Screenland (Nov 1925–Apr 1926)

78 Get into this wonderful, big-paying profession. Hundreds of openings now in Motion Picture Camera Work, Portrait and Commercial Photography. Learn at home. Big money while learning, 5Pr?„$250aWeek High salaried positions everywhere or open your own studio, "My business averages $700 to $1000 a week " writes Michael Gallo. Others doing equally well. Even spnre time work pays up to $75 a week I CAMERA FREE to students. Your choice of real Motion Picture Camera taking standard professional film used bv all theatres, or 5x7 View Camera, latest model, genuine enastigmat lens. Send for Book Telia all about Professional Photography end how to make I i(r money quickly. Also details of Free Camera Offer. Write today. NOW! New York Institute of Photography 143 V/est 36th St., New York (Dept.60) NOTE: If you prefer to come to our New York or Chicago Studios for personal instruction, day or evening classes, write for Catalog R-SOto nearest address: 141 West 36th St., New York, or 630 So. 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(Model 18 is not like old-fashioned splints or braces, with bothersome straps, hard to adjust, but a scientific, modem device of proven merit, used and recommended lor the last 4 years by physicians everywhere. ) Write today for particulars, testimonials and my free copyrighted physiological and anatomical book which tells you how to correct bow and knock-kneed legs without any obligation. Enclose a dime for postage. M. TRILETY, SPECIALIST 1406 W. U. Building Binghamton, N. Y. PERSONAL Appearance SCREENLAND most natural attitudes. From play they blend into their screen "work" without knowing it. Occasionally, as it happened in "Cinderella," a child did not wish to do as she was told, in fact these tiny young ac tresses frequently became temperamental. Mr. Brenon observed that temperament in women can be perceived at the age of two, C[ Marion Davies as the Crown Prince in "Beverly of Graustark." and becomes quite definitely developed at four years old. In one scene the little war orphans, dressed for work in their purple nighties which photograph gray, are lifted by "Cinders," the girlish little foster mother, into tiny bunks fastened to the walls of the room. When little Edna Hagen was to be lifted into hers, evidently she had noticed that the yarn made to look like barbed wire entrenchments singled her out as a German war baby. She rebelled in no uncertain terms; and when finally, she had acquiesced through Mr. Brenon's gentle and clever persuasion, she looked so woe-begone that that watchful director could not wait to give the customary orders. "Quick! Quick!" he cried, "That expression is wonderful." He is a perfect father to his large family — full of sympathy and friendliness and understanding. He is so human that one might almost forget at times that he is one of the greatest of all directors. But it is this quality in Mr. Brenon which he himself emphasizes and it is the quality we suspect that has done most to make him. In crediting his success to the great staff about him, Mr. Brenon displays his gift in choosing men. He will have nothing but the best. And as soon as he has chosen them, he gives them his confidence, and as confidently awaits results. On his return from London he called in his technical staff and read them the story. "Build me a gorgeous coach," he said. "I want it to grow from a pumpkin. The horses must become horses from white mice. The coach must drive off the street into the clouds. It must sweep into a wonderful ball room ahead, boys! Turn out the sets!" Then he forgot all about it, turned his mind to other details. Not until five weeks had elapsed did he see the results. Who other than a really great director would turn over so great a task with such utter confidence in his men. Not even a question until they were ready. But Herbert Brenon picks men who know their jobs. His assistants are as enthusiastic about their jobs as he is about his — they believe in them, and in him. One night Adolph Zukor, Jesse L. Lasky, and other Famous Players executives, gathered in the theatre studio for the first preview of the Herbert Brenon production for Paramount — the finished picture — -"A Kiss For Cinderella." Cinderella's dream had become their dream. Would it come true? "Cinders" came out of her squalid lodging, placed the pumpkin and mouse cage in the gutter and slumped onto her doorstep to wait — for what? Would it be just another fade-in? It was a tense moment. The fairy godmother appeared. "Cinders" became a glorious "Cinderella." She looked at the pumpkin and mice. They blurred. The mice, with tails in air, seemed galloping. The cage vanished. The pumpkin changed form. And how they grew. Large and larger. Wheels developed. Mice — white prancing mice — as large as police dogs. Forms changed. Four white prancing steeds appeared. Lo! and behold! there was a shimmering coach, with a bowing footman bidding "Cinderella" to enter. Every person present was familiar with every trick of picture making. But nothing to equal this. How they applauded! Real fairy magic had taken place before their eyes. "Cinderella" and her coach and four had become a reality. Mr. Brenon showed boyish enthusiasm in telling us about . J. Roy Hunt's wonderful camera work in this marvelous scene. "It was a work of five weeks of the infinite patience of genius; and I am satisfied, that the original fairy godmother was a' patient . mechanical genius. Anyway, she hasn't anything on my head cameraman, J. Roy Hunt." Always in telling of his achievements, Mr. Brenon insists upon giving full credit to his associates. From the time of his first conference with Sir James Barrie to the preview with the special musical orchestration of "A Kiss. For Cinderella," he has shared the glory of achievement with all his staff and cast, from call boy to star. He is one man who rules others because he can rule himself. Aileen Pringle and Edmund Lowe in Elinor Glyn's "Soul Mates."