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They Learned by Watching
Edward Nugent spent long years as prop man, gag man and in other capacities around the studios before he finally got the chance to act.
As organist in a movie theater Jeanette Loff had perhaps the best chance of any one to study the stars at close range and in quiet.
few extra dollars in prologues and there met Ramon Novarro, at that time also undiscovered and appearing, too, as a dancer. Eddie's first studio labor was as assistant electrician and general helper. A term as "comedy constructionist," a social way of saying "gag man," led to acquaintance with Harry Beaumont. The director gave him a test, and launched him on his career.
Eddie had learned a vast number of things — perhaps most important of all, the viewpoint of one standing behind the camera lines, of inestimable benefit now that he faces the maeic box.
Some years ago George O'Brien also garnered valuable studio training while hustling props.
Wallace MacDonald owned three small movie theaters, when the Keystone Kops were patroling the screen. He not only managed, but also tended his tiny show places with a parent's care, sweeping and polishing, welcoming the folks, selling tickets, singing songs to illustrate the colored slides, and performing sundry other duties. It was a one-man enterprise.
Wally didn't master much acting technique by watching those old flicker chases, but he noticed public response, and evolved some general ideas on what pleased. His film apprenticeship in Sennett comedies, working in dull times as prop man and assistant director, added details to his fund of knowledge. He had formed the habit of noting and filing many bits of useful information, which became an education to him in picture values. So he, too, learned by watching both the public out front and the machinery of the studio.
Hanging in William K. Howard's office is a certificate of honorary membership in the Motion Picture Salesmen, Incorporated, citing him as a former salesman who has reflected great credit on the organization. He was so good that he became exchange manager and, later, district general manager. Previewing pictures, he organized sales campaigns. Technique always interested him, the manner of obtaining effects, which, together with public attitude, was of value when he became a director.
You can label Nick Stuart prop boy, assistant electrician, office messenger and about nineteen other things. For during his years in the Fox studio preliminary to his acting career, he did about everything. He shoved props and held the script, and was assistant to camera men, electricians, technicians of all designations — as a matter of fact, to about everybody rating a helper. While he worked, he also watched, observing details. Timing, particularly, was studied, and such things as angles and lighting, of which many experienced actors have only a slight Continued on page 107