Photoplay (Jul-Dec 1923)

Photoplay Magazine — Advertising Section The Man Who Gets What He Wants 107 [ CONTINUED FROM PAGE 37 ] Mrs. Meighan — Frances Ring, you know — has had great stage experience from which she has gained an excellent understanding of play construction and stories. My lawyer, Nathan Burkan, is another whom I often consult. He knows people and their reactions. I sometimes ask him to pass on a story. Or my friend, David Warfield, with whom I played for three years — no one knows play values any more thoroughly." After finding the right story, the next move on the part of a star is to get it. This often requires argument with company officials. A star may have a contract which gives him a right to pass on his stories but the privilege is nothing unless he can offer constructive criticism. Rodolph Valentino once said that Meighan was the only star on the lot who always gets what he wants. "Because, for one thing," says Meighan, "I never say no — without a reason. And it must be a business reason, for I'm talking to business men. "Therefore I must know the box office angle. I must know what the public expects of me. And I must present proofs — the proofs are fan letters and reports from exhibitors." Meighan does not find in his fan letters the stimulus of applause which so many stars find. He doesn't care about that. He reads them from an entirely different motive. "I study my fan letters just as I would study market reports. I don't get one mash letter in a thousand. But I do get some excellent criticisms and estimations." Producers have the maxim that actors are children, but the maxim doesn't hold with Meighan. They recognize in him an exception — perhaps a proving exception. HE speaks with the impressive manner of a man who knows his business, a man of sincerity, methodical mentation and applied scholarship. There's none of the tablethumping, look-em-in-the-eye impressiveness that you get in twenty lessons from a correspondence school. On the contrary, there are no gestures whatsoever. Meighan speaks in low, definite personal tones, almost confidential. An interview with him has the illusion of being strictly entres-nous. It's man to man. No footlights, no bouquets. To show me how he goes into every detail of story and production before commencing work he brought out a script. Only about half of it was story, the rest consisted of notes — explanations and reasons for every detail, even to the title. He had intended to make "White Heat," but upon considering his production schedule he found that it would have to be released in July. He postponed it. His reason was that "White Heat" was no title to get business during the white heat of July. It is he, personally, who negotiates with Rex Beach, George Ade and Booth Tarkington and obtains their stories, because they present the robust, sturdy American phases of life and character for which he is suited. Did it ever occur to you that Meighan is virtually the only star playing men.'' All the others devote themselves almost exclusively to juvenile roles, the idea being that the public demands youth of its heroes. Meighan has found a place for the middleaged man. And his success has been as steady and substantial as that character. He is the screen symbol of the American man. In him Mr. Babbitt beholds an image of himself — or what he thinks he is, a regular, normal, practical business man, a family man and a progressive citizen, the type held up as a national example of success. Everyone in the business knows how Meighan secured an option on the publisher's rights of "The Miracle Man" from his friend, Bob Davis, editor of Munsey's, how he went to his friend, George M. Cohan, and secured the dramatic rights, how he peddled the story from producer to producer and finally sold it to George Loane Tucker. "What do you want for your commission?" asked Tucker. "The role of Tom Burke," said Meighan tersely. He knew the play and the part would make him. It did. Meighan achieved stardom and a contract with Paramount which led to a salary of $5,000 a week. "I knew the part in 'The Miracle Man' was more valuable to me than any amount of money. I've always sacrificed cash for class. My motto is, Where Do We Go from Here? "The man who sits down in the movie business is like the man who tries to sit on a moving stairs. He goes over the side into the machinery. "The beginner in pictures should plan his career exactly as he would in any business. I did. If I'd taken up medicine, as I once planned, I would have expected to spend six or eight years in a university before I even started to practice. It's a little easier in the movies, because you can make a few dollars from the outset, but you have to study. There aren't any text books or professors, so you must plan your own course. Learn from experience —yours and the other fellow's. "If I started out today to be a movie actor I'd hit right for Hollywood and make the rounds of the studios for an extra job. But I wouldn't be content to work aimlessly as an extra. I'd choose an objective — some director like Ingram or de Mille who is interested in new talent and is willing to take the time to develop it. I'd get into their pictures somehow. It can be done by using the head. Sometimes I think the movie business is the easiest in the world to break into. What chance would a fellow have getting into, say, the banking business here in New York without any experience whatsoever?" Employing the principles of a sound business man Meighan has amassed a fortune, and at middle-age he is making more than he did in the juvenile period. BUT what impressed me most about him is the quality which has earned him his biggest assets — his friends. As we passed out of the club and down the street there was a steady barrage of "Hello, Tommy!" and in exchange, "Hello, Bill!" — "Hello, George!" — "How are you, Dave!" — and even to a stranger who saluted him as a screen friend there was the same natural ring to his "How are you!" The success of Meighan is as substantial and enduring as the sentiment which he inspires. All the world loves a lover, but every human being individually desires, above all else, a real and loyal friend. And to thousands of people Meighan, the Regular, personifies the ideal of the great friend. Can the Beginner Brea\ into Pictures? This question, asked in hundreds of letters to Photoplay, is answered in the August issue by the heads of the casting departments of some of the leading companies and by some of the most famous directors. What's the life of a tooth? V/^OU can be sure that your ■■■ tooth brush has a lot to say about the life of any tooth. Pro-phy-lac-tic Tooth Brushes help to prolong the life of every tooth. The curved handle fits the mouth and makes it easy to clean all the surfaces usually hard to reach. Ibotfi'Bnwft Three sizes — adults', youths', and children's. Three textures of bristles — hard, medium, and soft. Get them at any store that sells tooth brushes. All Pro-phy-lac-tic Tooth Brushes are guaranteed and come in individual yellow boxes. If you buy one that does not give satisfactory service, return it to us and we will replace it. FLORENCE MANUFACTURING CO. Florence, Mass. Sold by all dealers in the United Stales, Canada, and in all parts of the world Wlicn you write to advertisers please mention THOTOPLAY MAGAZINE.