Photoplay (Jul - Dec 1919)

Record Details:

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UntrainciJ dog* are worked with iood. Here, the barrelful t>f puppie> is havin)! a cbuolk of meat offered to it. to command w'amera attendon. Fo\ terriers arc T.— ttd. on the ilage. to be ; iio^t intflli^enl of all L^i :"f«, and fox. terrier* have done >oiiie remarkable «'ork in the movie*, but dog* are like human bein j* you can t ela*^ify or oata1 ■. ;.• geniu*. Teddy, the I . It D.ine, i* the un^uc^-d feniu* of picture .' .•m. and certainly no to r-yeai^old would ever mutake him for a fox terrier why Keystone Teddy cally? Are you pu::led or patient Elephant the explanations. hey Do It? By Emma Lindsay Squier "Joe isn't really trained to do any of his stunts," he continued. "He never knows what he's to do until the camera is set up and ever\thing is ready. Then I brinp him onto the set, and — here comes the camera, now." He broke off. "You'll get a chance to see him work." Sure enough, an automobile had stopped outside the inenagerie gate, loaded with cameras and props. While they briskly adjusted the cameras and set up the reflecting screens, the director explained to "Curly" what Joe was to do, the monk watching him, with sad brown eyes which seemed only slightly sub-human. A little pig was squealing in a pen near at hand. "Come here, Joe," commanded "Curly," and the orang-outang followed obediently, sidling along like a crab on all fours. "You're to go in there, pick up that pig, and bring him out here onto the railing," directed "Curly" in an impressive, yet purely conversational tone. "Go on and get the pig — see?" Joe watched his master's face with a concentrated earnestness that was almost pathetic in its intcntness. "Curly" opened the door of the pen, and Joe sidled into it, corraled the shrieking young porker, who did not in the least fancy playing support to the monk's leads, and holding him in his hairy paws, leaped lightly to the railing and held the struggling, squealing piglet, while his trainer gave further directions. "Hold him up a little higher — like this — " illustrating with his hands. "Now kiss him — put him under the hydrant — hydrant — right by you! That's right! Turn on the water — turn it! Like this — " placing Joe's hands upon the handle. 'Look down at the pig — don't look at me — down — look down! That's right! Now turn the water off — off — the other way — dear off! That'll do!" .After the one rehearsal the scene was taken. "That's the way I work "Curly" Stecker. of Universal City, taking orang-outang Joe Martin through hid camera pace*. It i* through Stecker* untiring effort* that Joe ha* become the one rival of Sennett'j Teddy in the race for fir»t place among the famous animal* of motion picture*. Joe in one re*pect li . it on all the (pecchle** actor*: he ir* in more play*, and \vith ii.Ajrc companie*. than any four animal acton combined. him," "Curly" explained. "I'm the only one who can handle him that easily, though. He has it in for some of the fellows around the lot because they tease him; he's like an elephant — never forgets. " "And is he camera-sh> I asked. "I should say not!" his trainer replied. "He never ■i