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Photoplay M vgazine — Advertising Section
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Directors I Have
Known
(C otic! tided J
not try to conduct a kindergarten nor waste time teaching people what they learned years ago. The art of directing is the art of getting out of people the best that is in them. That is the secret of all successful producers. The opinionated man who wants everything done in an arbitrary fashion by everybody, regardless of whether it is suited to their style or personality, is always the second-rater
The second-rate, or perhaps I should s i> the fifth-rate director is responsible for more damage than any other factor in ] tures: more even than the most stupid of managers. The public often wonders why some of the most brilliant and celebrated men and women on the "legitimate" stage have been failures on the screen. In some cases this is due to the accidental fact, over which nobody had any control, that their features and coloring did not reproduce well through the camera, that, in technical jargon, they did not photograph well. But I believe that in the majority of cases it was due to stupid direction.
You see this is what happened. In the early days of the cinema it was a gold mine for men who had never amounted to a hill of beans on the stage. Most of them were $30 a week actors — and I don't mean to talk disparagingly of S30 a week actors because I was one myself once. But the people I am thinking of would never have been anything more, would never have been worth any more. Others were property boys and prompters. They succeeded in pictures through sheer lack of competition.
You can readily imagine that when a man who was property boy to John Drew, let us say. finds himself directing Mr. Drew in a picture, he will fall all over himself trying to assert the difference between their relations then and now. Please remember that I am citing a purely imaginary but typical case. He will undertake to teach Mr. Drew how to act. He will smile patronizingly and say: "Well of course that's all right for the theatre. Mr. Drew, but you are acting for the camera now and you don't understand the mysteries of the camera. Xow let me show you etc etc."
The biggest joke in pictures is this solemn pretense that the craft is one of the sacred mysteries. It is mostly a matter of sheer common sense. Anybody who can act well on the stage — provided he photographs well — can act just as well for the screen. The differences are chiefly technicalities such as make-up which anybody with two cents' worth of brains to shake together can learn in a month — or a week. As soon as one has seen oneself on the screen and realized the peculiarities ^i one's features or coloring one quickly acquires the knack of concealing unbecoming regularities and heightening the effect of those that are not unbecoming. For the rest, the difference is mostly one of the superior economy of gesture that is essential before the camera. And even that is not so much a difference as a valuable lesson that one learns from the film. When a person who has been acting in pictures for a while returns to the stage the first improvement that the critics observe is that he or she has acquired more restraint and has learned how to produce effects with less effort.
Anil it was not until directors of the calibre of the men 1 have mentioned took up the craft of the screen that this was realized. The proof of this is that the most successful men and women in pictures today — with very, very few exceptions — are people who were popular in the legitimate theatre before they ever went into the cinema.