Picture Play Magazine (Oct-Nov 1915)

PICTURE-PLAY WEEKLY 3 Id 'The Bargain,' and with Robert Baer in 'The Conspiracy," in which I also layed the featured part." Those who have seen John Emerson i "The Conspiracy," as the eccentric ewspaper writer, remember his characjrization that was universally acclaimed l a class by itself. Emerson is an rtist, his work is finished and his in2rpretations are clear as a crystal. Just nagine, at the age of thirty-three, he .•as at the head of the Frohman forces, nd that speaks for itself as to his busiess ability — that is one reason why he ; where he is to-day — John Emerson s an aggressive worker. John Emerson showed signs of growing tired and the writer suggested a bit ' ■f liquid refreshments, so we marched nto the hotel grill. Once on the inside, jrith one foot propped up on the pol'shed bar railing, Emerson looked somewhat rested. He explained that he is o accustomed to walking around, now jhat he is in motion pictures, that siting down is foreign to him, and therefore tires him. "What of your present motion-picure engagement?" I ejaculated. "I am appearing in an original feaure photo drama at the Griffith-Mutual Itudio. By the way, it was at this very ftudio that D. W. Griffith staged that '.ensational masterpiece, 'The Birth of t Nation,' with the philanderer type of heatrical manager, whose methods are exposed by an aggressive newspaper reporter, played by myself. The manager, o avoid disgrace, goes to Europe, but swears vengeance. He returns later, and is the instigator of the ruin of my :areer and the death of my loyal wife. Then, through a chain of dramatic cir:umstances, the moral, 'God's mill grinds ilow but sure,' becomes visible. For gome of the scenes which disclose me n prison, San Quentin, the famous California State institution, was secured, and some unusually effective scenes 'were secured there. I enjoy my work, or you could term it 'film acting,' very much, and trust that no obstacle will present itself to prevent me from continuing. It is my intention to remain in pictures, and, perhaps, at a later date, stage motionpicture plays. However, before attempting this branch of the profession, I want to be fully posted as to camera limitations, and other points, which, of course, are new to me. : "I have a studio appointment to-night to attend the reading of a scenario," said Mr. Emerson, "and, therefore, must beg of you to pardon me." With these few words, the starting of a motor, an odor of burning gasoline, and the writer stood alone. is brief, tries to assume an air of business and unnecessary dignity, and the result is, you come away with a false impression. After learning that men of John Emerson's likeness are enlisting in the motion-picture profession, it does kind of John Emerson snapped at the Griffith studio. In the group, from left to right, are: John Emerson, Alfred Paget, Lillian Gish and Director W. Christy Cabanne. To the writer, John Emerson appears to be a wonderful character. He speaks in moderate tones, brings a pleasing smile to surface every so often, and, somehow or other, you feel at home in his ■ presence. Usually one who holds a position similar to John Emerson's in the theatrical world, when interviewed, make you think that motion pictures are still ' in their infancy. For it is only natural that bigger things in the line of scenarios will have to be originated in order to have themes adequate in strength and construction to allow ample opportunity for the Emerson type of artist to appear in. If It Was Five Years Ago! FRANCIS X. BUSHMAN, the Quality-Metro star, who is an expert boxer and wrestler, and always keeps in the pink of condition through a trainer that he personally employs, has the distinction of being one of the very few men that ever knocked down James J. Jeffries, the ex-champion pugilist. Jeffries was employed to play a small part in "Pennington's Choice," which is being made in the California studio for release on the Metro program. Jeffries' part called for a fight scene, in which he engages in a personal encounter with Bushman. Bushman and Jeffries were going full tilt in a final re hearsal of the scene when the ex-champion gave Bushman a sharp blow in the mouth. Bushman received two or three more jabs that could hardly be called "love taps," and it ruffled his temper. Both men were sparring in earnest, and when Jeffries stepped back a few feet and came forward, his head down, in one of his famous, furious rushes, Bushman squared himself and met the exchampion with a healthy, full-sized right-hand swing to the jaw. Jeffries straightened up, reeled, and pitched forward on the floor. It required several minutes and a bucket of cold water to bring the former champion back to his feet.