Exhibitors Herald (Apr-Jun 1922)

74 EXHIBITORS HERALD June 24, 1922 They can be right — Why not have them so? Sub-titles are like a woman's reputation — you can't be too careful of them. It isn't enough to write titles that are good in themselves, as examples of polished English. The important thing is to find the right title for the right place — the title that belongs — the title that does not say a word too much or too little — the title that gives to the pictorial text a dramatic focus as sharp and clear as the photography itself should be. Some title writers seem to assume that pictures are made simply to be speedways for their vocabularies. The clouds of words they raise are worse than the dust from the car ahead of you on a country road. Beware of the title that is a non-conductor. Every time one happens in a picture, the current to your audience is broken. You'd raise merry blazes if the points on the distributor of your car weren't right. Don't let defective titles cause your pictures to miss fire, when every cylinder should be working. Let me 'do my bit' for your next production. Consultations at your convenience. LESLEY MASON Suite 511 Seven Two Nine Seventh Avenue New York City Telephone Bryant 8174 Cable Lesmafilm Newyork Preparation of European Productions For the American Market a Specialty East Coast Studios By JOHN S. SPARGO (Continued from page 47) his way from the Coast to begin the preliminary work here. "Toilers of the Sea," being a sea story, careful consideration was given the selection of locations for the exteriors, and many stretches of Coast were studied with a view of finding a place which fitted best with the story of the famous French author. The ruggedness of the Coast of Maine appealed mostly and many of the exteriors will be made there. Other scenes in the picture will be made in Florida, probably at the Miami studios, while all the interiors will be made at the Metro studios here in New York. The cast has not yet been selected, but work on that will be commenced soon after the arrival of Mr. Ingram from the Coast. Mae Murray, under the direction of Robert Leonard, is at work at the Metro studio on "Broadway Rose" for Metro distribution. The work is well under way and it is expected, when completed, this will compare favorably with some of the best pictures yet made by the popular star. * * * Griffith at Work on "At the Grange" Activity has been resumed at the IX W. Griffith studio at Mamaroneck which has been lying idle since the completion of "Orphans of the Storm." It is probable that work will be continued there all summer, as, in addition to the two productions now in hand by Mr. Griffith for his own company, the new Lillian Gish company will work there. Work was commenced last week on the filming of "At the Grange,'' in which Carol Dempster has the leading role. This is the first of two program pictures Mr. Griffith will make for United Artists distribution before beginning work on his next big feature. The story for the second of the program pictures has been selected but the name has not been mad public. Lillian Gish Productions, Inc., will be gin work soon at Mamaroneck on the first of a series of pictures which will be distributed by Allied Artists, the subsidiary company of United Artists. The story has been chosen and the cast which will support Miss Gish is being considered. The pictures will be made under the personal supervision of Mr. Griffith. * * * Arliss Completes "The Silent Voice" George Arliss has completed the filming of "The Silent Voice," under the direction of Harmon Weight, at the Whitman Bennett studios, and the picture is now being prepared for the screen. Mr. Arliss was supported in the production by Ann Forrest, Edward Earle, Effie Shannon and little Miriam Battista. Many of the estates of wealthy and prominent people about New York have been utilized in filminir the exteriors. Mr. Arliss, immediately after completing the picture, sailed for Europe for a