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Craig in. I liked his eyes and smile and voice — even-thing about his appearance and personality. I kept hunting and hunting for someone with more experience, yet he was the one who stuck in my head. I felt I could turn the girl over to him, and still keep faith with the girls in the audience. I remembered his physique. He looked as though he"d been an athlete. That turned the scale. Men who've been active in sports are less self-conscious than the average, more pliable, take instruction more easily. So again I decided to take my chance with Craig.
Both he and Betty were tested, of course, before being signed. But they were tested
my way the way, if you'll forgive the
presumption, I believe tests should be made. First, I had them photographed as the} look. Then I studied the photographs and satisfied myself that they were worth testing. If you're worth testing at all, you're worth testing right. I put them in with ten other people, to see if their personalities stood out among the other ten. Nobody wants to sit for an hour and a half, watching a face he doesn't like. Convinced that their personalities were vital and attractive enough to claim attention, I put the cameras on them, had them shot from all angles to familiarize myself with all their photographic possibilities. I wouldn't let the makeup men change their lips or eyebrows or facial planes. You spend months hunting for a certain freshness, then wash it out to conform to some stereotyped standard of good looks. What could be stupider? If teeth aren't good, I have them capped. Otherwise, I leave the face as I find it
Now you're read}' for the specific test. In the case of Betty and Craig, the parts were waiting. In the case of a general test, you'd have to size your actor up, figure the kind of parts he ought to play and test him in some such part. If you stick a wolf into Little Red Ridinghoo'd's cape, you'll lose out on both. Then — don't give him any old Tom, Dick or Harry to work with. He needs all the support and stimulus he can get. Put something dull in and you'll have something dull to look at. Again, don't badger him. Use your imagination. Think how you'd feel in his place, with so much at stake. Make him realize you're working with him, not against him. He's not going to do it a hundred percent the first time. Talk to him, ease him up, play round with him, give him confidence ifl himself and you. It'll take time and sweat and patience but the results will be worth it — to you, to the industry, and to the kids whose dreams are in your hands.
I seem to have forgotten for a moment that it's you kids I'm talking to. I've tried to give you some notion of some of the tilings you'll be up against, should you ever strike this Bagdad-on-the-Pacific. If you've got the stuff, you won't let my straight talk put you off. And in spite of what I said at the outset, I find that I do have one piece of advice for you.
Don't be content to dream. Work. Go to the library, read plays, discuss them, see them. Save your pennies and buy a recording machine, they don't cost much. Work on parts, make records, listen to them, get your friends to listen and criticize, make them over and over till you're sure you can't do any better. Listen to experienced actors on radio shows. Learn to place your voices. Every high school has a department of speech. Try out for amateur productions. Go to dramatic school if you can, but be sure it's a good one. Bad triming's worse than none.
Among you are the stars of five and ten years hence. Hollywood can't get along without you. If you're sure you can't get along without Hollywood, roll back your
sleeves, pitch in, and good luck to you.
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