The soul of the moving picture (1924)

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56 The Soul of the Moving Picture compass of his soul will be equally large — and he will provide us with a wonderful drama — the drama of a man who can create one character to-day, another to-morrow, and in so doing renew himself as a molder of personalities. The moving picture, with its spontaneous creation, is a high grade and first-class measurer of temperament. The world has a plentiful supply of actors and actresses who can depict robbers and prostitutes of the lowest as well as of the highest classes of society. But the world has only a few, a very few artists, in whom a royal and proud, a fine and demure, a rich and colorful soul plays its part. The suddenness with which these feelings must be conjured up demands rapidity of inspiration, an ever-ready excitability (the managers are well aware of this!), a pliability of mood, an unrestrained capacity to enter into the spirit of complete renunciation, compared with which the ability on the part of the regular stage actor to feel himself into his role is a calm and subdued sauntering about, a mere strolling through the mazes of the human heart. The film actor is not fired on to intense passion by the words of the poet; he has to kindle the potential flame within his heart by the fire that he himself strikes, and with the aid of such fuel as he himself can assemble for