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

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

0 f ^ C i C n C C 267 three directors reputed to earn in excess of $50,000 annually (Messrs. Ince, Griffith and Mack Sennett, all with the Mutual brand of films), the average compensation for the director is vastly larger than that accorded to the best stage m.anagers in this country. Many directors are paid $250 a week throughout the entire year, and the demand for experts is so great that there is every indication that the average salary will continue to increase. Not a few directors are attracting the attention of capitalists, bent upon investment on the producing side of the industry; others have already embarked in the producing field, and the vacancies thus created can only be filled by holding out inducements. The Famous Players' Film Company must needs add to its directing force immeasurably in the next year, controlling, as it does, practically seventy-five per cent, of the best plays produced in Broadway theatres during the last quarter of a century. These directors are likely to become a powerful influence in the amusement world. If the income of some of the most successful ones is not exaggerated, and the writer is inclined to believe the figures are correct, then such of these as are named above must be accumulating fortunes as great as any the amusement field has ever recorded; besides, as Griffith, Ince and Mack Sennett hold stock in big dividend-paying companies, their future is assured far beyond the limitations of a salaried director. Ince is investing already in big undertakings, and it is authoritatively stated that he at least aspires to produce for the speaking stage. Whether this aspiration is meant as a reprisal for the onrush of theatrical producers into filmdom, I cannot say, but it is sure