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Louis W olheim, Ph. D.
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great stuff, here was something that needed telling. It called for trumpets, I told Hopkins. ‘Why give it to a long penny whistle like me?’ That’s the way I talked — and then,” his eyes smiling, “surrendered to better judgment.”
“All I know about acting,” quoth Mr. Wolheim, “which is mighty damn little, I learned from Lionel Barrymore, a great actor, by God ! And all he ever told me was: ‘Don’t act!’ Oh, maybe I’ve got one idea of my own, something like reading a line every time as though it’s the first time. Every man can express himself if you can only get it out of him spontaneously — get me? I’ve heard actors, called down at rehearsal, begin to argue with the stage manager, and I’ve thought if they’d only talk their lines as they talk their damn argument, whatthehell, they’d be all right.
“So far as I can see,” he boomed on unaggressively, “the acting you can believe is a sort of self-hypnosis. I’ve seen Lionel, yawning and stretching in his dressing room, and I’ve said, ‘Whyinell don’t you go to bed before morning? — then you wouldn’t be dead at night.’ And he’s said, ‘This isn’t being dead, Wolly, you damn fool ; this is just getting this fellow ready for the scene in which he’s supposed to be all in.’ Self-hypnosis.” “Where’d you teach mathematics — Cornell?” “Hell, no; at a school in Ithaca while I was taking a Ph. D. at Cornell,” replied Dr. Wolheim.
“How’d you become an actor?”
“I’d been in Mexico, on an engineering job, and met up with Lionel, who said, ‘Why don’t you come into the movies with me?’ It sounded like an adventure and I went. And the thing caught me. Damme, if I didn’t seem to click! I stuck around the lot for four or five years, getting some pretty good parts with