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The Centaur Studio
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arena to the big, outdoor studio, which has a stage seventy by one hundred and forty feet. No acting was going on, however, so I looked about to see just what sort of a place it was.
The property room is on the east end, and I counted sixteen big, steel trusses which spanned the stage and carried the light diffusers, which look to the
"Will you tell me why not any two of these dressing rooms are alike, Miss Gibson?" I asked, as I greeted her.
"Oh — another of Mr. Horsley's clever ideas," she answered. "The fronts are built to represent bungalows, and not even any two doors or windows are the same. By simply changing one of the glass bungalow doors, the direc
Filming a wild-animal scene that will make shivers creep up and down your back when you view
it in the theater.
layman like a roof. Then I noticed a long row of little, bungalowlike rooms on the north side, and not one room was like the other.
Curious, as usual, I wondered why.
A wonderfully attractive girl came out of one of these dressing rooms, and I determined to ask her.
It was Margaret Gibson, one of the youngest stars in filmdom, for she has just passed nineteen.
tors have a combination of one hundred and forty-four different designs for use as exterior settings. Any kind of a cottage can be put up for a scene at a moment's notice."
Miss Gibson then escorted me into the indoor studio, which, she told, has a large stage, seventy by one hundred and twenty feet. Property rooms, scenery docks, all the equipment, are the last word in studio furnishing. It was