Motion picture acting for professionals and amateurs (1916)

EXPRESSION an audible pity for her plight, or joined with Iht in her fidgety uneasiness. Every close-up, as a result, was a break in the4 story. Interest waned and at the close of the show the star's reputation suffered through a general criticism of her work in the picture. This was due entirely to her stage mannerisms and her inability — in the close-ups — to sustain simulated emotions. Unlike the stage performers, who can work themselves up to a genuine emotion as the play unfolds, the movie artist is compelled to register emotions to order. It is generally known that the pictured story is not produced in natural sequence. The movie player may be called from a pleasant conversation and ordered to register a towering rage instantly. A few minutes before this same player was registering ardent admiration and in the next few minutes heartfelt grief. And all this may have been without the slightest knowledge of what it was all about. When it is understood that few directors allow7 players to know anything of the story, other than the scene in hand, which may cover a period of twenty to fifty seconds, the term "made-to-order" expressions can be more fully appreciated. The professional stage performer and the novice aspiring to studio work should bear in mind that the ladder to success on the screen Page 22