The theatre of science; a volume of progress and achievement in the motion picture industry (1914)

of Science 85 experience being absolutely essential is proved a fallacy. "Anyhow" (as Bobby Gaylor would say) Lowry did give Terwilliger a chance, and the best proof of his capacity is the fact that his second production was "The Cry of the Blood," a three-reel masterpiece, written as well as directed by the man who never was connected with the theatre save as a writer or, rather, as a critic of distinctively professional publications. I believe that given a man of a high order of intellect who has an intimate knowledge of photography and who is gifted with an ability to "think in pictures" he will prove a greater asset to the film producer a year from now (if not much sooner) than the stage manager who comes to the studio with no other Qualification than his stage experience. Wilfred North, a Vitagraph director, while a long time associated with the stage, does not beheve his stage knowledge has been the greater asset in directing photoplays. Says Mr. North: "The director must see with the eye of the camera." And the day may be near when moving-picture productions (not photoplays) are directed by the world's greatest minds wholly independent of the art of acting, and there are now men directing in the studios who are so well prepared for that day that they will welcome it. Mr. Griffith's remarkable success has resulted from his fearless and revolutionary methods. But for him the day of reckoning for the new art would not be so near. Realizing that the two questions were as vital as any he could ask, the author put these up to the famous director, D. W. Griffith, and this recognized authority on the photoplay responded thusly : "You ask me : 'Do you think the stage and its craft