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KEYSTONE
Fatty's eyes turn green when he sees Mabel and her old friend discussing palmistry.
"Of course, we have to keep up a little of that stuff," he explained. "The public has associated it with the Keystone Comedy, and it would not think it a Keystone without a little rough stuff. Wait a minute, until I call the projection room. I want you to see the first showing of the first picture we did in New York — and you will see what I mean. We have|tried to get some fine photographic effects here. I have always thought there was room for beautiful scenic achievements in comedy as well as the kick and the custard pie."
"The motion picture world has turned over several times in the past two or three years," I suggested, while we waited for the man who was to show us the picture. "What is the outlook?"
"Outlook!" repeated the comedy star. "It's as wide as the blue sky. Film standards change so fast and film styles come in so often that the director whose ideas were heralded as the climax of brilliancy six months ago is old-fashioned now. And if he fails to discard his old ideas and keep at least two laps ahead of the procession — you know what's going to happen to him."
The director-author-actor paused long enough to courteously assure a would-be actor that the rehearsals would not begin for a day or two and that there were no good positions open as yet. He bows out his applicants in such a pleasant and friendly fashion that they forget they were turned down and remember only that they have met "Fatty" and found him most delightful in his manner to them.
"I hate to turn 'em down," he apologized, "but I haven't a thing for them just now."
"Just a word about your scenarios," I begged. "Where do you get them, who writes them, and how do you direct from them?"
Mr. Arbuckle paused long enough to bid a courteous goodmorning to three or four young women employes who passed through the office and who spoke to him shyly. He held open the door for one of them who wore her black hair low and held fast to her forehead with a blue silk garter.
"Not a scrap of scenario paper in my studio," he admitted. "I wouldn't know what to do with a manuscript in my hand. I plan out the pictures, and we rehearse them — that's all."
Easy enough, ''isn't it? And Arbuckle has discovered a grand bit of audience psychology that some of the other stars might well copy. He allows a bit of the picture to film along without him once in a while. He gives the rest of the company a chance. He says he'd rather the audience would wish he would come on back than to wish somebody would sweep him out of the picture.
"An actor doesn't lose anything by effacing himself once in a while," he said, as he swung himself comfortably aboard a chair to see the picture in the little projection room. "If he is a favorite, they are all the more certain to welcome him when he gets back in the picture."
We viewed the opening-of the picture in silence. Arbuckle, as the doctor in "He Did and He Didn't," has struck a new note, although the film cutter has cut out a trifle too much footage here and there and leaves the picture a bit minus in continuity once in a while.
KEYSTONE
A little thing like falling down stairs does not bother Fatty. He.is well upholstered.