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Slumbering Fires
By
HARRY CARR
Over at one side of the big stage was a little house made of canvas. Across the top of the door were two of the most expensive words in the English language:
“Norma Talmadge.”
They started again : this time the director stopped them. “Wait a minute; wait a minute. There are some flies buzzing around you. They will look like a flock of aeroplanes in the camera.” Norma’s director is Frank Lloyd.
He is a ruddy-faced young Scotchman. When he directs, he sits all curled up in a knot on a stool. His face is set, his lips tight. They just have to act with him sitting there. Like most good directors he seems to reach out and actually take hold of them with his mind.
“Great,” he said, when they had quarreled thru to the end. “Now do it again, please.” In the films, no matter how well you do it, it has to be done twice; the second time for a negative to be sent to Europe.
In the middle of the second instalment, they had to stop again. “Those darn flies,” groaned Lloyd. Seizing a newspaper, he went out into the set after them. But, as it happened, the flies had their own ideas on the subject. They were having a dandy time and a great deal of exercise when unexpected re-enforcements
Photograph by Kendall Evans, L. A.
Photograph © by Albin, N. Y.
There is something vibrant and electrical about her. She suggests terrible slumbering fires of emotion. She absolutely" dominates every scene by sheer force of personality
TT was the day they started Norma Talmadge’s picture, “A Voice from the Minaret” — that Hichens story. When I got to the studio, Eugene O’Brien and Edwin Stevens were having a violent quarrel.
Stevens was standing with clinched fists and dilated eyes glaring at the young clergyman. I waited for them to speak. There was a moment of tense iilence. Then Stevens spoke. He said : “Wait a minute, Gene ; we gotta do this over. There’s some perspiration showing on your forehead.”
“What are you quarreling about ?” I asked, while a boy dashed out for the trusty make-up box.
“I’m not quite sure,” said Mr. O’Brien. “This is the first scene.
I guess we are quarreling over his wife or something. Anyhow we’re quarreling and it’s an awful hot day; I’ve got that far.”
(Thirty-two)
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