Screenland (Oct 1923-Mar 1924)

SCIREENLAND 83 d, Victor Seastrom Talks About Our Motzoi of his character. . One can see it in his hands, in his every move. Difficult to Interview X cudgeled my brain for the opening question. This is all-important, for byit, the interview" may freeze his victim into ice on the instant. They had planned that I talk with him at lunch, but at noon, when they approached him on the subject, I could see him shaking his leonine head vigorously, something like terror in those sea-blue eyes. I thought, with an irreverant inward giggle, of the terror of an elephant for a mouse. At last they persuaded him to remain cornered for a very few minutes. Now for my carefully-couched question ! "Would you mind telling me, Mr. Seastrom, a little of how they make pictures in Sweden? Is the industry on as large a scale as it is here?" "Well — " and this strong man actually faltered, choosing his words oh, so carefully. "It is quite large." Not so good on that one, but an opening at least. "Is there as much money invested there as there is here?" "Ye-es there is a good deal of money in pictures there." Not so good. "Are pictures in Sweden backed by independent capital ? Is the industry made up of independent producers?" N. Swedish Film Trust o, not exactly. It is more like a trujst." Ah ha — an admission ! Poor man — ■ he had fallen into the trap ! "But aren't there anti-trust laws there, as there are here?" "Oh, yes, — but there are always ways, you know," smiling apologetically. So much for that. Well — "Are the studios as large as thev are here?" "Yes, they are quite large. Maybe not so large, though." (Yes, we have no bananas, I thought.) "Maybe not so large as Stage Six." You have all heard of Goldwyn's Stage Six, the largest in the world. "Maybe as large as this," he waved his hand inclusively at the courtroom, which is not large as sets go. ;t'Evidently, "stage" as picture fans lerstand the word, means "studio" in $veden. ^'How about working facilities ?" New Hope for the American Photoplay (Continued from page 63) One-Man Pictures e have not so many as here," he said more positively. "One has no assistants there. One does all oneself. "How about lights — how is location work managed?" "We have fine lights, too. You see we work only in summer because the theatres close and the actors come direct from them* to the studios. There are no actors who give their .talents solely to the screen." "Is the stellar system practiced in Sweden." "No — oh, no, indeed," further warmth and interest. "We do not believe in that. The same actors appear in all the pictures made by the producer. Yes— a stock company. It is like one big family." Again the smile. "One is very happy to work with them." But in spite of the smile, I could see him becoming more and more restive. I could not find it in my heart to torture him longer. He was so obviously unhappy. I intimated that he was released. "Oh, — thank you!" and before I could turn to him from a glance about in search of my guides, he had vanished. Whether he had flown through the ceiling or had disappeared into thin air, I know not. Vast Knowledge of Life o not think I am poking fun at Victor Seastrom. Far from it. My life as an interviewer has been made up of such a large number of things, that I have honest liking and gratitude for this particular variety of victim. When one realizes the past achievements of the man — realizes the nice application of his vast knowledge of life and acting to the work at hand, it is astounding to find such reticence. Poor, unhappy man ! He is doomed to many an uncomfortable hour, for the world within the next year will send many and manv an interviewer to talk with him — not about ships and sealing wax — but al t Victor Seastrom, his one poor su ct of conversation. So, if . r to learn his views on Americai . ; llotoplays and photoplaymaking, we must reconstruct them from the few 1 ■ arks recorded on these pages. There E it the' risk of incurring his rig us wrath, I shall make so bold as ' ve you his views as I conceive t ei He naturally — likes to make picture • in Sweden than he doe' here, t ou csan't blame him. Then is among his people, speaking his tongue, basically thinking It is thoughts. His mind is Swedish and his pictures appeal first and foremost to Swedish minds. Great Technical Opportunities "Bf ut America gives him greater technical opportunities for the making of pictures — providing the American public will accept them. That is the chance he is running now. In all probability, the thought which is uppermost in his mind during these days of filming The Master of Man is : "Am I making a picture which the American mind will embrace? Will each and every scene in this picture be clear to the American public?" I sensed that he regretted having said that Swedish motion pictures were controlled by a trust. The remark oozed out, as it were, and was quickly repressed. But here, perhaps, is another reason why Seastrom is making pictures in this country. It is possible that he was restricted too much by this combine, and feels that America is the promised land, in that respect at least. Short Picture Making Season Thex, too, the time alloted to Swedish picture making is short. A few brief months in the summer and — pouf ! it is over. We are all awaiting eagerly the release of both Mortal Clay and The Master of Man. These pictures, made under varying circumstances, in two different countries, will offer food for comparison. By them we can learn the relative merits and demerits of the native and the foreign branches of the industry. In other words, we will see what America has done for or done to Victor Seastrom. I prophesy that the world will soon recognize him as the greatest director in motion pictures.