The soul of the moving picture (1924)

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58 The Soul of the Moving Picture director, this disagreeable person who is always around, watching what is going on, interrupting here with a word of constructive criticism and there with a sentence of plain abuse — these are a few of the things that make the film actor's life a hard one. And added to them must be the solemn fact that there is no public there to give wings to the actor's soul. This being the case, an actually mad desire to create a character has got to come over and settle down upon the actor if he is to come into the right frame of mind. That he has got to be a man of perfect self-forgetfulness while surrounded by this hubbub of haste and confusion need not be stated. The means at the disposal of the film actor is his body, which admits of unmeasured and unaccounted possibilities in the way of expressing emotions. It was only a few years ago that we learned that there is no condition of the soul for which the body does not have its appropriate and interpretative movement; and to-day we hardly have an inkling of the profound depths of the soul for which bodily agitations or affections may be found, and will be found, once the generations that are to come shall have learned the true significance of mimicry. In the future, mimicry must develop into an intimate and familiar language. In the.