Cinema Art (November 1926)

NOVEMBER, 1926 ties were increased several times by the pur- chase of adjoining tracts and the erection of new buildings, including several permanent stages. The Hollywood plant was further ex- panded this spring by the addition of one of the finest outdoor lots in the industry at Fox Hills. It includes a number of large perma- nent stages and street scenes. I N 1919 construction was started on the $2,500,000 William Fox building in New York, a veritable film city, two minutes from Broadway. It houses the administration offices, the Eastern studios, and an immense laboratory. It includes room for several producing companies to work simultaneously, and dressing rooms for 1,000 players. This centralizes the extensive business in two great plants—one in New York and one in Hollywood. There are twenty-nine branches in the United States, six in Canada, and seventy-five in other parts of the world. By the energy and resourcefulness of Mr. Fox, the penny arcade purchased twenty-odd years ago has expanded into two corpora- tions—Fox Film Corporation, the producing and distributing company, with assets of $25,- 000,000, and Fox Theatres Corporation, which began its corporate existence less than a year ago, with assets of more than $20,000,- 000. Jetta Qoudal—Aloof and ACysterious (Continued from page 18) European audiences when the World War broke out and found her stranded in Holland. Rather than enjoy the safety of interior Hol- land, Miss Goudal packed up her few belong- ings and journeyed to the Belgian border, where she employed every minute of her time helping the refugees. She had never seen a motion picture up to the time she came to the United States in 1918, in broken health, and she might never have played in one but for the persuasive powers of Sidney Olcott, who had seen her emotional portrayals in “The Hero,” “The Elton Case,” and “Simon Called Peter,” all famous Broadway successes. Her first motion picture production was “Timothy’s Quest,” wherein she played an unhappy tubercular mother. Her adaptability to the screen soon earned her a leading role in “The Bright Shawl.” Since then she has played in “The Green Goddess”, “Open All Night”, “Salome of the Tenements”, “The Spaniard”, “The Coming of Amos”, “The Road to Yesterday”, “Three Faces East”, “Her Man O’ War”, and “Fighting Love.” The last-named picture is the one she is now working on under the direction of Nils Olaf Chrisander. M iss Goudal is not married and not even the keenest-eyed observers in the screen capital have been able to detect the slightest willing- ness on her part to consider any one of the scores of prominent actors who would fight among themselves to pay court to her—truly Jetta Goudal is an enigma. A “‘Typical American ” Who Is British ( Continued, from page 24) is not enough jumping in the game. No sooner is a picture finished than he takes Ben Hendricks and goes cruising and hunting until the next production is started. Mrs. Denny is a superb swimmer and hunt- ress and frequently accompanies him, but usu- ally she remains at home with the baby and satisfies her athletic bent by playing with Reggie during his spare hours. D ENNY is normally spectacular. Seldom a week passes that some new Denny stunt isn’t being gabbed around Hollywood, causing people to exclaim, “You don’t say so!” Recently aboard his yacht, not far from shore, he hooked a giant tuna fish, one of the largest and gamest breeds in southern waters. This finny fighter, which was later found to weigh ninety-eight pounds, threatened to break the line. While Denny played the fish, gradually giving him rope, Ben Hendricks tied the end of the line to a surf board. Denny mounted the board and was towed by the fish at a brisk speed around and around in wide circles while the shore crowd looked on and shouted. At length the tuna’s strength failed, and the surf board won. Denny’s private life, like his life on the screen, is a series of wholesome excitements. He is the kind of a fellow who makes fathers say to their sons, “Don’t be like Denny.” And he is the kind of a fellow who makes fathers secretly hope that their sons will be like Denny. Ala king the (far toons Move (Continued from page 27) as they are to be used to back-up many scenes, they are developed in detail. Animation takes place after the back- grounds are ready. The mysterious word “animation” refers to the work of penning hundreds of little drawings which will give the effect of action when shown in rapid suc- cession on the screen. Each animator is assigned scenes requiring the type of char- acters which lend themselves best to his talents. W ORKING drawings are made upon translucent tissue paper. Thus the “animator” can see vaguely the lines of the preceding drawing as he places a new tissue over a completed sketch. On the new tissue he draws just those portions of the character s body which must move. So each time a body member is drawn it is in a slightly different position. This system reduces the work to a minimum. Efficiency has developed a way to avoid the need of making a completely de- tailed drawing to register every new move. The tracers use the drawings on tissue paper as blue-prints. Each tissue sketch is traced or transferred to a sheet of clear celluloid of corresponding size. The outline sketches are then “colored,” or filled in. That is, the THRILLING TALES PUB. CO., 1803-220 West 42nd St., New York. Gentlemen: Enclosed is One Dollar for 6 months. Begin with first issue. Name Address City and State THEN you will want to chum with THRILLING TALES A Monthly Magazine of True Love (Confessions Amazing Adventure ACodern Mysteries A “different” fiction publication in every sense of the word. For Women: Intimate, unusual glimpses into the lives of women who have loved daringly — and Thrill- ingly. For Men. Adventure and mys- tery off the beaten track that carries 100% Thrills. 20c a copy $2 a year Just Pin a Dollar Bill to the Coupon Tired ? —OF THE COMMONPLACE IN FICTION? Page Forty-seven