Motion Picture Classic (1923, 1924, 1926)

$SSft A®0 inonf Careful, conscientious training by members of our faculty made this possible. Today, trained illustrators who draw pictures for magazines, newspapers, etc., both men and women — earn $200 to $500 a month. The present splendid opportunities in this field have never been excelled. Thousands of publishers buy millions of dollars' worth of illustrations every year. Illustrating is the highest type of art. If you like to draw, let your talent make your fortune. Develop it. It takes practice, but so does anything worth while. Learning to illustrate is fascinating to anyone who likes to draw. The Federal Course it a Proven Result Getter THE FEDERAL AUTHORS include such nationally known artists as Sid Smith, Neysa McMein, Fontaine Fox, Charles Livingston Bull, Clare Briggs and over fifty others. Exclusive, original lessons especially prepared by these famous artists are included in the Federal Home Study Course. SEND TODAY FOR "A ROAD TO BIGGER THINGS" Every young man and woman with a liking for drawing should read this free book before deciding on their life's work. It is illustrated and tells all about illustrating as a profession and about the famous artists who have helped build the Federal Course. It also shows remarkable work by Federal students. Just write your name and address in the margin below, mail it to us and we will send you a copy of the book free. Do it right now while you're thinking about it. The Truth About Film Salaries (Continued from page 17) ScAooi of Illustrating 6086 Fed«r»l School Building Minneapolis, Minn. Be Popular Play Jazz «-#> It km them going. Young folki ftre enamored by thoee UnUluring tune*. Be the J«» King with your SAXOPHONE Teach yourself, 3 free lessons give you quick easy start. Try any instrument in your own home 6 days free. See what you can do. Easy terms if you decide to buy. Send now for beautiful free literature. A postal brings details. Buescher Band Instrument Co. (M 1475Bu~cb« Block Elkhart, IndiaM 70 Dix is receiving about $2,000 on a contract which has almost a year and a half to run. Famous Players is offering a new contract for considerably more, but for a long period of time. John Gilbert is getting $2,000 from Metro-Goldwyn. Ramon Novarro is receiving the same amount from the same company. Ronald Colman is said to be getting but $1,700 from Samuel Goldwyn. Against this, check the fact that Conway Tearle and Eugene O'Brien get $3,000 a week. So, too, does Lewis Stone. Wallace Beery gets $3,000, likewise. On the other hand, William Boyd is paid but $300. The Underpaid Favorites ""There are several reasons for this odd difference in earning capacity. Dix is working out a long-term contract. Like Gilbert, Colman and Novarro, he is more concerned in getting good roles than with a top-heavy remuneration. These shrewd young men have studied the elemental lesson of the screen, that a big star salary lasts but briefly. They want to stay, develop and progress in pictures. Hence, their willingness to work at what is 'really a moderate celluloid salary. Consider the case of the ill-fated Barbara La Marr. When she was overtaken by her fatal illness, Miss La Marr was earning $2,000 a week. Yet, after her death, it was found that she had saved but $6,000 out of her entire life's earnings. She had nothing to show for her meteoric success. Corinne Griffith is receiving more than $3,000 a week. Milton Sills gets $2,500. Florence Vidor is said to get $2,000 a week under her new Famous starring contract. Bebe Daniels gets $2,000 as a Famous star. This same amount is earned weekly by Owen Moore, Antonio Moreno, Nita Naldi and Anna. Q. Nilsson. Adolphe' Menjou draws $2,500. As a First National star, Dorothy Mackaill gets about $1,200. As a free-lance, she got $1,500. The Character Players ("""onsider the character men. Jean Her^ sholt gets $1,500, altho he is frequently loaned by Universal for as high as $2,500. Noah Beery gets $1,500. Ernest Torrence finds $1,750 in his Saturday-night pay envelope. George Siegmann finds that film villainy pays, to the tune of $1,000. Walter Long also gets this for his realistic leers. Lon Chaney gets $3,000. Francis X. Bushman leads the