The Motion Picture Director (Sep 1925 - Feb 1926)

56 T I T ISN'T POSSIBLE * * * WITH OUR PRESENT EQUIPMENT * * * TO DO ALL THE LAUNDRY * * * IN HOLLYWOOD * * * SO WE’RE SATISFIED Hi Hi Hs FOR THE PRESENT * * * TO SPECIALIZE * * * ON THE SHARE WE GET * * * BUT WE WISH TO REMIND YOU * * * THAT IT’S ALWAYS POSSIBLE * * * TO DO A LITTLE BIT MORE Hi Hi Hi AND IN THE COURSE * * * OF A NATURAL GROWTH H: Hi Hi WE’LL SPECIALIZE * * * ON THE “LITTLE BIT MORE’’ Hi Hi Hi FOR AFTER ALL * * * WE’RE SPECIALISTS ANYWAY— Hi * Hi THAT’S PROGRESS! COMMUNITY LAUNDRY 1001 McCadden PI. HOlly 2538 1PN MOTION nmw director OFF SCREEN PERSONALITIES (Continued from Page 44) IT was not until 1922, however, that Levee attained his whole aim. In that tear, he mustered capital, bought out Brunton, acquired the land on which the studio stood, with the addition of ten more acres, and became president of the corporation. Coincidentally, the name of the big lot was changed to the United Studios, and remains that. It was at this time, too, that Joseph Schenck, now chairman of the board of directors and a heavy stockholder, became an important factor in the affairs of the organization. Until he bought out Brunton, Levee had been vice-president, treasurer and assistant secretary. The staff had been Brunton hired, however, and, when the former vicepresident took over, the executive heads assumed as a matter of course, that they would be discharged. So, following custom in such crises, they turned in their resignations. Then Levee did a characteristic thing. He called all the executive heads into his office. “This is all nonsense,” he said. “We’ve had some little scraps from time to time, but we’ll forget them. I want you all to stay. All I ask is that you give me the same loyalty you did Brunton.” They stayed — and they are still staying. As for their loyalty, try to hire one of them. Other people have. From the day when Levee became president, the expansion of the studio has been marked. It now has six stages, including number six, the largest in the world. Two more are now being built as part of a $300,000 improvement program begun in August. Producing constantly on the lot are Norma Talmadge, Rudolph Valentino, Constance Talmadge, Colleen Moore, First National Productions, Frank Lloyd Productions, Corinne Griffith, Edwin Carewe, Henry King Productions, Samuel Goldwyn Productions and June Mathis Productions. Each of the various producers has his individual offices on the lot. There are three star bungalows. The Talmadge sisters sisters occupy the one built for Miss Pickford, and left tenantless when her needs and those of her famous husband caused them to build a studio of their own. The other two were built for Rudolph Valentino and Marion Davies. In addition, ground is now being broken for a bungalow for Colleen Moore. There are a host of dressing rooms, and more being built. The mechanical department, with its planing mill, blacksmith shop, painting and electrical departments, now occupies two acres. The contents of the huge prop November buildings are valued at more than a million dollars. The actual area of the studio is now twenty-seven and one half acres, six acres having been subdivided in the spring of 1925. Incidentally, as a sample of Los Angeles land values, they were sold for more than the entire thirty-three acres had cost four years ago. Levee, the young man who strolled into the studio in 1917, and routed a sheriff, can sit back now at the ripe age of 33, and survey the realization of his dream. He does that. He has a personal pride, not only in the studio, but in the pictures which are produced in it. Such pictures as The Isle of Dead Ships, Flaming Youth, Black Oxen, The Sea Hatvk and Ashes of Vengeance. When Levee dreamed of an independent studio, pictures like this had never been conceived. Would they have been if someone had not built a place where imagination and ambition could have free scope? Possibly, but certainly not soon. — C. S. Dunning. Demand for Short Subjects A greater demand for entertaining short film subjects exists today than ever before in the history of the motion picture business. Exhibitors throughout the country are clamoring for wholesome two-reel comedies that can be featured on their programs but at the same time there is no demand for ordinary ‘fillers’. This is the contention of Joe Rock, producer of Standard and Blue Ribbon comedies, who but recently completed a survey of the short subject market. “Such two-reelers as the pictures we are now producing are extremely popular with showmen everywhere as they are clean and entertaining and have a genuine appeal with adults and children alike,” says Rock. “No longer will the producer of suggestive comedies find a market for his product as exhibitors have found out that this class of so-called entertainment is neither profitable nor appealing.” Rock recently mailed a questionnaire on the subject of comedy films to 500 leading exhibitors in this country and he bases his conclusions on the replies he received from this campaign. Frank Lawrence Resigns Frank Lawrence, film editor-in-chief at Universal City, has resigned that office, according to an announcement made by Lawrence. Lawrence has cut and edited some of the most successful pictures produced by Universal. Hal Crane, one of America’s most brilliant creators of vaudeville sketches, is to take a fling at motion picture scenarios, it was learned with the announcement of his new contract with the Metro-GoldwynMaver studios.