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Pacific Coast Paragraphs
By HAZEL SHELLEY
■>TUi)ios spring up as quickly in Hollywood as do
5 dandelions in our best kept lawns back East.
l-".speciallv now that almost every star and star
irectnr has his own studio, is one amazed at the
increasinjj number and size of the shadow-stages.
( )ut on beautiful Santa Monica Boulevardis the Hollywood studio, very large and imposing and really cliarmingly encased in its light pink stucco exterior. Here Marshall Xeilan is at work on his newest ])icture, and Dorothy Phillips and Allan Hokihar started work on their first independent produclion, only to be interrupted by a severe cold wliich settled in Miss Phillips' throat and brought on a nasty attack of bronchitis.
Half a mile beyond is the Jesse D. Hampton studio, glistening in its white coat of stucco. Here the einotional Hlanclie Sweet is com|ileting "That (lirl Montana." H. H. Warner and William Desmond pictures are shot here also, but Warner was taking a fishing vacation with Mr. Hampton and William Desmond had been "loaned."
.Still farther out is the new King \'idor studio, a quiet tan-and-brown structure furnished very tastefully. Mr. Vidor is anxiou.sly awaiting just the ri(/ht story before he begins another production. He has two stories on h a n d, hut neither ()uite suits him. Meanwhile, Florence \'idor is emoting at the I nee studio.
Down on Sunset Boulevard is the rambling, ramshackle, green, wooden Ha worth studio, which used to be the famous old (iriftitli studio ; it is now fairly oozing Orientals of all sizes and ages who parade the streets during every momentary lull in the screen production of Otis .Skinner's "Kismet," which Ciasnier is producing there. .\nd just op|iosite is the Charlie Kay studio.
Kay is a very serious worker, and for that reason objects to any visitors whatsoever. The other day I was made one of the fortunate eNce))tions. and when I slipped in on the ban(|uet scene for "l-'orty-rtve Minutes from Broadway." I was very interested 'n seeing the charming Kay bent over a piano, playing the same tune sturdily over ;nid over again, while he waited for some lights to be adjusted. It seems that he had to play the piano in the jiicture, so he look essons and wasn't satisfied until he could play the exact piece correctl)'. Persistency is one of Ray's chief characteristics.
When the Hglits were repaired, he acted a scene at the table w ilh I'.ugenie Bes.serer, that excellent actress. He has a way all his own f)f going over and over his comedy business until he attains the exact result he wislies.
n direct contrast to the slow, careful, pain.staking manner of Kay is llie (piick, heartv method of Donald MacDonald, who sup|iorting Charles Kay in his "Forty-Rve Minutes from roadway." Donald MacDonald is a native of Brooklyn; in fact, used to live o])posite our very own editor. .Mr. Breu^ter, (Coiiliiiiicil on f'lii/i' '>2)
Top, Bessie Barriscale's foundation of success; center, Mildred Moore, Universal leading woman, whose life is one thrill after another, stops to powder her nose before taking the next leap; below, Eileen Percy, Fox star, enhances the beauty of the California beach
(Sixty-two)