Motion Picture Classic (Jan-Dec 1920)

;>)iiiiiiiiiiiii]iiriiiiJiiiii]iiiJiiiiiiiiiiinijiiiiiiic:iiiiiijiiiriiiiiijiiiiitiic]iitiiiiiiiii[]ii<: I Motion Picture I Magazine i FOR DECEMBER I ' I ^ HE luxurious person | I I ality of Catherine Cal | I vert pervades the at | I mosphere of "Satin and | I Pearls" as her gowns and | I jewels did the Japanese Gar | I den at the Ritz, where she | I was interviewed by Adele | I Whitely Fletcher. Read | i about the capture of this star | I by V'itagraph and her return | I to the screen. | I The story of Bobby Har i I ron in the December issue of | I The MuTiox Picture Mag | I AZIXE holds much interest, as | I it is the last interview granted | I by him before his death. | I C. Blythe Sherwood pre | I sents new views and sidelights | I on Blanche Sweet. | I The personality of Forrest | I Stanley is portrayed by | i Hazel Simpson Naylor. I I Hope Hampton, in her | I palatial apartment in New | j York, grants an interview to | I Gladys Hall. Result — a | I vivid word picture which | I brings before the reader this | I luminary, her charming neg | I ligees and exotic perfumes. | I E.xcerpts from letters written to | I scenario editors appear under the | I title of "Rainbow Chasers," by Eliza i I beth Peltret. | I Departments of valuable informa g I tion conducted regularly by The | I Motion Picture Magazine are: | i The Answer Man and Greenroom | i Jottings. Valuations of the pictures | i to be shown are to be found in the | g Screen Time-Table. | I Three powerful new photoplays 5 g not yet released will appear in fiction | i form. Read them and be prepared | i for a fuller enjoyment of the plays. 1 I Get the news of the activities, f riv 1 S olities and festivities of the celluloid 1 1 \»'orld in the December issue of | I THE MOTION PICTURE | I MAGAZINE I I 1 7? Duffield street Brooklyn, N.Y. | •:*;iuiimiiiiiiii]iiiiiiiiiiii[iiiiiiiiiiiiir]iiiiiiiiiiii[]iiiiiiiiiiii[iiiiiiiiiiiii[)iiiiiiiiiiiii>:* I I'itttlty-ijnr I Semon tiie Jester {Continued from f^ugc 4.^1 .\11 this time, however, he had his eye upon motion pictures. This, too, may be traced to the adventurous elder .Semon. who had once manufactured "flapperl)Ooks." little photo-packets which gave the effect of motion pictures when the thumb was run over the edi,'es. Later, too, he had been interested in the making of slot machine movies, the earliest form nf the photoplay. But let Semnii tell the rest of tlv talc himself : "Thru J. Stuart Blackton I secured the opportunity I desired at the Vitagraph studio. I started learning direction as his assistant and then became a director myself. I did all this during the last year of my caricaturing contract with Thr Sun. Then I decided to cut adrift from comic drawing and stick to pictures exclusively. Chance threw me into comedies, for the simple reason that, at the moment, they had dozens of dramatic companies at work and needed farce directors. "I did not play at first, but. as I worked with one comedian after another. I found that they did not quite carry out my ideas in one thing or another. \\'hy not try myself? "I did — and I'm still at it. Of course, my earl) barn-storming training was a vital aid. And my newspaper work gave me a clear — and broad — viewpoint. That's about all." Now let Semon offer an explanation or two anent his comedies. "I do all my work myself. I do not use 'diiubles.' Naturally we take lots of chances. On high buildings, for instance, and, let me add, there is less faking in my comedies than in most farce productions. The members of my company are mostly all acrnbats. "I ha-v-e been asked why I do not try five-reel farces. I believe them too long. Audiences do not want so much sla])stick at one time. I do not think they fit into the average theater ])rogram. (Ju theother hand, I want to go on niakiny fa^t two reelers. "This coming year I hope to elaborate upon my work of the past. That is, I am gi>ing tn 'shout' my two-reel comedies in as big and elaborate sets as serve for five-reel dramas." Semon has had a mass of amusing ad\entures before and behind the camera. Only recently he was using a colored man ill a comedy scene and the company had been enjoying tliemselve.s in "kidding " the darky regarding an imaginary scene in which they told him he was to appear with several saxage lions. Finally. Seninn thought he wcnild add the final touch to the colored man's worries. "Kastus," he said, impressively, "we'll shoot your lion scene tomorrow — ever work with animals?" Rastus breathed hard. "Yas, .sub, ah's worked with animals — pigeons, goldfish, canaries, hut ah draws the line right there!" 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