Close Up (Oct 1920 - Aug 1923)

12 JUST BETWEEN OURSELVES Marshall Lorimer Editor and Prop. ‘CLOSE-UP” The Magazine of Movie Land Issued the 5th and 20th of Each Month Editorial and Business Office: 603 Western Mutual Life Bldg., (formerly Exchange Bldg.) 321 West Third Street. Telephone 820-609. SUBSCRIPTION RATE: ONE YEAR TWO DOLLARS Advertising Rates on Contract Basis Checks Should Be Made Payable to “Close-Up” All manuscripts and Contributions Should be Addressed to the Editor ROSY DAYS AHEAD FOR ACTORS Joseph Schenck Makes a Prediction This is a cheering bit of reading for the actors of Los Angeles. It is the prediction of a man who is careful about his statements, and who speaks with authority. Joseph M. Schenck, producer of the Talmadge and Keaton pictures, is conservative enough to be also a bank director. When, therefore, Mr. Schenck says anything relating to the films, it commands both respect and confidence. And this is what he says that is so cheering: By next August we shall see greater production of photoplays under way in Los Angeles than ever in the history of the industry. He made it stronger — twice as much production, he said. According to Mr. Schenck, there is already a great shortage of pictures in sight for next year’s theatre demand. To meet the needs of the near future it will be necessary to greatly increase the volume of output. “To illustrate the point,” says Mr. Schenck, “take the requirements of the first-run theatres in Los Angeles. How many are there? Say twelve. Each one will need fiftytwo feature pictures during 1923. Where are they to get them? The supply had now dwindled until there are not more than 400 all told, good, bad and indifferent, remaining. The logic of the situation justifies the prediction I have made. “We must not expect,” continued Mr. Schenck, “that the old days of wildcat picture promotion are going to return. The industry could not escape the deflation that has been going on any more than other lines of business. The readjustment and retrenchment to meet post-war conditions are both necessary and salutary. From now on those who prosper in making pictures will be the ones who create worthwhile photoplays. By that I mean good subjects, worthily treated— generously, handsomely, intelligently. I am putting this belief into practice. On my Norma Talmadge picture, ‘Smilin’ Through,’ which is at the Kinema Theatre, I expended over $300,000 to make it worthy of a beautiful subject. On another, ‘The Eternal Flame,’ not yet released, I spent more than $400,000. And by the way, I could not have made this elaborate picture anywhere but in Los Angeles. “No trouble at all,” said the producer. “Anyone who has good standing and a proven ability to make good pictures can get all the help he wants. The film producer has an article that appeals to the millions. The most conservative banking men know it. If picture makers lay down the same kind of cards on the banker’s desk that other bus'ness men must and should, they can get help on the same terms.” GERTRUDE STEVENS Comedy Ingenue “I haven’t done this with any foolish idea that mere prodigality of expenditure meant quality or popularity. It was done after a careful study of existing conditions-. The public has stopped the reckless spending it indulged in during and right after the war. Exhibitors then, being able to fill their houses with mediocre pictures, didn’t demand of us the best the cinema could do. “Now, with the public picking its amusement carefully, exhibitors must and are willing to pay more for what we do handsomely. In other words, we have a market for the very best product we can turn out. “Douglas Fairbanks asked me the other day what I thought of his heavy outlay on ‘Robin Hood.’ I told him he couldn’t make a mistake if he spent his million wisely.” “What about the influx of foreign pictures?” Mr. Schenck was asked. “No competition at all,” was his emphatic opinion, and he explained: “Out of the many foreign pictures imported into this country, only four have been successful. Only an occasional historical production, for which the Europeans are best fitted, can make an American appeal. Foreign artists are good actors, but their types don’t appeal to our psychology. We demand a certain kind of personality, and they haven’t it.” “And how about the financing of this promised heavy demand for films in the fall, Mr. Schenck? Is money going to be available in sufficient quantity for big productions?” “UNDER OATH” STARTED Filming of “Under Oath,” the first Elaine Hammersteii, production to be made on the West Coast, has been started by Selznick. George Archainbaud, who came to California with the company and who directed Miss Hammerstein in “Handcuffs or Kisses,” “Evidence” and several other pictures, directs “Under Oath.” Edward J. Montagne of the Selznick scenario force wrote both the story and scenario. Mr. Brotherton is assistant director. Myron Selznick has engaged a strong cast of local players to support Miss Hammerstein in the piece, chief of whom are Mahlon Hamilton and Niles Welch.