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24
EXHIBITORS HERALD
March 21, 1925
On the job supervising First National productions. Earl Hudson, production manager of First National, at his office in the Biograph studio. New York, where several First National attractions are now in production.
Earl Hudson, an Outstanding Figure in Production
By John S. Spargo
New YORK, March 10. — Earl Hudson is celebrating an anniversary this week. He is celebrating it up at Biograph studio by overseeing the production of pictures by four National units, preparing the scripts for new pictures for two of the units which have about completed present work, and while resting between times he is working on the preparation of “Atlantis,” his next big special to follow “The Lost World.” So you see, he has plenty of time for celebrating.
The aforesaid celebration marks the second anniversary of ^Ir. Hudson’s be
ing placed in charge of First National’s production activities. Just two years ago he made his first plunge into this end of the picture industry, when on short notice from Richard A. Rowland, he landed in Hollywood and took charge of the works.
In the short space of twenty months he had turned out twenty productions, all of them of a class to measure up to First National standard. Among these were some that made history as the outstanding pictures of the year and of the decade.
In the matter of versatility few xnen have ever entered the industry whose record equals that of Mr. Hudson. So generally is this recognized that he is commonly considered to be the outstanding figure in production. He is:
Author —
Scenario Writer —
Production Supervisor — Editorial Director —
Title Writer —
Cutter.
His official title is: Supervisor of Production for First National Productions, Inc.
Earl Hudson comes as near to being a one-man film corporation as the limits of human endeavor allow.
Filmdom has no other example of versatility comparable. In his supervisorial capacity his scope embraces every phase of the making of First National pictures save the acting. To discharge these offices for a single company is no slight tindertaking. But to shoulder them for five companies is a responsibility almost incredible.
This is precisely Hudson’s position of late for First National Productions.
He put into production concurrently Colleen Moore’s “So Big,” Corinne Griffith’s “Wilderness,” “Inez From Hollywood,” “As Man Desires,” featuring Milton Sills and Viola Dana, and “The Lost World,” which he produced for First National and Watterson R. Rothacker conjointly.
Every phase of his productions receive the personal Hudson touch. The scenario may be his own original, such as “For Sale,” “Single Wives,” or his masterpiece— “Sundown.” Or it may be an adaptation, or a revision of a continu{Continued on page 30)
Mr. Hudson (left) with John Francis Dillon, director of First National's “Chickie."
Mr. Hudson left and H. H. Bruenner, assistant production manager of First National.