old-timers in earning capacity. He is asking and receiving $2,000 a week. True, he didn't get this for his work in "Ben-Hur," but he is now considered a strong comeback. Hence, the $2,000. Henry B. Walthall, the "little colonel" of unforgetable memory, receives $1,500. Bryant Washburn gets $750. Charles Ray receives $1,500. Turn to the comedians. Harry Langdon is getting $50,000 per comedy as a First National star. Raymond Griffith has maneuvered his salary at Famous to $3,000 as a comedian. Sydney Chaplin receives $2,000. It is interesting to note that his "Charley's Aunt" was one of the big comedy hits of last year. It earned $1,500,000. Mack Swain gets $750 as a comedy foil. Charley Murray and Chester Conklin draw down $800 to $1,000 as first aids to screen dramas. Louise Fazenda earns $1,250. The Freak Salaries ""There are still some freak salaries in filmdom, relics of old high salaries of the earlier days. Pauline Frederick still gets $3,500 to $4,000 when she works before the camera. Lionel Barrymore asks and receives $2,500. Mae Murray is said to get $3,000 under her new Metro-Goldwyn arrangement. Betty Compson js asking $4,000 a week. Since she has put aside a good bank-account and is the wife of a successful director, she doesn't have to worry about working steadily. Pause to compare some of these abnormal salaries with the small sums paid some recent foreign newcomers. Vilma Banky is reported to receive $500 from Samuei Goldwyn, altho she is loaned to other producers for as high as $1,500. Cecil De Mille offered $50,000 for her contract. Greta Nissen had climbed from $75 to $500 when Famous dropped her contract. On the day she was released Universal offered to borrow her for $1,500. Now Universal has her, at a reported salary of $750. Greta Garbo is getting so little that Hollywood jokingly remarks that she is being paid in kroner and canned sardines. Miss Garbo really receives $400. Dolores Costello is under a $300-a-week contract to the Warners. Norma Shearer is said to be getting $1,500. Sally O'Neil is receiving but $300. Metro-Goldwyn discovered her — and signed her under a long contract. Lillian Rich is getting $350 from Cecil De Mille. She is loaned frequently for $1,000. Clara Bow 'gets $750 a week from Benjamin Schulberg, now an official of Famous, altho she is . frequently loaned for far in excess of this. When the loan figure goes over the thousand mark, Schulberg and Miss Bow split the difference. The $2,500 Class Iet us return for a moment to the $2,500 1-1 class. Reginald Denny is now receiving this from Universal. This, too, is the figure earned per week by Bert Lytell, Anita Stewart, Viola Dana and Mae McAvoy. Kenneth Harlan draws down $1,750. Lew Cody, Irene Rich, Monte Blue and Helene Chadwick each earn $1,700. The $1,500 class is larger, including Jacqueline Logan, Norman Kerry, Harrison Ford, Bessie Love, Mae Busch, John Bowers, Marguerite de la Motte, Huntly Gordon, Leatrice Joy, Matt Moore, Rod La Rocque, Conrad Nagel, Marie Prevost and Alice Terry. Billie Dove and Patsy Ruth Miller get $1,250 each week. Receiving $1,200 we find Clive Brook, Jetta Goudal, Neil Hamilton, Pauline Starke, Lois Wilson, Robert Frazier, Pat O'Malley and Virginia Valli. Belle Bennett and Louise Dresser were getting $1,000 per week when they scored their hits of last year. Doubtless they are getting more now. Still in the $1,000 class are Wanda Hawley, Barbara Bedford, Allan Forrest, Ricardo Cortez, Dorothy Devore, Laura La Plante, Aileen Pringle and Claire Windsor. Lois Moran, the recent find, gets about $750. So, too, does Margaret Livingston, Claire Adams, Warner Baxter, Charles Emmett Mack, Herbert Rawlinson and George O'Brien. Mary Philbin is now receiving $800 from Universal. A year ago she was the poorest paid of all the stars, getting $300. Betty Bronson receives about $500 from Famous. She was getting $300 a year ago. Western Melodrama Remunerative Ctarring in Western melodramas pays •^ better. Against the $15,000 received by Mix, check the $7,000 earned by Fred Thomson and the $4,000 by Buck Jones. Hoot Gibson is trailing a bit at $2,500 a week. Now for the directors. No one knows exactly what D. W. Griffith receives, but (Continued on page 87)