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By
REDBRICK
JAMES
SMITH
cast/ ” she , “because it ed a message lose young en who are ing their fight y where — in ity’s hall bedns and the ‘ts. That is of all my roles, I most for the in ‘The Rise enny CushThere was ler struggler fought her to happiness, e most about fessing some of message rd the betlent of so
It
ss Ferguson not talk of nission with She merely ts to help s just a litShe has too i of a sense imor to conker art too usly.
ir instance, in ssing a cerieading man, remarked :
5 unyielding en he ernes you he I’t give an And it’s lly hard to nbraced like
n
Sher screen ■iences Miss tuson talks in*iingly. “At sd was fright11 confused/’ tonfesses. “I |i never forget tate of mind ‘g the makjf ‘Barbary i).’ Then I a to care sly for the i Next came II er disturbed til of confu
3 with the ent changes ■ectors which
Miss Ferguson credits her whole development to the stage rather than the screen. “One does not develop in the studio,” she says. “The necessary method of doing disjointed scenes here and there from the photoplay prevents a genuine living of the character. On the stage you play a character straight thru for many nights. It grows, expands, mellows — and you develop with it” '
seem a part of photoplay making, Then, too, I took it upon myself to say a good deal about the selection of my vehicles, and I made a number of bad choices. ‘Heart of the Wild,’ for instance.
“I had wanted to do that because I had played ‘Pierre of the Plains’ on the stage. But when I came to do ‘Heart of the Wild,’ based on that play, I found that I had changed. I was young, undeveloped, fired with extreme youth when I played Jen behind the footlights, but when I came to do her on the screen I found that I had developed. T could no longer feel her ingenuous view of life.’;
Miss Ferguson credits her whole mental development to the stage rather than the screen. “One does not develop in the studio,” she says. “The necessary method of doing disjointed scenes here and there from the photoplay prevents a genuine {Continued on page 87)
© Ira L. Hill