Motion Picture Magazine (Aug 1921-Jan 1922)

qsmsusH. $95 anjiour! "Every hour I spent on my I. C. S. Course has been worth $95 to me! My position, my $5,000 a year income, my home, my family's happiness — I owe it all to my spare time training with the International Correspondence Schools!" Every mail brings letters from some of the two million I. C. S. students telling of promotions or increases in salary as the rewards of spare time study. What are you doing with the hours after supper? Can you afford to let them slip by unimproved when you can easily make them mean so much? One hour a day spent with the I. C. S. will prepare you for the position you want in the work you like best. Yes, it will ! Put it up to us to prove it. Mark and mail this coupon now ! |«"»"»""^"^,TC»B OUT HERE «•«>•>« INTERNATIONAL' CORRESPONDENCE SCHOOLS BOX 6624 SCRANTON. PA. Explain, without obligating me, how I can qualify for the position, or Id the subject, before which I mark X. ELE0TR101L ENGINEER Elsetrlcs Lighting and Ityt, Electric Wiring ~ Telegraph Engineer" Telephone Vvbrk ^, MECHANICAL ENGINEER Mecb&nleal Draftsman / " machine Shop Practice Toolmaker V Gas Engine Operating CIVIL ENGINEER Sorreylng and mapping MINE FOKEUANorENG'R STATIONARY ENGINEER Marie > Engineer Ship Draftsman ARCHITECT Contractor and Rnllder '* jArehltectnral DrafUman B Concrete Builder Structural Engineer ~ PLUMMNU AND HEATING Sheet Metal Worker Textile Overseer or Snpt. CHEMIST Pharmacy lamp Present Occupation. Street and No. □ SALESMANSHIP □ ADVERTISING □ Window Trimmer HShow Card and Sign Ptg. Railroad Positions BIT.LUSTRATING Cartooning B BUSINESS MANAGEMENT Private Secretary § Business Correspondent BOOKKEEPER Stenographer and Typist □ Cert. Pub. Accountant □ TRAFFIC MANAGER □ Railway Accountant □ Commercial Law □ GOOD ENGLISH □ Oommon School Sobleots □ CIVIL SERVICE □ Railway Mall Clerk □ automobiles □ Mathematics □ Navigation I □Spanish □ AGRICULTURE I □Teacher □ Poultry Raising I □Ranting Business ^^Address . City. Canadians may send this coupon to International Correspondence Schools Canadian, Ltd., Montreal, Canada Your legs will appear straight expensive. For it is time that runs up the expense in motion pictures. By economizing on time, a producer can afford the best actors, camera men and directors. The Selig-Rork company is feeling out the public with these short films. If there is favorable reaction, more will follow. Director Bracken has some interesting plans : "When I first undertook these pictures, I felt that it was just a little of a comedown from doing so-called 'features,' " said he. "But after I got to work, I realized that there was a great opportunity for doing things that I never could do with expensive features. For instance, if these pictures are favorably received, I can go ahead and try new things. We can afford to experiment. We will not have to make each picture to please an entire public, in order to make a fair profit. We can get away from the eternal happy ending, the saccharine philosophy, and the custommade hero and heroine. I would like to do Poe's 'The Raven.' It can only be done effectively in two-reel size. "I would like to make the two-reel drama a sort of curtain-raiser to the program feature. The enormous success of the one act plays produced by the Washington Square players, proves the public wants such entertainment. Holbrook Blinn, with the Princess Players, in New York, was able to do some interesting things. And there is a place, too, I think, for such thrillers as produced by the Grand Guignol, in Paris." The possibilities as sketched by Mr. Bracken seem infinite. Other producers are watching his experiments, ready to follow in line, after the maner of geese — and film producers. The success seems assured for such as the Bracken make. One of the leading exhibitors of the world, Samuel J. Rothapfel, director of New York's Capitol theater, recently said, in an interview with Frederick James Smith : "There will be more and more demand for short subjects. There are not enough good short film offerings ... I would like to see short dramas and comedies developed in one-reel lengths, something, perhaps, along the line of those pioneer efforts of the Sidney Drews." Thus, it would seem, that the photodrama, like the skirt, gains much by shortening. But, of course, all depends upon what is shown after shortening, We Interview Wall}) (Continued front page 23) G. H. {feeling the interview lost if IVally digresses entirely from the topic of femininity) : What type of woman do you think is the most dangerous — the most alluring to men? Wally (with a gesture, expansive and inclusive) : Type has nothing to do with it, Sister. There's no telling. I've known women as beautiful as houris, without a spark of the much discussed appeal, and I've known women with nothing visible to recommend them — fat, or ■ too thin — or something and everything wrong, who have had the power of ten women in one little finger. Tall or short ; dark or fair, it means nothing. There's a deeper mystery to attraction than can be seen by the naked eye. A. W. F,: "The Affairs of Anatol" must have been a liberal education — amusing, of co«rse, not that you needed one. How in the wbrld did you ever manage all those leading ladies? Gloria Swanson, Wanda Hawley, Agnes Ayres, and Bebe Daniels — must have been difficult. Wally (zvith a grin) : It was something like Old Home Week. Great. As a matter of fact, all of them, except Gloria, had been my leading ladies at other times and in other plays. We had a clubby reunion, and all went as merry as a marriage bell. G. H. : Speaking of marriage bells, is Mrs. Wally with you? I see her picture and the son's there on the piano. Wally : No, she's home this time. I'm going back as soon as I finish this. Hope to do another production with Cecil deMille, as a matter of fact. He's a peach to work for, and with. A. W. F. : Would you like the boy to be on the screen ? Wally : I'd like him to be what he would like to be, because that is the only thing he ever will be. I was supposed to be everything on earth, but a screen actor, and here you are . . . G. H. : Does he show any particular symptoms at present? Wally (with a chuckle) : Judging by the general state of his hands, and his being, at present, he will be a mechanic . . . (The man waiting in the hall to measure costumes, coughs discretely, and the inquisitors rise — they convey to one another, by subtle signs and signals, that it is time to depart — that they probably have plenty of material.) Scene III. — Fifth Avenue — or as native New Yorkers say — the Avenue. It is raining hard when the two inquisitors come upon the scene. Adele Whitely Fletcher : It's pouring. Why dont you put your umbrella up? Gladys Hall (zvho hears not, neither does she see) : Youshay rain? A. W. F. (hopefully) : Well, what did you think of him? One of the objects of our doing these interviews together was for the purpose of exchanging opinions afterwards. G. H. (with unutterable reproach) : Opinions? Think? Wally. A.W.F. : Well, certainly Wally affects some people as if he were a matinee idol, even if he doesn't like the idea. If he could see you now, he'd dash to the nearest haberdashers and purchase the cap so popular with directors, leather puttees, and then he'd be off for a megaphone. Is that as intelligible as you propose to be. Now, his type of work in "Peter Ibbetson?" His psychological appeal to . . . G. H. (loudly) : Asking me what I think about Wally. In a minute you will be going into his Freudian complexes and reflexes. How do I know what I think . . . ? A. W. F. (with awful majesty) : Do you know what you saw? G. H. (zvith sympathy) : Of course. A. W. F. : Well, perhaps for the sake of our readers who would like to know something about Wally, you will tell what you did see? G. H. (with a sigh!) : His eyes! (By this time the inquisitors are marooned in the center of the Avenue, while the traffic surges perilously near them in all directions. They keep going, arguing, oblivious to everything. An officer approaches, propels A. W. F. ; G. H. remains standing in the rain, blissful — their fountain pens drip along into the rain — and the foregoing is the result.)