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22 BROADWAY AND
SCREEN WORK
Is No Bed of Roses!
By Charles Farrell, Fox Star
O CREEN acting is the world's greatest profession if you succeed — and the worst if you don’t.
There’s no thrill like that of seeing one’s name in electric lights over a theatre marquee — and no disappointment like that of plugging along in the extra ranks, year after year, getting Charles
“bit” now and and
Janet
then, with long lay-offs when the studios all temporarily shut down. An extra is often down to his last dime before he gets a day’s work at five dollars or seven and a half.
I know. I’ve experienced both. And my advice to any ambitious but unknown youngster who starts out to win screen fame is: “Don’t!”
That admonition, of course, can be qualified. If the youngster in question can afford it, and by that I mean if he has enough money to live on for a year or more, aside from anything he may be able to earn in pictures, then it won’t do any harm for him to try. But the chances are a thousand to one against him, even then — and if he starts with an empty purse and plans to live on his earnings, the percentage is a million to one.
There are plenty of sound reasons for this. One is the complete upsetting of “extra” conditions by the coming of the talkies, which have enormously reduced the opportunities for outsiders to get a start. When 1 began my own film career eight years ago, things were bad enough for a greenhorn. There were around eighteen or twenty thousand extra players in Hollywood, all offer i n g plenty of competition to tenderfeet who didn’t know the ropes.
On the other hand, “mob” scenes were frequent, and ever y major studio used hundreds and even thousands of extras in a week’s time, so that almost everyone had a day’s work or two every so often.
When the Central Casting bureau was organized, this huge armyof extras was trimmed to a fraction of its former size, and the survivors found consid e r a b 1 y more work available. The (c ant'd on pngc 43)