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SHOWMAN
impressed by the way this straight scientist, absolutely inexperienced in such things, knew his way around by sheer instinct in staging this phony battle. That quiet little coot, sitting there with his hands folded and his mouth pursed up, had the fundamentals of movie technique worked out on his own hook twenty years before Hollywood was anything more than a sandlot suburb: "Keep your face to the camera, Jim . . . Back him round so your face is to the camera . . . And now this round, remember you come in from the side . . . Hold up that right hand punch till you get him out in the middle . . . We don't want your back—give us Courtney's back ..." And by the same token, the good movie tradition of taking forever to get anything done also got its start with this job. We were two solid days getting a picture of those six minutes of fighting.
That six minutes of fight recorded on limber little cards went all over the world. The Klondike and Australia and Capetown and Suez put coins in slots to see this lively record of what happened when Jim Corbett was asked to carry along a plausible-looking but clumsy fighter in the scrub-pine back country of New Jersey. The Kineograph Company made pots of money out of it, which began to sell me on the idea of movies—and besides, it intrigued my imagination to think of what you could probably do with the things. It fitted very neatly, because it was prize-fight films that brought in the first real money the movies ever knew.
I guess that's my lead into the Fitzsimmons fight.
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