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The HOLLYWOOD
of France
I HAVE met — worked with, alas! — many, many motion picture directors, but not one of them bears the slightest resemblance to Rex Ingram, his manner and his methods. Rex Ingram is unique. Where I have seen directors — not all of the m — w ear their caps with the visors down the back of their necks, array themselves in riding breeches and puttees, bellow thru megaphones, and go striding and swearing all over the lot — Rex doesn't.
Rex Ingram is the quietes t — silentest might be the better word — man I met on the whole Riviera. His quiet and silence, however, are impressive. You feel that there is so much he might say, if he chose ; so many interesting things he is constantly holding in reserve.
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At the top of the page is a bird's-eye view of Rex Ingram's studios at Nice. The imposing edifice at the right is the Administration Building — which houses the offices of the director and the various heads of departments. The interior. above represents the modeling room where sets and
details are designed
As he sits opposite you, you become conscious of vast potential activities constantly going on in his mind. I have never yet seen him when he was not looking with a far-away gaze at something beyond the problem that was
directly in front of him. He has developed a deep crease running down almost into his left eyebrow from peering into space this way.
Rex has a faculty of bringing silence with him wherever he goes. No matter how noisy the studio may be, you can always tell when Rex has entered, for a hush falls, on his presence. If the whole place is not quiet, you will always find a little spot surrounding him that is. I remark this in way of contrast to most directors I have worked with who were the Big Noise itself.
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