First-class Saxophonists make big money and the work is easy and pleasant. You might become a great record-maker like Clyde Doerr, whose picture is shown with his Buescher.$100to$500 a week is not unusual for good musicians to earn. Even if you don't care to become a professional, you can have a lot of fun and earn extra money with a Buescher Saxophone. 6 Days' Trial on any Buescher Saxophone, Cornet, Trumpet, Trombone or otherinstrument. Mention instrument in which you are interested for free literature. (494) Buescher Band Instrument Co. 2651 Buescher Block, Elkhart, Ind. point — I am interested only in so far as what I discover has any bearing on their work. For the rest, they may be dull, or wicked, or unpleasant, but I don't care. That is nonessential to the only point on which I have contact with them — their work. "But for the movies, that rule is bound to be stretched a little, often a lot. It is such a personal profession, selling your emotions, .even though just the pretense of them, for fifty cents a throw. It is the most intimate of all forms of expression, and it is ineAntable that fans should be conscious of this. Much of the time we may feel that, in their thirst for details, they probe issues that are totally irrelevant. But we Americans, as a race, love detail and intimacy. "My one argument is this : If the public must go beyond professional boundaries in their interest, that is all right. But it is hardly ethical for them to criticize what they find there, just because it may conflict with their individual tastes. And, what is worse, because of that personal prejudice, condemn the work of the person concerned. There have been a few instances among picture people where this has happened, even to the extent of boycotts. It is deplorable, and childishly inconsistent. "I may find things in the life of Tschaikowsky that strike me as ab surd, in the life of Firbank that appear cheap, in the life of Wilde that are repellant. But none of these can have the slightest effect on my pleasure in their work. When the work is good, it is projected solely from that spark in them which commands attention. And since I am interested in them not as individuals, but as artists, that is all that matters. "And as for criticizing them because their mode of living is not mine, that would be gross impudence. Who am I, who is any mortal, to dictate how another shall live, excepting in cases where viciousness must be restrained? "For myself, I live according to my own lights, following my own inclinations, obeying my own conscience. Whatever celebrity I have attained drapes so awkwardly upon me, that I should feel it the height of egotism to remold myself into a more flattering form for those who want to look behind the screen. It still seems absurd to me that I have attained success as an actor. I can't take it seriously enough to let it dominate my personal life. If the public tolerates my long nose and skinny neck, and is pleased with a performance I give, I am tremendously grateful. But if they demand that I be a composite of St. Anthony, Will H. Hays, and Mr. Babbitt, then I fail them. I'm afraid I can only act when the camera is grinding." TWlve More Bottles to Go Continued from page 74 "I've never made the slightest attempt to reach for stardom. It would scare me to death ! "I have a certain following, of course, or they wouldn't be paying me. A steady, friendly following. People who for some reason or other like to see me, and will keep on going to see pictures that carry my name. "Nothing spectacular about me. I'm just an old Airedale! Sort of— dependable, I guess. "When the thing settles down into routine — when there are no more chances to take — when you have finished experimenting, and know just what you can and cannot do — it is time to quit. The same scenes, over and over, for years !" "I played a part years ago in a picture called 'Enemies of Women.' I was the heavy, and I had to weep and die at the end of it. Well, you know how those things are. Once you do something like that, and do it fairly well, you are kept doing it until the end of time. I cried and died in nine successive pictures after that — and I've been crying and dying intermittently ever since. "I can cry — any time. Just like that. It's not acting, you know. It's a knack, like being able to wriggle your ears. "Funny thing, though. I can't cry unless I can talk. I cry at the sound of my own voice. Isn't that silly? It's all right, of course. A dying man wouldn't cry if he were dying alone. It would be self-pity which made him cry, and he couldn't work up a lot of self-pity, unless he had some one there to sympathize with him. If he were by himself he would just roll over and stop breathing. He wouldn't be dramatic about it. You have to have an audience, even if you are dying, to be dramatic. A child who falls down and skins his knee doesn't yell about it, unless some one Continued on page 115