The international photographer (Jan-Dec 1933)

March, 1933 The INTERNATIONAL PHOTOGRAPHER Twenty-three (Continued from Page 19) The light seemed to have a peculiar glow. Within a few hundred feet of it and our journey's end I suddenly grew frantic again as I noticed it was no more than a fusee on a railroad track. Just for the Public My next thought was to jump. There was a possibility that if I jumped the film would at least be safe as the fall would only be some seventy feet. We were soon to see the finish of the show. Upon seeing that red light was only a fusee I immediately stood up in the cockpit and motioned Rudy to zoom upward that we might not hit any obstruction that might be in our course. He did this at the moment I motioned. The ship was now following a dizzy path and I could realize by its movements that my able pilot was fast losing his senses; his nerves were almost at the breaking point. The plane was tossing now as a feather in a storm and with it was myself and the pilot that were nothing more than human bodies beyond all power of reasoning from the exhaustion of our race and journey "just for the public." It was about this time my eyes rested upon something that resembled a field. Pointing it out to Rudy I asked him to try to make a landing. We were slowly descending and within twenty-five feet of it and Rudy started to throttle the motor to prepare for landing when suddenly my eyes caught a glimpse of something that did not look too inviting. After straining my eyes a little more I suddenly became aware, much to my surprise, that it was only water. Realizing this I stood up suddenly in the cockpit and motioned Rudy to zoom once more into the air, which he did without hesitation. The motor puffed and spit back once. Were we at last to see the end without gaining our destination? The motor spit two or three consecutive times and I was sure we were going to crash. Wait for Crash I remembered what my pilot had said about not jumping until I did. so now I was determined to stay with the ship. With this thought I again looked down and saw several large buildings we were passing just to our left. These could not be mistaken. It took no time for me to inform Rudy these were hangars and that we were now over the field. The plane now was past the field, the motor cut once more, twice, picked up again and then again it cut out and just as we were banking around for a landing it cut out and stopped dead still. With a dead stick my pilot banked still further around. Our speed was gone and the field was a short distance away, too far for gliding in to it. He started to pancake down. I could not look down. With my head inside the cockpit I sat there and waited for what might happen. It hit — a terrific blow and didn't seem to roll a foot. My head hit my knees, which were rigid under my chin and the blow stunned me for the moment. It was over, and I was glad of it. I raised my head slowly and peered over the side of the cockpit to find that we really had landed. With the realization of this I jumped out and as I landed on the ground a number of huge lights flashed on and glared into my eyes. I had run some hundred feet when the thought of Rudy being back there in the ship came to me. Returning to the ship I looked into the cockpit, but couldn't see Rudy. There was no answer when I called the first time, but the second time there was a faint answer from somewhere near the tail section. Back there I found Rudy flat on his back. He asked me to please go away and let him enjoy a few moments with good old mother earth. We delivered the film and with it the responsibility that it be carried further northward by someone else, "Just for the Public." Union Projectionists Jack Hare, Publicity Manager of the Filmarte Theatre, sends in notice that the following theatres are now employing union projectionists: Filmarte, Carmel, Stadium, El Portal, Paramount (Hollywood), Vista, Beverly and Apollo. A Pioneer Goes On In October, 1911, David Horsley with his brother William came from New Jersey to Hollywood to establish a motion picture studio. At this time Brother David was head of the Nestor Company, an up and coming organization, already a producer of headliners in the east. Accompanying the Horsleys was Al Christie, Tom Ricketts and Milton Fahrney. They had to work quickly, for there was only $2,500 between them, so they came direct to Hollywood from the train and, without further delay, leased the old Blondeau tavern and barn. This stood at the corner of Gower and Sunset. The new company got right down to work, the first picture made being "The Law of the Range," directed by Fahrney. In May, 1912, Universal took over the Nestor studio and David Horsley opened a studio on Main Street, where he achieved his greatest successes. He was one of the true pioneers of the motion picture industry, a maker of cinema history and a man of vision who, even in the dawn of motion picture evolution, saw the greatness to come. The International Photographers extend to the deceased's family their profoundest sympathy and condolences. Will lams Shots Q^rll NNOUNCING that our laboratory capacity has been increased 400 per cent to adequately meet the demands for our new patented DOUBLE MATTING PROCESS 8111 Santa Monica Blvd. OX 16 1 1