We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
From Jungle to Screen
How Wild Beasts are made into Talkie Stars
by Andrew R. Boone
THE jungle has gone talkie and with films like Trader Horn and Tarzan the Ape-man making records at the box office, the animal stars — neglected and forgotten in the earlier, less spacious days of sound — are coming into their own again.
Once more animal training is one of Holly' wood's flourishing industries.
The most elaborate pains are taken in grooming the art of acting into these temperamental four footed players.
Animals in pictures come from two sources : the jungles, or parents held captive. An increasing number are being bom in the zoos around Hollywood which supply many of the larger animals to the studios.
One trainer, Olga Celeste, has, during the last twenty odd years, handled animals in more than 1,000 pictures.
The animals become accustomed to the cameras in time, she has found. They leave their cages, act as required and when the final click of the camera reaches their ears, relax and turn quickly to those havens of refuge, their cages.
After a few picture appearances, these animals find themselves catalogued in one of two types — the stars and the background actors. The stars are filmed close-up. It is they who rest astride an actor’s back and growl full-face into the camera, or bounce directly before the cameras as though about to attack some innocent victim of their marauding ferociousness The background animals dash quickly through a scene, on the chase. They are kept on the move constantly, for to halt them is to invite disaster.
The reasons for the development of these two types are many, but the principal one lies in their native inclinations and disinclinations.
“ If we try to hold an animal quiet for a scene,” Madame Olga explained to me, “ it will hold the pose only so long as it sat still during rehearsal. If we run overtime during the scene, they will drop the pose and make for their cages.
“ Some are natural actors, others are shy. The shy animals work well in the background, for they have more freedom and are not conscious of the cameras.
“ In the foreground they hear the whirr of the camera’s mechanism, become nervous and liable to leap on somebody — anybody — in their path. And for that reason we use some for atmosphere only.
“ Four of our lions — Wilson, Red, King and Prince — never worked successfully for close-ups. Too nervous, not dependable. But Tanner and Jackie. Ah ! There you have real actors. I'll show you.”
We walked down the long row of cages at Luna Park Zoo, “ down-town ” in Hollywood.
DICKIE , a leopard, celebrates her third birthday with a luncheon at a Hollywood Studio.
3?