Camera - April 14, 1923 to February 16, 1924 (April 1923-February 1924)

erai Camera! News Section Page 1 5 "Here he is where he longed to be . . . home is the hunter, ome from the hills . . . and the sailor home from the sea . . . — Robert Louis Stevenson. I stand upon the threshold of a new year, at the gateway to new c nd naw conquests, and while we plan and prepare for the work we jldo, and the playful hours that we will while away, in the coming He nionlhs, is it not fitting that we pause for a moment and pay our e respects to our professional comrades, now gone from our midst, k support and aid in bygone days has been such a great factor in ma progress and a mainstay in the dark years when the motion picr irt was endeavoring to attain its present high position among the Inizcd fine arts and educational mediums of the universe. From all H of life they came to us, our beloved dead, and in the melting pot Endom they emerged "one of ours," exerting their talent and genius : great cause which is now well-nigh won. Their work has estab111 motion picture tradition. We will cherish their names for all Ito come, those we name here and the countless others of equal and m renown, too numerous to mention in the limited space our journal Bdes, who hold such a warm place in our hearts. /an Dyke Brooke Hayward Mack ^arol Mae Brown Martha Mansfield iobert Brunton "Mother" Maurice [ohn Bunny Billy Musgrave 3obby Connelly Evelyn Nelson Howard Crampton "Smiling Bill" Parsons Sidney Drew Larry Payton Bernard J. Durning Lillian Peacock 'Breezy" Eason, Jr. Wallace Reid Billy Foster Joe Roberts Eugene Gaudio Clarine Seymour Myrtle Gonzales Al Semnacher Vlarjorie Seaman Graves Herbert Standing Charles Gunn Edwin Stevens Robert Harron Porter Strong George Hernandez Mack Swain Allen J. Holubar LVrthur Johnson pheldon Judson William D. Taylor Olive Thomas Maxwell Karger California Truman Florence La Badie George Loane Tucker Adolph Lestina "Daddy" Turner Harold Lockwood L. M. Wells "Jim the Gateman" Piys Composite of All Sorts o' Folk ■lerybody knows that each of ■I really an aggregate of sevN personalities. Nevertheless, it ■ [ill the usual thing for us to U our stage and film characters ihjbly etched and distinct. In II' words, the villian is always 1 undred percent bad, and the H is always a hundred percent Jul, although none of us is just llllthat, and each of us has someIhfe attractive about him, someBe repellent, something generHand something selfish. In her ptjent role in Emory Johnson's ■auction of "Swords and Plowlies," for F. B. O., Rosemary Efcer has a part which she feels ba five angles, and therefore is Hfive times as interesting to her asjhe usual one-track characteriz " liss Cooper's part first calls in the regular girlish ingenue, a curK and smiles. Then she Its a small-town matron. Third, H is called on to portray the »rs of what is known in screen fiance as a "vamp." And fourth, fk sequence in which she is the nidation "heavy," villianess of TO deepest dye! Fifth, of course, Mt combination of all of these, * ch is the truest character of *l since that is the way we are clposed. Don't Dwell on Acting, Says Melford Young men who are in Los Angeles in search of film careers should set their aims on assistant directors' jobs and go after them, states George Melford, prominent director. An investigation into the ranks of young men who have come into the city this year reveals that only a few have anything on their mind except acting, says Melford. These few, determined to start at the bottom and work up, have had far less difficulty and are many of them on the road to success, not as actors but as directors and technical directors. Melford says that members of the film industry look with far more favor upon the young man who asks for a job with the stated intention of working up, rather than those who walk into the studio and expect their good looks to win them instant success before the camera. Lloyd Has Film Album Fever Lloyd Hughes is negotiating with various distributing companies for the purchase of prints of motion pictures in which he has appeared from the day he started at the Metro studio five years ago. Doctor Prescribed Screen Career Many present day movie stars started their screen careers through peculiar circumstances. Estelle Taylor, playing Miriam in "The Ten Commandments" however, is the first actress to become a movie star by a doctor's orders. Miss Taylor's family, strict Methodists, objected to Miss Taylor's screen ambitions when she graduated from high school and expressed the desire to become a film actress. All her pleas were in