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"And then?" I queried. :j He looked surprised, for he seemed E}x) think that he had told all that was i^i interest. "Nothing much," he added. "A little over a year with Kejstone, and then ray present engagement with EsBanay. I believe I will do some of the Dcst work of my career here, for if the oublic look to m}' pictures as part of heir amusement I want to satisfy them." "You are reconciled to comedy, then.''"' queried.
"Oh. yes. indeed." he replied. "It only iook about two weeks' work at the Ke}-stone plant to make me very enthusiastic :libout pictures, especially farces. I studj' lihe screen closely now, and I am firmly ■sonvinced that everj one in the industry should do likewise. There are many hings we can learn from it, even though ire think we have perfected ourselves -Si our own line of the great industry. .! endeavor to put nothing in m\ farces j^'hich is not a burlesque on something .rSi real life. Xo matter how senseless a :|hing may seem on the screen. I think hat if it is studied carefully it can be raced back to life, and is probably an •ver\-day occurrence, which the wouldL»e critic of the farce had never thought lO be a bit funny."
, Somebody called Charlie at this point. jUid said that ^Nlr. Anderson wanted him ;)o come down to the exhibition and see =-iome pictures, so Charlie excused himelf, and left.
^ W hat he told me of himself is reallj,vust an outline of his career. In Kej'i tone pictures, as most of you probably ri:now, he has been practicalh every thing, j^e has burlesqued waiters, millionaires, (i>ricklayers, ne'er-do-wells, and hundreds r>i other familiar types, whom we pass rlaily on the street without noticing. He •las adapted himself to more things in he year and a half he has been before .Jr:e camera than an actor on the speaking stage would have to master during ,(jis entire career. He has flirted with jleath, literally, a score of times, and -carceh a day has passed since he en, ered the picture field that he has not .eceived numerous bumps. And still he „i:ms this up as "nothing much." We j .ondered, as we were carried to Chi|,ago's loop in an "L"' car, if he knew ^ust how many people^the world over . aughed at his antics every day of the
Perhaps the thing which has been most rominent in his climb to the top in
PICTURE-PLAY WEEKLY 3
picturedom has been his absolute lack of other for a hundred or more feet of film,
camera consciousness. He can walk into, and then walk out as unconcerned as
a scene without being given any real though he were entirely alone, when,
script, and draw one laugh after an in reality, the eyes of millions, through
One of the funny "arrest scenes" in Charlie Chaplin's eventful career before
the camera.