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Sidney Olcott, as the old Irish weaver.
Mr. Olcott looked at them gravely.
"The camera is pitiless, you know," he said. "It shosvs up quality. We must have better pearls."
In one of the scenes Mr. Brian was to pose for a close-up, showing only the pearls in his hands. The lights were strong, and Mr. Brian, unaware of their effect on his eyes, stepped forward for the camera. A bit of confidential advice from the director followed, and the camera was stopped until a pair of brown glasses were found for the actor.
"That light is pretty strong on the eyes, Mr. Brian," suggested Mr. Olcott quietly.
Everything he does is apt to be quietly done — but generally it does not have to be done over.
Mr. Olcott loves a bit of comedy himself, now a"d then.
On a recent trip into the wilds of Canada, he registered at a modern hotel in a medium-sized town. After his name he wrote "M.P. "'
The hotel management tendered him the best in the house. Nothing was too good for him. Within a few hours reporters arrived. Reporters are nothing in Mr. Olcott's young life. He knows plenty of them, and they all like him, so it was nothing unusual for them to ask for information. But when his work of directing scenes in the logging district was over, he took the time to explain gravely that the "M.P." following his name did not mean "Member of Parliament" at all. It meant "Motion Pictures."
His off time is spent in hunting locations. Having spent much time abroad, he is quick to note a foreign-looking locality and store it away in his memory for future use He knows exactly where to put his hands
on an estate that has English gardens or Japanese lakes or Florentine walks, when needs must. And it would be a stern heart, indeed, that could withstand the coaxing smile that Sid Olcott can flash when he is asking for the loan of a house or a garden or a logging camp for his motion pictures.
Even a Japanese mother capitulated to him once when he wanted to "borry the loan, pl'aze, ma'am," of a wee Japanese baby for one of his scenes. Japanese mothers are not keen about loaning their babies, and the difficulty rather grew; but Mr. Olcott hunted up a Japanese colony in which lived some young Japanese he had once befriended on a trip to Japan in cherry-blossom time, and his warm smile soon won a promise that the "sure 'nuff" Jap baby would be right on hand the next morning when needed.
Mr. Olcott is the originator of the modern school of directing, if there can be anything modern in a business that changes once a week, like a farmer boy's socks. Bluff, bluster and noise have no place in his directing.
It's Sidney Olcott, all right, playing a grasping Irish landlord.