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IntroDuctotg*
gagements, all rehearsals paid for, Sundays and holidays for home, traveling expenses while absent, and much of their tim_e spent among beautiful and interesting outdoor scenes that form their acting stage.
Is it to be wondered at, with these humane conditions, that authors, actors, and science await the call to "movie" land? Their heart is in their work; they hesitate at nothing to carry out the play in hand. We laugh and cry with them, sympathize with their predicaments, and applaud their heroism. There is no lack of warmth between the business end of the movie game, the performers, and their audience, and therein lies the secret of their success. Lately an attempt has been made to form a film trust. The gentlemen engaged in this affair are pleading with Uncle Sam for more time to prepare their answer; in the meantime, they provide films to any who require them in their business, and will continue to do so. Recently film pictures of a character so offensive they were not approved by the board of censors and prohibited by the police, who arrested the principals, were shown in one of New York's leading theatres, practically following a spoken dramatic production of Longfellow's beautiful poem, "Evangeline." Whether the production of these offensive pictures was a direct attempt to discredit the moving-picture play remains to be seen. But to the credit of the latter it is on record that these films were fathered by the sociological society of New York, mothered by ladies of the reform world, and damned by every decent citizen. Within the very citadels of the chiefs of the speaking drama may be heard the music of the builders' tools, as they mold into form temples for the movie fan to worship in. The dramatic stars of yesterday are vacating the theatres on the