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Constance
TALMADGFs
Certified
Confession
Blanche Sweet's disclosures concerning the secret passages in her life, made public for the first time in this issue of Motion Picture CLASSIC, are startling
But they constitute only the beginning of a series of revelations equally astounding by a number of stars equally notable
Next month's— the November — CLASSIC will bring to you the second of these confessional articles
It will be the story, the courageous and simple and outright story, the hitherto hidden phases of the career of CONSTANCE TALMADGE
This astonishing magazine feature will relate to you, exactly as Miss Talmadge has related it to us, the intimate chapters of her life's history which up to the present have been jealously withheld
They comprise things not only, until now, never before published, but things never before told — to anyone
And this, as well as their truth, is certified by Miss Talmadge's own affidavit, properly witnessed, notarized and sealed
Watch for Constance Talmadge's real story. It will reach you October 12 — the day when your newsstand will have for you your copy of the November
Motion Picture
classic
It's the Magazine with the Personality
The Screenless Screen
(Continued from page 112)
had him burned as a wizard a few years ago. Another of Newcombe's works portrays a corner of the motion picture studio in which will be produced entertainment and inspiration for your son's sons. The topless towers, three in number, which parade across the canvas, are lofty perches for technical screws (for even in Brown's conception mere men still guide the machines). There are more recording engines on these elevations, which, of course, are mobile and may be raised, lowered, or otherwise moved by silent signal. And all must be silent, for the machine which projects from side of the picture is so sensitive that every slight noise is recorded. Or perhaps there is a filtration system by which only the sounds desired are to be caught up by the god in the machine.
THE THEORIES, 2928 A. D.
PERHAPS the most difficult to understand, or to make tangible, is the conception of the theater fifty — a hundred — a thousand years hence. It will be a mighty colosseum, in which every seat will be equidistant from the screen. But hold! There'll be no screen! That is very elemental. To you and me, unused to toying with infinity, it may seem quite logical that when pictures are projected it is necessary to project them upon something. But this idea just shows how dumb you are. And me too.
The picture will be projected from one place but to a thousand others, then in midair these light rays will be drawn together again, and the figures of the play materialized in the air. There is third dimension, of course, and the phantom forms have depth — thickness — as well as length and breadth. They are camera ghosts — alive, yet nonexistent !
Realism is decidedly out of vogue for the future photoplay. For art that is realistic ceases to be art, and becomes a mere perversion.
WHAT MEN THINK, THEY CAN DO
SO, take it from Clarence Brown, that anything which may be conceived by the human mind is capable of execution by man. The most fantastic dreams of the night may be made realities in the morning. It's worth pondering on. For "there are more things in heaven and earth, Horatio, than are dreamed of in our philosophy." Just for instance, have you ever watched pictures on their way through the air to the screen? Well, watch some time in a smokefilled auditorium, and you'll see the figures leave the projection-booth and hurtle down a ladder of light and land upon the screen.
For fear of getting lost somewhere in the middle of the next million years, let's listen to Brown as to whether or not television, and the projection of pictures in the homes will do away with theaters. The response is, certainly not, because there is a peculiar psychology which makes folks want to do things and see things together — en masse. Therefore home movies will not cut theater attendance or keep people from going places any more than the radioed description of the big fight (broadcast by courtesy of the Eureka Hand-Made Noodle Corporation which makes hand-made noodles by hand for the Eureka Hand-Made Noodle Corporation) threatens to lower Uncle Sam's cut in Tex Rickard's income.
So now, perhaps you have a general idea of Clarence Brown, and what he thinks of between big box-office artistries. If you can figure what it's all about, you're a better man than the editor, not to mention the lowly members of the staff.
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115