Moving Picture World (Jul - Aug 1918)

August 24, 1918 THE MOVING PICTURE WORLD 1113 tion. Hence, it would be a mistake to make any effort to meet the added expense of operating until the law providing for the collection of the new tax. has been passed and signed. This is not a drive against the theatre owner, but a measure which makes him a part of the tax gathering machinery of the government. The public will quickly understand that the tax must be added to the regular price of admission and pay it cheerfully, knowing that, in doing so, it is taking up but a small part of the sacrifice which civilization demands in the great effort being put forth to make this fine old world safe for peace loving, law abiding people to live in forever hereafter. Learn to pay with a smile, for our boys are smiling and dying "over there." Directing According to Directors By Louis Reeves Harrison. WHEN Eugene Ruskin of Broadway started in to direct the production of moving pictures for "The Sake of Truth and Beauty" and, incidentally, three hundred a week, he had a lot of ideas, some imagination, tact in handling actors and experience enough to make the salary worth while. From this experience he had learned that actors have more in them then they realize — it is the director's business to bring out this latent ability so that they may interpret at their best. The studio director is like a leader of grand orchestra. He must consider above all things harmony of performance. Even great soloists must not play too loud. Eugene was a believer in the great actor. There were many who knew how to do fairly well, few who could adequately present an intense dramatic situation or adequately portray a complex of character. But he had not been long in the studio before he was made to feel like a door mat for the "illustrious ONE" to wipe his feet on. He was supposed to stand with bated breath while the "ONE" imposed his own ideas, not only upon how it should be done, but what should be done. The great actor must be perpetually in the limelight. The play must suit him regardless of the public. The great actor must have a publicity vehicle. Now Eugene had an idea there were audiences to be entertained, not actors to be advertised, and there was intrenched in his judgment one guiding principle — "The fewer dull vehicles foisted on the public the sooner will benefit accrue to all concerned, producer, exhibitor and public as well." When Eugene enunciated this principle before the Illustrious One, he was given the merry Ho-Ho. When Eugene further said that a really great actor could interpret many roles, not be confined to playing up his own personality, the Illustrious One turned his back in disdain, called his chauffeur and shrugged his shoulders — "Home, James !" Then Eugene got his from the Business Manager. B. M.-We just got a play called "Eddy's Pus Wrecks " Eugene— You mean Oedipus Rex. Been done to death. B. M. (suspiciously) — You don't like it. Eugene — Why not let me help you select the play? B. M. — Can that. We must have one with a big name. Eugene— Why not stories that reflect the life around us? I feel that we exist for the public and by public consent. People have eyes. Let us show them what is amusing, hopeful, bright, entertaining or even edifying in the moment that is passing or in the future to come. B. M. — What are we paying a star ten thousand a week for? Eugene — To milk you dry and then run his own company. B. M. — How about Madame Sylphine, advertised everywhere? Eugene — Yes, by a corset concern, but I will see what can be done. Scene II, Madame's dressing-room, a realm of enchantment. Madame S. — So. glad to meet ye-ou, Mr— er— ah — Rushin. My last director was so stupid. He allowed me to enter from the side. You see — my profile is not perfect. I must come down from Upper Centre. I could be seen to better advantage descending steps with a train and picture hat, a long-handled parasol for a staff— I have a lovely one just from Paris, in spite of this dreadful war. I hope it ends soon — don't ye-ou. Eugene — Yes-sem — Madame S.— Then you must stop the camera for me to arrange my hair in that mad scene. I imagine I have committed a murder, though I am as innocent as an unborn child. Still I have to tear my hair a little, and there is a way of doing it becomingly. When I get it just right you can start that camera again — it is to be a close-up. I adore close-ups — the public likes to see me that way — don't ye-ou? Eugene — Yes-sem — Madame S. — Then I have the loveliest boudoir cap you ever laid eyes on. Work in a scene where I can show that and my new China-silk peignoir. You will do that for ME, won't ye-ou, Mr. Rushem? Eugene — Yes-sem! The Three Sisters -A Fairy Story By Robert C. McElravy. THERE were once three sisters who lived together in comparative harmony. But two of the sisters, named Miss Literature and Miss Drama, were older than the third and they were inclined to overlook her growing beauty. They went out to parties and other functions, neglecting to take Miss Photoplay, the youngest sister, along. The latter, conscious of her own merits, smiled at the exclusiveness and patronizing manners of her elders. When they dressed to go out, moving past her with a slight sniff, she sat quietly by the fireside and watched them depart, refusing to take them too seriously for her own peace of mind. For the younger sister had a great deal of humorous philosophy in her makeup, and she knew from the very first, if they did not, that she had quite a lot of what Mr. Barrie has called "that damned charm." So, when they left her, she was usually busy with her own devices, popping corn, cracking nuts, knitting socks for the soldiers, or doing goodness knows what a pretty young girl finds to do around the fireside. They said she was a little drudge and had no sense of art and often laughed at her, but she did not seem to care. When the others had gone a change would often come over the younger sister. She would go to her room and attire herself in the most wonderful of garments, some of which had been handed to her by the elder sisters. The gowns were often quite fresh and new, but the sisters had explained to her that they must keep up with the everchanging styles, and that she was quite welcome to them. They might well have been astonished to see what she was making out of these cast-off clothes, for when she was fully dressed the third sister was really quite as beautiful as themselves, and had of course the advantage of being younger. Once attired, the little miss would press a button