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1926
THE MOTION PICTURE DIRECTOR
67
Capitalizing Opportunity
(Continued, from Page 23)
director over to a conviction that the son of an important figure in the show world was sincere in his desire to succeed on his own merits was not easy, but Considine convinced him by a very simple method — demonstration.
Now that he had made the first step, he did not lose sight of his ambition to become Joseph Schenck’s secretary. He had not, however, mentioned the fact to Mr. Schenck. It was sheer coincidence that brought about the culmination of this plan, and much sooner than he had anticipated. A secretary who had been with the producer for twelve years suddenly left his employ, and Considine’s personality having impressed Mr. Schenck, the latter’s first thought was to transfer the young man into this position if he were willing; at least until someone else was available.
At last — the opportunity to demonstrate the art he had learned by observing the prince of secretaries! His expectations and ambitions were realized. Within a short time he had made himself indispensable.
“Whatever else I may, or may not, be able to lay claim to,” Mr. Considine declares, “I did make good as a secretary.”
He put all the initiative he possessed into the exacting task. Being secretary to such an active and important person as Mr. Schenck was a test indeed ; the many and diversified interests of the producer called into play all the executive qualities latent in young Considine — all the diplomacy, the decision, the grasp of detail he could bring to bear.
An opportunity to prove his executive ability and generalship of detail to Mr. Schenck yet more convincingly, came when the latter was planning a trip to Europe. It had not been his intention to take Considine along, but he chanced to remember that he spoke French and had lived in Europe. On being offered the chance of accompanying his employer, the young private secretary accepted eagerly. Europe meant little to him after several trips and periods of residence there, but the chance of greater intimacy with Schenck, and a greater opportunity to serve him, was more than attractive.
He managed the trip so well that very shortly after their return he became manager of the Norma Talmadge company.
Two and a half years ago he was made general manager of the Schenck Productions, a position he still holds. In addition, he is now an associate producer. He made “Wild Justice,” with Peter the Great, the police dog star, in the central role; another of his productions is “The Eagle,” starring Rudolph Valentino. Both are United Artists releases.
In 1921 John W. Considine, Jr., a
young man not only anxious but determined to “get along,” took stock of his assets and made his plans. Four years later we find him in one of the most active and responsible executive positions in the motion picture industry.
He says that as he reviews his progress during those four years, he realizes that “the breaks were all for me!” That, he modestly explains, accounts for the speed of his climb.
In our opinion Considine was not extraordinarily lucky. “Breaks?” Of course. Everyone has them, for and against individual progress. But John Considine was on his toes to take advantage of the good breaks, to halt the bad ones before they could do any harm. He knew what he wanted, why, and how to go about getting it. Then he went after it.
That’s how those things are done.
Memories of Yesteryear
(Continued from Page 52)
chatty talk, “The Bride of the Storm” came on the screen, it was with a feeling of genuine appreciation of the dignity and beauty of the eighth art that we saw unfold before us James Francis Dwyer’s story, “Maryland, My Maryland,” from which the picture was adapted.
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