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100
MOTION PICTURE MAGAZINE
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film appealed to him. He approached several producers with his idea, only to be laughed at for entertaining foolish notions. But this Columbus of the Films convinced Mr. J. Stuart Blackton that his was a feasible scheme, and outlined to him the plot of t h e story, which was to be called "Raffles, the Gentleman Burglar, ' ' and Mr. Anderson was to
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Motion Picture work came quite by accident, which, by the way, is usually the case.
This was when Edwin S. Porter, the first picture play director of the Edison Company, was producing "The Great Train Robbery," the first one-thousandfoot film ever attempted in the United States. He came across Mr. Anderson quite accidentally and engaged him for a certair "bit," that of a passenger who attempts to escape and is shot down by one of the robbers.
Seated around the exquisitely appointed table, Mr. Anderson and I chatted away like old friends. I didn't consider it necessary to tell him that his words were going to be used against him, for the pleasure of the reading public, as I find that such information leads to a drying up of the wells of speech, and I much preferred "Broncho Billy," the talker, to Gilbert M. Anderson, an imitation of the Sphinx.
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be Raffles. Some of us perhaps still remember this film. It made a fortune for the producers, and Mr. Anderson, with all-abiding faith in his brainchild, went on the road with it.
One day, meeting
George K. Spoor, then
an exchange man, with
film exchanges thruout
Chicago, where his famous "Magni
He told me how, after working in scope," a forerunner of the presentthe Edison picture, the idea of a long day Motion Picture cameras, was