Exhibitors Herald (1927)

10 STUDIO SECTION OF August 13, 1927 GreatestThinkers Among Small Town Patrons, Says Meehan ‘%iterati of Algonquin Club Are Parrots of Trite Ideas;” Three Meehan Films Rank in Highest 10 at B. O. By DOUGLAS HODGES ONE day last week I asked Leo Meehan if there is a definite rule that will guide a director so that his picture will be certain of a strong box office. When he finished answering it was late and his boat was due to steam out of the harbor for Catalina and he was planning to complete the last half of a week’s vacation. A ND when he finished answering me I asked that he write these paragraphs. He should have written them. He is a man whose early earnings were by the pen and he understands motion pictures; whereas I know nothing about pictures. But he had no desire that his answer be printed and it fell my lot to give you his answer second handedly. Formulae Are Beliefs “I have several formulae,” he said, “that I try to build my pictures on. But they are beliefs rather than rules.” He told me that they were probably unimportant because they have so far never been the foundation for a “Big Parade” or “A Birth of a Nation.” I accused him of hedging. I reminded him that he directed “The Keeper of the Bees,” which was the strongest box office film of the year, by exhibitor vote. He said that was just a happenso. Three Among Highest in Ticker I opened a copy of the Herald to the Box Office Ticker. “You’ve made a ‘Laddie’ and a ‘Magic Garden.’ The three I’ve named are among the highest 10 box office pictures now on the market.” “No company has more successes among the first 10 releases than F B O,” I said, “and no director has more. What can directors do that will assure them of equal box office standing?” But Mr. Meehan would not set himself up in an advisory position. He chose to tell me a few incidents of his life and of his philosophy. Before he directed a picture he went from cub to editor of a modern newspaper. He later became the owner and publisher of a daily. Today, aside from other responsibilities, he publishes and edits the Pasadena Sun. Ran Down Murder Stories That was the experience that proved his entree as a motion picture director. He harvested from his nights on murder stories and burglar chasing a well balanced conception of drama. He learned as an editor the likes and dislikes of people. He learned as a city editor to guide the men on his staff. An understanding of their human weaknesses and idiosyncrasies composed his manual that has served him ever since. As the son-in-law of Gene StrattonPorter he has, I am sure, been associated with contemporary writers whose ideas have further strengthened his understanding of the public. He told me that many directors misunderstand that public. A New York writer recently boasted to Meehan that the Algonquin club finds most motion pictures boresome. The insinuation was that films are not made for the “upper class” of New York and Los Angeles. It was an insinuation that people in those cities are of a superior mental stratum. Meehan’s reply to him summarizes the reason his pictures find their tremendous appeal. “The Algonquin club does not house the wisdom that people possess who inhabit the towns between New York and Los Angeles. “If I must choose between making pictures for those cities and making pictures for the other folks I prefer to make them for the hundred million throughout the country because they are serious minded and in their books or in their pictures they demand food for thought.” Only One Idea Can Be Consumed “One thought, one simple idea is as much as anyone can assimilate in an hour and a half. No one can tell a story with more than one thought in that much time. “Directors are unable to know when they start a picture what are its capacities. “The ‘litterati’ of the Algonquin club are parrots of a trite philosophy whereas the people west of New York are the greatest thinkers in America.” shown the photography was not so good. After a conference it was decided that the work would have to be done over again, this time on a stream near Universal City. Torrents of water were pumped into the creek, which swelled until it resembled a river. Then cakes of artificial ice were dumped in, and the scene became one of desolation. Next Eliza jumped out on the ice but the bloodhounds wouldn’t follow. It didn’t seem so real to them, until an assistant director waded out and rubbed chunks of meat on the ice, giving it a packing house aroma. Thereupon the bloodhounds did their stuff. When the film was shown it was full of thrills. * * !)! The “How” of Economy Talking about reducing the overhead — some of the independent companies here have a system all their own. A story is selected for a picture. Then studio executives and director get together and draw up a chart which shows just how much footage will be required for each scene. This having been done, stars are “borrowed,” if possible from the big studios, or independent stars are signed up. Before such stars are obtained the director knows just how long they will work. It may be two days or it may be a week, but he knows. Recently the camera work on one independent picture, with two big stars in it, was completed in eight days. The stars worked two days. * * * Fallen Archdukes With Archduke Leopold of Austria, in the movies and other members of royalty and the nobility serving, under assumed names, as ordinary actors, certain circles in Hollywood are taking on an atmosphere of pomp. Countrymen of the archduke still look up to him will all the homage and respect they bore when he wore the purple. For instance, at the Fox studios, where Leopold bows before the camera, there are about 20 former members of the Austrian nobility and military forces. All of them wear monocles, to say nothing of gold braid, red coats and boots and spurs. When the archduke comes along they invariably snap their heels together and salute. They remain in that position until he returns their respectful greeting, and then they go on about their business. Recently one hussar saluted, but the archduke did not see him. The hussar, monocle, uniform and all, remained at the salute for 10 minutes. He wouldn’t get out of it until someone notified Leopold, who hurried over and saluted, after which the hussar was able to resume his work. Leopold tries to impress it upon his countrymen that he’s plain Mr. Man, but they insist on treating him “royally.” Apropos of Leopold, a “gag man” remarked that “Hollywood is becoming the home of Fallen Archdukes.” * * * Or Maybe He Couldn’t A former woman vaudeville star, whose specialty was dancing, is introducing a new makeup which she predicts will take the place of grease paint. The preparation may be applied like cold cream, talcum powder (or what have you?) and is said to remain for two minutes or two days without losing its power before the camera. Lew Cody tackled it and said he didn’t have to take it off for a week. * * * Our Little Scotch Joke Those in the know are laughing over the recent experience of a prominent {Continued on page 27) WHAT’S the use of realism in motion pictures when something else makes a better job? For instance, the film version of “Uncle Tom’s Cabin.’’ Universal began shooting on it and after a while all hands said it was a wonderful start. Here was going to be the epic of the age. Such being the case, realism should predominate. Therefore, it was decided to shoot the supreme, de luxe, magnificent, overpowering dramatic scene — Eliza crossing the ice — on the Mississippi River. QO the Eliza part of the company, in chunks of ice floated down the river. eluding bloodhounds, was sent to Here was realism rampant. The scenes Tennessee. Near Memphis, on the were made. Everybody was happy, banks of the father of waters, the com Back to Hollywood they came. But pany gathered. It was cold. Huge when the great bloodhound scene was