The Moving Picture World (Apr-Jun 1913)

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THE MOVING PICTURE WORLD 53 Making Pictures With Bloodhounds In an Interesting Letter Jack Clark Describes How the Gauntier Players Obtained Real Reel Realism. IN a letter from Jacksonville, Jack J. Clark, leading man of the Gene Gauntier Feature Players, tells of the trials of the picture player when dealing with sure-enough bloodhounds which, in this instance, were secured from Sheriff Dowling of Duval County, Fla., by Director Sid Olcott. The picture was "The Mystery of Pine Tree Camp." The dogs were tested by the liberation of a negro convict, with a start of fifteen minutes over the dogs. Success attended the tryout, and the colored man was treed in short order. In the picture Mr. Clark and Mr. Olcott were to be fastened together with a ball and chain and were to have but fifteen seconds' start over the hounds. The run was to be short; it had to be. But here's the story: "The morning came bright and clear, and. we left in our launch for Hogan, a small town on the creek nine miles from Jacksonville. Mr. Olcott and Miss Gauntier, in order to pick up the dogs on the way, went around by road. I have read of the feelings of men in the death chamber awaiting execution; but, believe me, they had nothing on me as I steered that boat up the creek. A dozen times I was tempted to run on the bank so hard that it would take a month to get off, and thus put back the fatal moment. However, while I was thus vacillating our destination hove in sight, and I realized I was in for it. So with sinking heart I tied up the boat and watched the rest of the men file up the bank as happy as if they were going to a picnic." The machine came to grief, and its occupants had to finish the journey on foot with "six young, husky, vigorous, savage bloodhounds." It was like this: "In the party were Mr. Olcott, Miss Gauntier and the deputy sheriff — each with two dogs — and in one minute after hitting the ground the whole group was a hopeless tangle, Miss Gauntier in a hobble skirt being handicapped more than the others. However, after much effort, the procession was straightened out and the cavalcade took up the line of march, with the hounds straining at their leashes. About a mile of the road led through a swamp, where it became necessary to jump from hummock to hummock to keep out of the water. It was at this spot that things began to happen. Just as Mr. Olcott was jumping some four feet in order to reach a small dry spot, one of the dogs decided to investigate a trail he had scented about a hundred yards back, so without even a warning bark he started to the rear. Result — Mr. Olcott landed in a recumbent position in three feet of muddy water. Excited by the noise, the sheriff's dogs came up on the run, causing the worthy representative of the law to misjudge his leap and land on the back of Mr. Olcott's neck. After much thrashing about in the slime and water, they managed to reach land in such a condition it was hard to distinguish man from beast. An hour of wandering brought them to the road a£ain. They joined us in a condition impossible to describe. "Then we prepared to take the scene. While Mr. Olcott was 'making up,' the sheriff and I had a nice little heart-toheart talk. He informed me casually that having traveled with Mr. Olcott, the dogs would not bother him at all, but would take up the strange scent — meaning me. Then I quietly sidled around to where the dogs were tied and tried to get real friendly with them until a savage growl put the director wise and he told me to beat it. Then I strolled off some distance and practiced hundred-yard dashes with a ball and chain fastened to my leg. "Finally it was announced that everything was ready and we proceeded to the scene of the tragedy. We were to jump down from a locomotive, with a pursuing engine about twenty yards behind, and run and take refuge in a tree some distance away. I had already examined that tree and knew to a nicety in one-tenth of a second flat. The scene started — we jumped down and ran until we were outside the camera lines. There Olcott stopped. 'What's the matter?'_ I exclaimed. T want to see how they get out of that engine,' he said. 'Well, I'm not a bit curious, and, besides, I've a very important engagement over at that tree and, believe me, I'm going to keep it.' I grabbed up the ball and started as one of the hounds bayed on picking up the trail. Olcott had to come or be dragged, and as the ground was full of sandspurs he came. I was up in my perch in a fraction less than schedule time, but Sid in trying to follow slipped and slid, hanging head downward, his ankle being fastened to mine and I having a strangle hold on the branch that I did not propose losing. 'Come down,' he cried, 'so that I can get on my feet.' 'Nothing doing.' I returned; 'you just have a little talk with your friends the bloodhounds, until your friend the sheriff comes along and ties them up. You've traveled with them and they won't bother you.' And there he hung until these six canine Sherlock Holmses were corraled and tied together. Since then Mr. Olcott walks with a limp and every time I see a purp 1 have a quiet smile to myself." MOVING PICTURE PERSONALITIES. One of the best known moving picture men in the southern part of New Jersey is Edward J. O'Keefe, who has built up the City Square Theater into one of the model picture houses of the cast. Mr. O'Keefe came into motion pictures from the vaudeville stage, where he had made a great success of refined mimicry and character sketches. He has now been the manager of the City Square Theater for one year, celebrating his first anniversary in the new field on March 31st. He has arranged a very fine and costly celebration for this occasion. Mr. O'Keefe says that in learning the exhibiting profession he has been greatly aided by the Moving Picture World, which he thinks is indispensable to every man interested in motion pictures. Said Mr. O'Keefe to a World man: "When I took hold I found things in pretty bad shape with very poor attendance. 1 immediately started a newspaper ad Edward J. O'Keefe. vertising crusade. Advertising every day in all three dailies and one Sunday paper. Put in a first class orchestra of four pieces. Went after the best pictures I could find. Billed a big feature every day. Mixed with my people and got their personal opinion. Talked to them frequently from stage in reference to coming attractions and also explained how remote was the fear of fire. Called their attention to the construction of building and the number of exits. Never allow any picture that could offend the most refined. Insist on the best of order at all times. Gave the newspapers to understand that if they wanted our business they would have to give us the same treatment as any other theater. Gave them to understand we were a first class theater even if we did run pictures. I feel safe in saying that two-thirds of our patrons who comprise the very best people in this town did not patronize any picture house this time a year ago. Give my personal attention to every detail of the house. Hard work, but hard work never killed any man if he takes good care of himself otherwise." HALLBERG ECONOMIZERS IN THANHOUSER STUDIO. The Thanhouser Co. has equipped its studio with new motion picture machines, operating on alternating current with Hallberg Standard A. C. Economizers. Mr. Hallberg reports that Quirk's Theater, Fulton. N. Y., have just purchased through him a second Simplex M. P. Machine. Mr. Rufus A. Maltby of Middletown, N. Y., a Powers 6A with Hallberg A. C. Economizer; Weinberg & Mines, 500 Atlantic Ave., Brooklyn, N. Y., a Powers 6A.