vain until she sought the aid of her family physician who had brought her into the world and attended her through all her childhood illnesses. The physician, an intimate friend of the family, proved a valuable ally. Calling upon her parents he prescribed a motion picture career as necessary to the girl's health and happiness. "Let her ride a horse, shoot ofl a couple of guns and swim streams — as they do in the movies," the doctor told her parents. "She will never be entirely well until she can work off her nervous energy and the movie studio is just the place for her to do it. Above all, if you want to see your daughter happy, let her do the thing she wants." It took considerable persuasion but the physician finally won out and Miss Taylor was sent to Sargent's Dramatic School in New York to receive her training. Shortly thereafter she received her big screen opportunity, made the most of it, and became one of the most sought after actresses for the screen. Her first long term contract was signed with William Fox calling for her services for a period of three years. In "While New York Sleeps" with Marc McDermott she registered her first big success. Followed "Blind Wives," "Footfalls," "Monte Cristo," "A Fool There Was" and other Fox successes. Among her other more recent portrayals were those in "Forgive and Forget" and "The Ten Commandments." She is at present portraying .the part of Mary, Queen of Scots in Mary Pickford's "Dorothy Vernon of Haddon Hall." Is Good Good or Not So Good? When is good, bad, and when is bad, good ? Is the serious question which has arisen in the Jackie Coogan Company, now engaged in filming "A Boy of Flanders" on the Metro Studio lot. To those unfamiliar with the mechanics of photography in motion pictures, it might be well to explain that after the cameraman has finished "shooting" a scene, his assistant holds in front of the lens a small black chart on which is written the number of the scene and sequence. If the particular scene which has just preceded this registry is bad, it is marked with the popular negative sign, "N. G." — if it is satisfactory it is marked "O. K." or "good." The chief cinematographer's name is always on this chart so that credit or blame can be placed after the film is developed and screened for the production supervisor. The man responsible for the exquisite photography in Jackie Coogan's "Long Live the King" and the head of the Coogan camera department, bears the hearty cognomen of Frank Good. So each and every scene in a Jackie Coogan picture is marked "Good," and director Victor Schartzinger declares that Good is very good, while Good in all modesty claims that Good is not so good. Helene Refutes Obituary "I am NOT dead!" Helene Chadwick gave vent to the above exclamation and to use the Mark Twain bromide, added that the printed report of her death was greatly exaggerated. From Hartford, Conn., Helene received a newspaper notice clipped from the Hartford Times which said: "Helene Chadwick, Goldwyn star, died as the result of burns last week," and told of the fact that she had recently been elected queen of the Los Angeles chamber of commerce excursion at a banquet given in honor of the party, at San Luis Obispo. Miss Chadwick admits to the banquet hut emphatically denies that she died of burns received when a geyser erupted at Yellowstone Park and scalded her. GOLDWYN TO RETURN; BELIEVES IN HOLLYWOOD AS FILM PIVOT Samuel Goldwyn; one of the leading Eastern motion picture producers, arrived here last week and put at rest rumors that producers here were contemplating moving from Los Angeles to New York and other cities. "There is absolutely nothing in the story that big producing companies with headquarters in New York are contemplating a transfer of their Los Angeles studio organizations to New York. Quite to the contrary, I propose within the near future, to move my producing organization from the East and locate it in Los Angeles. "I have talked with practically every big producer in New York within the last few weeks, and I know that Los Angeles will always be the home of motion picture production." In connection with his own plans, Goldwyn said: "I am here 'for the purpose of establishing producing headquarters in Los Angeles. Within the next few months I will have under way my first Los Angeles production in several years. 'Potash and Perlmtitter in Hollywood.' For this picture I will bring on from New York, Alexander Carr and Harney Bernard, the celebrated stage stars who have made Montague Glass' stories famous. In addition to this picture I propose producing many others here.