We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
Why is Make-up Compulsory — Stewart 99
Regarding the excessive make-up of some of our leading men, I have several stills in my possession of one of these gentlemen whose make-up was such that on development his face was the only one in the group — all the other people with properly made up faces being under-developed. If they had been brought out on the negative the leading man would have been over-developed or "burnt out." As the negative is always developed up to the star this inequality of make-ups is frequently seen.
During my j^ears at the Vitagraph, Commodore Blackton was forever after me to check up on the amount of lip rouge used by the women, but it was useless — they won by wearing me out with my continual complaints. Wh.y directors and camera men do not control these things is one of the many shortcomings of this remarkably rapidly grown business. Some years ago I pointed this out to Mr. D. W. Griffith and he at once approved the idea and sent for the assistant director and instructed him to see that all make-ups conform to some sort of standard. How it worked out I never learned — but we all know the difficulty of trying to force principals into anything approaching system or order, though I met with a charming reversal of this rule with Miss Norma Talmadge. Her husband, Mr. Joe Schenck, asked me to consult with her on her make-up, and I found her a most receptive pupil.
When I started to make a study of the art of make-up I secured certain paint makers' catalogues, showing the colors they manufactured. These I had photographed in a hard light, a soft light, in dayhght, and under studio conditions, using special plates having the same numbered emulsion as the film being used. Every department (costume, upholstery, etc.) was supphed with copies as a guide for their colorations. Bj^ means of these photographed representations of all colors I was enabled to evolve the proper colors in my make-up for the emulsion then being used.
Since writing the foregoing, there was published in the Liberty Magazine for April 9 an article entitled "How to Pass the Screen Test," by Brenda Ueland in which she saj^s "Be sparing of the lip rouge. Red photographs black. Don't try to change the shape of the lips by rouge. It always shows." Later she says "Discard the yellow grease paint myth that actors clung to for so many years. Nobody can explain it. There is absolutely no photographic theory to account for its use. Yellow is non-actinic, and if the actor is shaded for a moment from the direct force of the light, his face photographs