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Chaplin's method 123
Menjou, he repeated this line often during the production of "A Woman of Paris" — a line which sums up the difference between stage and screen acting. At any bad or overacted bit he would say, "They're peeking at you!" Another pet line: "Think the scene! I don't care what you do with your hands or feet. If you think the scene, it will get over."
After shooting was completed, Chaplin edited the film himself with the aid of a cutter. Robinson relates that he took four days and nights cutting "The Immigrant," and went without sleep. Chaplin, like Griffith, then "tried it out on the dog," at one of the local theatres, without any preliminary advertising. If a sequence missed fire, or laughter didn't appear at the expected place, retakes were in order.
Chaplin's films are indeed one-man jobs — producing, writing, directing, acting, editing, and later, musical arrangement. He even officiated as hairdresser in "The Great Dictator," feeling that he could arrange Paulette Goddard's hair to simulate a scrubwoman's better than a professional hairdresser.
Nearly every significant milestone of the screen has been the work of one man. Witness the films of Griffith, von Stroheim, Eisenstein, and, in recent times, Sturges and Welles (at least his first effort). Hollywood, however, prefers the factory method of many "experts" assembling their products, instead of one man's work, as leading to more certain box-office returns. In recent years, with the necessity of putting the dialogue on paper before shooting and with the unionization of technicians, Chaplin encountered difficulty working by inspiration, when and as long as he pleased, without regard to time or expense. In his two talkies he tried, with qualified success, to work in his old manner. However, his remaining seventy-odd films were made with his own unconventional methods.