Motography (Jul - Dec 1915)

722 MOTOGRAPHY Vol. XIV, No. 15. for the continued photoplay keeps piling up effect and result, because the play is running right along in your house and is there to supply the demand created by your work and expenditure. Thus, is it clear that the continued photoplay justifies and in fact calls for a bigger advertising outlay than any single picture. For very closely related reasons the continued photoplay can be backed up with many more expensive advertising and promotion helps than would be practical or possible in connection with single pictures or "one time" features. The high art heralds, the newspaper space, the souvenir advertising helps used the first week in the promotion of the continued photoplay, count and show results all through the subsequent weeks. For example, in connection with the promotion of "The Diamond From the Sky," a special book to exhibitors, under the title of "How to Increase Your Box Office Receipts," was issued. Exhibitors who put into operation the plans that they found presented there are telling every day of the successes they have met. And their success with this continued photoplay has covered their whole business. What they have learned in the handling of this picture has increased their efficiency as managers and is reflected in every aspect of their business. As an example of how "The Diamond From the Sky" is being shown and advertised by the wide awake exhibitors everywhere, this article is illustrated with pictures of Proctor's One Hundred Twenty-fifth street theater, in New York. The billboard shown in the photograph shows "The Diamond" dominating the advertising of the house and program — and alongside, by the way, you will observe a Mutual Master-Picture is well represented. There is an example to every exhibitor in Proctor's treatment of "The Diamond." Wright's Methods with Supe s Director Fred F. Wright for Essanay, who has just completed the production of F. Marion Crawford's six-act drama, "In the Palace of the King," through his own enthusiasm, inspired all of the 5,000 persons who took part in the photoplay, with individual responsibility. Before starting work, Mr. Wright had worked out his plan of production to the minutest detail, so that when he had his great host of players there was not a single hitch, and he was enabled to push the play through in record time for such a stupendous piece. "With the thousands of persons who were absolutely raw material I anticipated some difficulty in getting them all to do exactly as I wanted, but they really did better than the ordinary super who has had some experience," said Mr. Wright. "In fact, I think their lack of any experience helped. They knew nothing, so were ready to follow instructions to the letter. "I took every one into my confidence. So many timeswhen a great crowd is used the director says do this and do that. The extras haven't the slightest conception of what the play is and why they are going through a particular action. Consequently they are indifferent and do not care about anything except to draw their pay. "Before every scene I talked to the men and women in groups and explained carefully what the play was about and what their part in it meant. I told the horsemen and the foot soldiers what their action represented and its relation to the play ; the same with the peasants and other groups. As a result each one became interested in the play and was inspired to realize his individual responsibility. "I saw to it that their lunch was good and that they were well taken care of in every way. It created a spirit of good will and an enthusiasm for the play that was extraordinary. Consequently even in mob scenes there was perfect team work that is rare in pictures where so many persons are used." Mr. Wright directed "Graustark" and "The White Sister," of Essanay's feature photoplays, as well as many other important multiple reel dramas. He has had more than twenty years experience in directing work, seven years of which he was directing photoplays. His first experience in theatrical work was when a boy of sixteen, he played Henry VI in Richard III, for Thomas W. Keane in his home town at Troy, N. Y. He was with Keane several years, playing leading Shakespearean roles. He then went into the directing end of the work; was for many years with Stair and Havelin and directed in stock in all the large cities of the country. He first began photoplay work in directing a picture for I. W. Ullman and for two years directed large multiple reel features for the foreign market. He then became associated with one of the largest companies in the United States as head director, supplying pictures for the United States and Europe. He was with this company four and a half years when he was engaged by Essanay. "The Pearl of the Antilles" "The Pearl of the Antilles" was adapted by Mr. Terriss from his greatest English success, "A Sword of Honor" and picturized upon the island of Jamaica, Mr. Terriss' company being the first moving picture concern to ever take pictures upon this beautiful island. The cast of "The Pearl of the Antilles" includes Tom Terriss himself in the feature part, Rienzi de Cordova and Lionel Pape, two well known English actors who have starred for many seasons with their own companies in England and played under the management of Sir Herbert Beerbohm Tree, George Alexander, Cyril Maude, et cetera. Mr. Pape has just been selected to play one of the leading parts with Grace George in her forthcoming season. The cast i \ i V* ■ * «L. .M. %*sr Y \JiL \ W^^j2 ' ' ' ' ;'r'-im m \ m 1 jfl 1 f M !^V*^ Ml \J L 4H * H? ilEr^^ *l" 1. V" If* A ''J^!f3^SSM Siegmund Lubin leaving for the San Diego Exposition. Saturday, September 25, was set aside as Lubin Day.