We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
was not acting. So I set up my big lathe for her, showed her how to 'chuck' the 'blanks' for the flanges, and I set the tools in the slide-rest so that they could only be fed up against fixed stops, and showed her how to get on with it. She turned those hundreds of flanges exactly to dimension and then I heated them up and shrunk them one at a time in position on the long tubes. 'Pretty sort of film star' some people will say, but I thought it was pretty good, and I still think so.
One of the drying-machines was soon set up and it worked well. The wet film came up through a hole in the floor direct from the troughs below, dried without help and wound itself up on spools. Output was quickened and workers freed for other things.
For some curious reason, as I have said, which now seems very difficult of explanation, the onset of the first World War corresponded in time with the coming into fashion of film pictures made from well-known stage plays or from recently published books. Whether it was an understandable desire to cash in on popularity already acquired or only a result of the paucity of original material suitable for the purpose, I cannot be sure; probably it was a little of both. I remember I was very strongly urged by friends whose opinion I valued to look to books or the stage for material.
I realised that that would always mean the rebuilding of the story entirely, for the stage and book technique is necessarily very different from that of the studio. We had a clever scenario writer at hand and that difficulty was easy of solution. After considerable thought and discussion, I took the advice of my friend Baynes, who had first put the idea to me, and very strongly urged that I should at least try it out with that enormously successful book, ComirC Thro'' the Rye, and I asked him to get in touch with the authoress, Helen Mathers, whose real name was Mrs. Helen Reeves. He did so and eventually purchased the film rights for five years for a sum that did not appear unreasonable. We had, as I have pointed out, dealt with several other books before and made them into films, but these were all books of which the copyright had expired and there was no question of payment for the use of the material.
This was a different matter. Copyright now in any original work 'subsists,' as they call it, during the life of the author and for fifty years after his death, and he, and afterwards his heirs, can do anything he likes with it and demand any price he can get for
130