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

228 C6e Cfieatte zone. Mr. Brady knows well the mold of the LoewZukor type of showmen, for they represent much the same sort of mental make-up and unparalleled energy and persistency that has characterized Brady's amazing march to the front. Like Brady, too, they hail from the East Side. Unless I am mistaken, all three were associated together in that period of film development when the nickelodeon ■was in its zenith. Brady, in those days, had a grip on the picture game — but he did not "stick," which is a pity, for, judging from what the daring showm.an achieved in the precarious theatrical field since then, he might have become in the Rockefeller class had he continued in filmdom. But Loew and Zukor and their kind did "stick" and their influence in the amusement field is not likely to be lessened. That these gentlemen have faith in the future of moving pictures may be indicated by the fact that both in 1914 vastly extended their operations in that field, investing millions of dollars in new theatres, new film studios and in purchasing film control of the plays owned by theatrical producers. If, as Mr. Brady suggests, a retrograde movement will reverse existing conditions for the film men, there is not an inkling of such a catastrophe to be observed from the present-day plans of those who would seem best qualified to m„eet such a condition. And how about Blackton? Here we have the "Billy" Brady, the Charles Frohman and the Arthur Voetglin, of filmdom combined, and there is nothing in the Commodore's business procedure to suggest that he or his associates are impressed with the advisability of any overv/helming stage productivity adapted to the screen. In truth, save for the Vita