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former on the double ground that I could not help myself and that people easily swallow anomalies in films, especially when there's magic about.
The part of the young man whose foolishness with the ring had led to all the trouble was played by George Dewhurst who had joined the company some considerable time earlier. His girl friend, who certainly had a very great deal to put up with, did it very gracefully and well in the person of Eileen Dennes, and Alma Taylor and Gwynne Herbert and others of the company gave loyal support.
And now a word or two of advice from an Old Man to a very Young One: pearls of great price for practically nothing. First, remember always that if you do a thing, anything, and put your whole brain and mind and soul into doing it, then, when it is accomplished, it will be something worthy, something of which you may be, and should be, proud. Whether it is a film you are making or a kitchen table or only a packing-case, if you make it with all the best that is in you, it will be in its way a work of art. I don't say it will be good art — it may be thoroughly bad, but it will be a separate and different thing, different in some tiny detail from anything anyone else has done. It will in some sort be expressive of yourself — and self-expression is the beginning of all art.
Let us suppose it is a film you propose to make. First of all make up your mind and swear black and blue that you will not at any stage of the proceedings be content with anything but the very best that is within your power or reach — and that does not mean the most expensive. You start with an idea, naturally. Make quite certain that it is a good idea and until you are certain about that don't go any further in the matter. Then put it down on paper. See it in your mind's eye as so many separate scenes and write each one out as you see it. This is the most important part of the whole thing. In any case it is an exceedingly valuable exercise.
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