Exhibitors Herald (Oct-Dec 1920)

EXHIBITORS HERALD December 25, 1920 CHET WITHEY Brains, Training and Determination — That Is Chet Withey Director Long Ago Recognized (he Possibilities of Motion Pictures And "Lowered His Art" to the Extent of Occasionally Taking Roles in Various Productions and in Writing Scenarios kfc^TTITHEY unquestionably has VV many things in his favor, and one of them that stands out like a beacon of light is braininess. He knows the camera. He knows the technical side from A to Z. He knows stories and he knows continuity. He knows .stars. He knows types. He knows ideas that can be used to advantage in pictures. He knows the valuation of lighting effects. He knows scenic arrangements and locales. Much of this comes from his dramatic stock experience. And his picture knowledge comes from ^tudy and direct association with things, big and little, that go to make a picture with worth while. "Chet Whitey never does anything by halves. In directing pictures and handling actors, whether stars or types, he gets results. From the time that he set his mind to direct pictures he went at it with that seMf-determination that spelled only one thing and that was success with a capital S." So: wrote Mark Vance in his critical analysis of Chet Withey's work to Show why Chet Whitey was one of the foremost of motion picture directors. /As Mark Vance has said. Chet Withey • lias the three chief ingredients of success—brains, training and determination. * * * It was while playing small roles in a stock company on the Pacific Coast that Mr. Withey "lowered his art" to the extent of occasionally assuming roles in photoplays. At that time any actor who forked before the camera was an object 'of scorn among his fellow players. Piaying before the camera was violating an unwritten law of the profession. But Mr. Withey took a broader view of the matter. He studied the motion picture and readily recognized its possibilities. He saw, among other things, that what the motion picture needed was good stories. Accordingly, he set out to write them. He had brains — or inherent ability — plus a stage training and some motion picture experience that gave him a thorough knowledge of what constituted drama. His first real affiliation as a scenario writer was with Selig Company in Edendale, Cal., a pioneer among California producing organizations. From there he went to the Mack Sennett studios. But he did not remain long at this latter place for the reason, perversely enough, that he refused to take advantage of an opportunity he had always longed for as a boy. As a lad Mr. Withey had wanted to be a black face comedian and his chance finally came during his Mack Sennett days. Roscoe Arbuckle was making a picture in which there was a black face parade. Six scenario writers were invited to join in the parade and of the honored six Withey alone refused. On the following Saturday night he was fired. * * * A few days later he had a desk in the Triangle studios. He was writing scenarios. Then one day he was picked out to direct a picture. Somehow Withey had always felt that directing was his forte and he took up his new work enthusiastically. The picture, "The Devil's Needle." starred Norma Talmadge. A long story could be written on the success of Mr. Withey's first effort, but such a story is needless. It need only be said that Mr. Withey today is again directing Talmadge pictures and his 'pictures are termed Chet Withey Productions! Following his first subject Mr. Withey directed for Triangle "The Old Folks at Home," "Mr. Goode, the Samaritan," "The Village Prodigal," aud "Madame Bo Peep." Later on he became affiliated with Vitagraph. where he directed "The Alabaster Box." Following this he directed "The Hun Within," for Artcraft, and for Paramount "Maggie Pepper," "The Little Comrade," "The Teeth of the Tiger" and "On the Quiet," with John Barrymore. Still later of his productions are "She Loves and Lies" and "The New Moon," in which Norma Talmadge was starred, and "Romance," with Doris Keane in the leading role. His "Romance" .has been hailed as one of the artistic accomplishments of the year. * * * Just how high Mr. Withey stands in the estimation of those who are competent to judge directorial ability might be gleaned from the conversation that took place in the presence of the writer of these paragraphs between a literary light and a motion picture man who understands motion picture values thoroughly. "Chet Withey is to direct the picturization of the story. What kind of a director is he?" "None better," came the prompt response of the motion picture man. The literary man had faith in the judgment of his friend and he rested contentedly after receiving this information.