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16
©i rector
November
WANTED a boot-jack and a celluloid collar for another of the “Fifth Avenue” scenes in New ork. It would hare been a matter of a few minutes wait if we had been working in a Hollywood studio. It cost us a day — several thousand dollars. And then the celluloid collar came from Philadelphia. One of the prop men said his father lived there and he always wore them, so, after canvassing more than twenty shops in New York, he wired his father and the collars arrived at noon the next day.
I will leave the discussion of the capital investment in the picture industry in Hollywood for someone better able to deal with it than I, but before leaving this subject I do want to point out that in New York the industry is one of hundreds — and of less importance to the community than the cloak and suit business. But to Hollywood, to Los Angeles, the industry is of paramount (adv.) importance. Barker’s or any furniture house, will rent anything in its stock for a picture. The First National Bank, or the corner grocery in Watts, is always willing to allow its quarters or its employees to be used in a scene.
As for me, personally, for the first time in my adult life I have a Home — and I am going to stay there. I’ll go to New York for a few weeks, or to Timbuctoo, but I am going to Live in Hollywood for the rest of my life. I dwell on a hilltop, in quiet and peace with the lights of the city below me and those of God above me. In ten minutes I can be at work in the studio, in twenty at the theater. Forsake that for rumble, lights, excitement? I should say not!
Nor will anyone else of importance in the industry that I know !
In the prop
ROOMS OF THE STUDIOS ONE MAY FIND ANYTHING FROM A BIRD CAGE TO A FOUR-POSTED
BED ABOVE,
FOUR-POSTED BED DESIGNED
for Mary Pickford’s
USE IN
“Little Lord Fauntel
ROY AT
LEFT, ONE CORNER OF THE PROPERTY ROOMS AT THE
United
Studios.