Close Up (Oct 1920 - Aug 1923)

^iflmuiimmiiiiiimiiHiimimimifflniMiimiiuiniiiiiiMiiiniiiiiiiiiiMmmwNiiHiMiiiiiiiiiniiiiiiiiiiiiiiiiiiiiiiHiiiiiiiiiiiNmiiAiiuuiiitMiiiiMNUiiuiHiiiiiiimiiiitiiiiiium^ A NEARER POINT OF VIEW “CLOSE-UP” A MAGAZINE OF MOVIE-LAND VOL. IX, NO. 1. LOS ANGELES, CALIF. JANUARY 20TH, 1923 TEN CENTS j mi IT’S AN OLD THOUGHT WORDS OF WISDOM— INDEED! Thomas H. Ince has put the responsibility for “bigger and better pictures” directly up to the motion picture exhibitors of America, according to an open letter to exhibitors sent out from his studios here. He says that if exhibitors will “shop” more for the productions they play ‘in their theatres, the million of picture goers will be forced to “shop” less. His open letter follows: “Is there not a tendency on the part of many exhibitors to accept the productions they book without having thoroughly “sold” themselves on them? I am hoping that this tendency is not growing; it would be a bad day for pictures. “There are good pictures in plenty now being released. And if exhibitors will shop for them, picture goers will be forced to shop less. “The exhibitor who shops for his pictures is the biggest asset my studios have; in fact, he is the biggest asset the entire motion picture industry has.” HER RISE TO FAME Although but nineteen years of age Marguerite De La Motte has played leads or featured roles in over twenty pictures. Her first part was with Douglas Fairbanks in “Arizona” and her work as Lena stamped her as an artist. Then she appeared in several all-star Zane Grey productions. At the age of seventeen she was leading lady for Mr. Fairbanks in “The Mark of Zorro,” “The Nut” and “The Three Musketeers.” Following, she was featured in “Shattered Idols,” a J. L. Frothingham production; in “What a Wife Learned” and “Scars of Jealousy,” two Thos. H. Ince-First National releases; played the lead with Lon Chaney in “Shadows,” and the ingenue lead in “The Famous Mrs. Fair,” a Fred Niblo production. Her first picture for 1923 will be ‘“Desire,” a Louis Burston picture, for release through Metro. Miss De La Motte is under contract to J. L. Frothingham and will be featured in a big stage success which he will produce early this year. ACQUIRING KNOWLEDGE By Marshall Lorimer Everytime I woo of late Sadly do I ruminate, For it takes away one less Wooing to my happiness. When I see your glowing face — It leads me to a new disgrace; As I hold your glowing charms, Safely planted in my arms, Though you try to remonstrate — Finally I subjugate All your protests in a kiss! Which leads to another Bliss. Frantic quite you realize The meaning of my enterprise; ’Til you in turn are one and see The import of our estacy, Then in turn you strive to win Nectar of another sin! And the dawn with glowing rays Sends us on our sundry ways. You to find a resting place On a fragrant little Flower, I to find another Face To enrapture me an hour; So it goes — our wooing takes Away an ache and leaves new aches, We’re stung, perhaps — and destiny Smiles on — forgetting you, and me — Two Mites, a SHE and Bumble Bee: Who tried to live accordingly. HIS WORK AND HOBBY ARE ONE What do you suggest for a boy who complains that he can’t see all the plays because he has only seven nights a week for the theatre? A job in a showshop, of course. So Robert B. McIntyre left Wanamaker’s book department, where he had a responsible position, and became treasurer and later manager of Philadelphia and New York theatres. Production manager at World Film was his first motion picture job, and now he is casting director at Goldwyn, and a shining example of the man who is a success because he loves his work. Just at present he’s very busy considering possibilities for the cast of “Ben-Hur.” “Every day, in every way, I am getting better and better” may be applied to health by the famous French pharmacist, Coue, but it is not a new principle in its application to the upbuilding of a successful career, thinks Leah Baird, who is starring in “The Destroying Angel,” the second of the Leah Baird Specials now being completed at the Thomas H. Ince studios in Culver City. “It has long been the key to success among struggling artists. They may not have said it in the very words of the French scientist but they have applied the same principle of selfconfidence, which everyone realizes, is half the battle. “It is largely on the order of the famous saying, ‘If you believe it, its so.’ If an artist tells herself daily that she is getting better and better she will improve in her work. By saying such a thing she admits there is great and ample room for improvement. Only those who think there is no room for improvement remain at a standstill. “You may be able to say to someone else that you are getting better and better when you know you are not. But when you say it to yourself you are fooling no one because you can't fib to yourself or your conscience and get away with it. If you tell yourself you are improving your conscience will make you endeavor to really improve and you will find that day by day you are improving. “This principle as applied to health may be self hypnotism but when applied to work it means it must be backed up by your best endeavors.” Miss Baird’s latest special production for Associated Exhibitor release is “The Destroying Angel,” founded on Louis Joseph Vance’s famous story. The cast includes Ford Sterling, John Bowers, Noah Beery and Mitchell Lewis. Frank Beresford has started work on the continuity for “Cordelia the Magnificent,” LeRoy Scott’s story which will be Clara Kimball Young’s next Harry Garson production for Metro.