Moving Picture World (Aug 1916)

THE MOVING PICTURE WORLD August 5, 1916 BY OUR MAN ABOUT TOWN IT had always been the policy of the writer to uphold anything tending to the benefit of all branches of the motion picture industry whether it be the producer, the exchange man or the exhibitor, and to unstintedly condemn any and everything aimed at diminishing their welfare. Frequently occasion lias been taken to treat with the subject of "extras" and on most of these occasions whatever has been written has been prompted by what was considered unfair conduct on the part of extras toward producers and their directors. With the same impartial view which has characterized comments in the past, the writer now takes up the cause of the extra. To most people, even to those in the profession, the extra appears to be a most inferior creature on account of his or her inability to become attached to stock. In fact, many people who are not acquainted with the conditions of modern motion picture life considers the term extra synonymous with that of super, which is as wide from the latitude of truth as would be the statement that all stock members are stars. The particular case which has caused this plea for the extra is that of a professional man who to oblige an agent went to a studio to tender his services. He reported for work at 8 A. M., and with only a half hour for lunch, was almost continuously employed till 11 o'clock at night, a day of 15 hours. For this service he was tendered the munificent sum of $3.50. It is difficult to approach any comprehension as to the method of reasoning that prompted this magnificent display of generosity on the part of the director of the company. The old axiom "that the laborer is worthy of his hire" applies with equal force and effect to moving picture studios as it does to all other branches of business and the fact that by force of circumstances one may be obliged to tender his services to a moving picture studio in no way justifies a director or company in offering him starvation remuneration. If the extra's work ' is not satisfactory it is the director's province and duty to cut him out of the picture. But in this particular instance the question of unsatisfactory work cannot enter in face of the fact that the exra was almost continuously employed for 15 hours and the further fact that in the forepart of the day he was selected to play the heavy role as the director found he was not so provided, and in the latter part of the day he was allotted after putting hair on his face, to enact a comedy character. It may also be added that the agent who sent the extra to the studio was so chagrined when he learned the amount of work extracted for the agreed price that he volunteered to pay from his own pocket sufficient to make the remuneration a white man's price. This subject is a timely one in view of the spirited movement now under way to consolidate and harmonize all branches of the moving picture industry. No better step in this direction can be taken than to promote a healthy cooperative spirit between producers and those who render services to them. Good pictures do not spring entirely from the work of the director, nor the advantages placed at his disposal by the producing company. No matter how well equipped a studio may be or how efficient the director, if the people playing the various parts, large or small, do not perform their work the picture must become a rank failure, therefore if this much is dependent upon the player, he is entitled to compensation proportionate to his share in his successful portrayal whether "he be stock member or extra, and the producer or director who is so short-sighted, unreasonable, or unjust that he fails to comprehend this, should not be in the moving picture business. While we realize that a director has the right to discriminate between a professional and a non-professional extra it must be insisted that the same discretion should be exercised on the matter of recompense. For instance, a director, very naturally, would feel more justified in assigning a part to a professional than in giving it to one not a professional, and his action may be greatly influenced by his knowledge of the professional: but should he assign the part to a non-professional and the pjayer performs the work with satisfaction, there is no reason why he should not receive the same pay the director would have given a professional man. The point aimed at is to bring out that there are many clever nonprofessionals only waiting for an opportunity to demonstrate their abilities to portray any part that the director may assign to them. While this is apparently a plea for the recompense of the extra, it is also intended to establish a feeling of fair l>la\ toward him and to more really justify his existence which is indispensiblc to the production of motion pictures. The experience of many producers and directors has shown that it is not the huge salary paid certain stars that makes the moving picture a success. Take, for instance, such pictures as "Quo Vadis," "Cabiria," "The Birth of a Nation," "The Battle Cry of Peace," and other recognized big successes, can it not be truthfuly said that were it not for the neglected extras, such spectacles could not have been called into existence, and it can with equal truth be said that the stars could lie wiped off the firmament without militating against their realization. There w-as a time when the suggestion that a producing company dispense with its stock players was received with ridicule, but of late years there has been a decided tendency to do so. This tendency is due, not to the inferiority of the players, but to the exhorbitant salaries paid some of them in contrast to the remuneration accorded others equally capable, in other words the movement is one of equalization. It has been realized by producing companies that many stock companies have been disrupted in consequence of the unfair discrimination in the matter of salaries, and the day is fast approaching when the photoplayers receiving enormous salaries must have something more to offer than the mere name. It docs not follow that because an actor has been a Broadway favorite because of his wondrous voice and elocutionary power he is bound to become a shining light before the camera, and it is the realization of this that has caused many producing companies to turn in the direction of the extra field for players as services are required and perhaps from among them he can discover some one of them who can be developed into a true motion picture star. All this strengthens the appeal for a more just and better recognition of the extra and no producer or director looking to his own best interests can afford to underestimate his usefulness. It is understood that the extra whose complaint formed the basis of this article intends to make a test of his case and the result will be watched with interest. Whatever the result may be it is hoped that publicity given to such matters will better conditions by making producers and directors more considerate and thus inspire the extra with more zeal and pride in his work. ANITA STEWART MAKES HER DEBUT AS A SONGSTER. Not so very long ago, a couple of Sundays, to be slightly more accurate, a member of The Moving Picture World staff in passing one of the leading churches of Bay Shore, L. I., was astonished to see in the church bulletin an announcement that served that evening to fill the building to overflowing, even the vestibule creaked under its load of extra chairs. This announcement read as follows, "solo by Miss Anita Stewart." As aforesaid the people of the island town, when at last the evening came, flocked to the church in overwhelming numbers. Nothing seemed to matter much, the sermon passed in rather an indifferent manner, prayers were said, hymns were sung, and even a feature film with charming Anita in the lead played second fiddle to the flesh and blood edition of the Yitagraph star that sat in the choir loft, beneath its broad brimmed hat of soft gray. At last the moment for the solo arrived. Necks that had craned before now stretched themselves to their last limit when Anita stepped modestly forward to the railing like a real "honest to God" choir soloist and sang in the sweetest of voices a sacred song entitled. "Eternal Peace." This, the minister told us, was the very first time that Miss Stewart had sung in public. Her voice is unusually sweet, and she sings with excellent taste. Needless to add her audience was delighted. TAKE ALL NIGHT SCENES AT NIGHT. The last word in realism is found in the Kalem Company's recent decision that hereafter all scenes in the "Hazards of Helen" supposed to occur at night must actually be taken after dark. This step has already resulted in extensive use of night photography in two "Hazards," and so striking is the effect produced that it is likely that Kalem will soon extend the rule to its other productions.