Motography (Apr-Dec 1911)

lb MOTOGRAPHY Vol. V, No. 5. optical principles are evolved, the introduction of kinematographic agencies offers much greater possibilities and alters the complexion of the whole matter. When we remember the vast number of really wonderful effects and changes that are possible to kinematographic science, it will not be thought extravagant if we predict a great future for kine-spectra displays, especially as the supplementary apparatus needed is by no means complicated or expensive. Fascinating as were the effects of the displays above mentioned, they were at all times of a limited character. Under the old conditions, the "Bottle Imp," for instance, was troublesome to produce, owing to the limited facilities at hand. The figure impersonating the Imp had to be optically reduced in magnitude before being reflected to its allotted position upon the stage, a condition brought about by the interposition of a convex mirror. On the other hand, with the kinematograph suitable images of any desired magnitude can be directly produced, by adjusting the distance of the subject in relation to the camera lens when taking the picture or by varying the position of the kinematograph in relation to the mirror, C. Now let us take an example of what may be done under the improved conditions, as compared with the limited possibilities of old appliances. For this purpose we call to mind the poem entitled "The Curtain," descriptive of a young woman who has expressed a desire to look into the future of her life's history. According to her wish the wizard shows her progressive phases of her life to come. Each time the curtain is drawn aside she gains a knowledge of what is to. be, but is as often disappointed, and finally wishes that her foolish desire had not been granted, a fact indicating the moral the piece is intended to teach. The subject is one admirably suited for kine-spectra treatment, and may be portrayed with powerful effect. Entering, and giving utterance to words adapted to the purpose, the young woman expresses her desire. The wizard (who is also a real personality upon the stage), motions her to gaze in a certain direction (the point at which the spectre is to be made manifest) ; the audience now see gradually shaping itself into form an aerial view in which living objects are present, depicting the first future phase of the girl's life. The real girl assumes to see the scene also, and acts according to her supposed feelings. Now the scene dissolves into space. Thus every phase of the girl's life in the future is shown, with its attendant effect upon the girl witnessing them. Such effects of spectral projection have a peculiar value in that no indication of their origin is manifest, while that they are aerial scenes is demonstrated by the actors passing bodily through the images. Now it is obvious that such results could not possibly be produced other than by kinematographic assistance. Natural surroundings and groups of living beings as here presented being beyond the powers of any of the clever contrivances used in years gone by at the old Polytechnic. V lews of R ooseve It D am The official moving picture records of the United States Reclamation Service, depicting the construction and dedication of the new Roosevelt dam, near Phoenix, Arizona, were recently completed. The scenes include many striking views of Col. Roosevelt in the midst of the strangely mixed population of the Salt River Valley, Arizona. A Talk witn Marcus Loew "And you always picked out a pretty girl for the box office?" "I always picked out the homeliest I could find. An ugly, middle-aged woman was what I tried to secure for every house, because the pretty girls spent too much time talking to the young fellows standing around. The ugly, middle-aged woman proved more honest and reliable." "What did you do for music?" "The music was taken care of by a combination — a lady piano player who could sing also. We did not have any committee of musical critics to pass on the execution and technique of our piano players. Anyone who could make a noise and sing would fill the bill, and I made it a practice to get the young ladies living near the theater to do this work when possible. They did not want much salary, either." "And the operator?" "We had to pay him a little real money, but not much at first. Today operators are making good wages, but. three years ago they were plentiful and cheap. It took but little skill to operate a picture machine. It is different, now, however. Anyway, I reduced expenses to a minimum and kept them there." "Found yourself a millionaire over night?" "Well, it came fast, but not quite so quick as that. The growth of the motion picture business has been wonderful, all things considered. It never surprised me. I knew it was coming and was ready for everything that came along. We did no advertising, because I was afraid to incur the expense. Now things are different, and I have found out that advertising always pays. About four years ago I commenced introducing one vaudeville act in my program, because the better class of patrons demanded it, and I wished to please them. Our solitary performers used to have to do fourteen or fifteen turns every day, that was all." "Did they live long?" "Yes, some of them are working yet." "Any trouble in securing people to work so hard?" "Not the least bit. To tell the truth, one of the reasons I introduced vaudeville in our program was because so many performers were out of employment. I took pity on these idle artists and decided to help them out." "Have they ever shown their gratitude for what you did?" "You just take a look out there in our reception room and see that crowd of artists waiting for engagements, that is all !" "Do you think that moving pictures have reached the limit of development?" "Yes sir; I do, most decidedly. The manufacturers of films have exhausted their ingenuity and skill. The only thing I fear is that films will deteriorate and in a few years they will not be able to produce as good pictures as they are turning out now. I have followed the evolution of the moving picture from its infancy closely. When I started in business four years ago the picturesconsisted of 150-foot films showing two subjects doing some little stunts, and a 300-foot film was the exception. Now the films run way over those figures and the pictures consist of complete plays, acted by a full cast of characters. I suppose that it costs about $2,000 to produce the average film the American manufacturers are turning out today. Pathe's film of the 'Passion Play,' manufactured in Paris, cost $50,000 to produce, and the