Motography (Apr-Dec 1911)

14 MOTOGRAPHY Vol. VI, No. 1. They undoubtedly will, for they combine sensation and novelty in the highest degree, two qualities for which the public has always shown a liking. They recall those animal games and contests which in days of old roused the Roman populace to a delirious pitch of excitement. How the animal plays were secured makes a thrilling story by itself. Under the direction of the Selig producers, the Selig menagerie was taken to Florida with One of the Selig Actors Caught by Surprise. the stock company last winter and the pictures made there in the open jungle. One of these plays on which patient days were spent is called "Lost in the Jungle." In keeping with the progress shown in his work with animals, Mr. Selig lias sent men to seek material in the tropics and in the far north. The land of the Eskimo has been invaded by Selig camera men, and now real Eskimo dramas, played by real Eskimos in native ice wastes, can be seen. "The Way of the Eskimo," released July 17, is one of them. A valuable polar bear is slain in one of these far north plays and an Eskimo is seen killing the wary walrus by his primitive methods. A drama now in making shows the pursuit of a bear by a single Indian who is armed only with a knife. The bear takes to the water and the Indian jumps in after him. The scene, which appears to be laid at the foot of a dashing waterfall in the depth of the forest, was really set in the pool outside the studio, and though artificial enough to an onlooker who was present at the rehearsal, proves to be marvelously realistic on the film. The action was both difficult and dangerous, demanding the most patient and arduous rehearsing with the bear, and great bravery on the part of the actor who leaped into the tank with him. After putting the bear through his paces again and again, the beast growing each time more sullen, a dress rehearsal was called with the actor participating. Doubtless the actor's heart beat high before making that first leap into the water, for there was danger of the bear turning upon him. As the bear was swimming directly toward the camera man there was danger for him, too. But all did their parts staunchly, even the bear, and the first effort went off fairly well. After more coaching and prompting and finishing touches the scene was tried again, and this time proved satisfactory. All the "innocent spectators," of whom there were several, began to breathe easy again, feeling that the feat had been finally achieved. But not so, for it is a rule at the Selig plant to take all "big" scenes three times, thereby insuring against possible defect and also giving a choice of action. The Selig standard of perfection demands this. So the whole difficult performance was repeated twice again. Happily the bear, though manifestly unwilling and a trifle peevish, kept his temper to the end and refrained from snapping" his collaborator in the pool, or grabbing somebody in a too eager embrace. The thought had been in everybody's mind, however, that he might. For let it not be supposed that these wild beasts have lost their natural fierceness under the softening influence of captivity. Less than ten days ago one ot the Selig bears killed his cagemate and own brother in the stillness of the night. Professional jealousy is said to have been the cause. It is possibly this element of danger in associating with the animals that adds zest to the occupation of Selig actors. Instead of fearing the animal films they seem to enjoy them. From a good sized building at the rear of the yard comes the whirr and hum of busy machinery. This is Selig's experimental department and machine shop. It is surprising to learn that here is maintained constantly at work a force of expert engineers, draftsmen and mechanics, always devising improvements in apparatus and methods, or inventing labor saving systems. This is one of the unique features of the Diamond S plant, and has proven to be worth many times its cost. The general offices at 20 East Randolph street are interesting in themselves. Besides the usual business transacted at such places, there is maintained a projecting room where are entertained those exhibitors who are ambitious to see the films before they book them, as well as the Chicago police censors and the exchange men. Not only are Selig films shown here, but by a curiously fraternal arrangement the productions of two of his competitors are also exhibited. It may be interesting to follow the course of a motion picture subject through the great Selig mill, from its A Corner of the Los Angeles Studio. entrance in scenario form by way of the United States mail to its distribution in tin boxes to the theaters of the whole world. Hundreds of scenarios are received, most of which are unavailable for some reason or other, just as is the case with the literary contributions to popular magazines. But. all of them must be read by the scenario editor and his staff. Those that cannot be used are re