Variety (July 1915)

MOVING PICTURES 15 THE VOICE OF A GENIUS Thomas H. Inca Says Something of His Past, Prosont and Faturo and Incident- ally Delivers a Broadside at Monacos of tho Industry. By KENNETH CHARA Thomas H. Ince is one of those men whose word is weighty; rich it. lofjic and mighty in assault. He has been characterized from time to time as a man of very few words. He is. His mind is too firmly cemented to his task to give itself up to discussions of records and conditions of the industry which claims him as a power. Not very long ago, I prevailed upon him to let me "lend him my ear*". Before he consented he warned me 10 prepare for irony. "I'm liable to strike," he said—and his sharp blue eyes shot daggers at the prospective target of his mind's eye—"so expect some forceful statements." He had just descended from the main stage at Inceville—the moving picture city in California named after him—where he had been pursuing part of his daily duties by supervising the production of elaborate features for the New York Motion Picture Corporation. A crisp query started him talking— "Is the film industry in its infancy?'' "That is one of the most interesting questions asked nowadays of the pro- ducer," he replied. "In my opinion, the business is not in its infancy, but it is very far from being of a mature age. We might say it is youthful. Within the past four o- five years, it has reached a state which, I think, no power on earth can overthrow. And it is going so strong that in another half decade the world will be awe- stricken at what the camera—aided and abetted by brains—can do. "It is more astounding to the pro- THOS. H. INCE ducer than to the public to look back and note the advancement. I remem- ber distinctly that when I undertook to make pictures for the New York Motion Picture Corporation, more than four years ago, the word 'feature' was an unknown quantity. I spent many sleepless nights trying to conclude what would have to be done to place the photodrama on a level with the so-called legitimate attraction. When I was about ready to abandon the job, I hit upon the answer—make longer pictures. At that time a single reel production was a big one. It was the nearest thing to a' feature. "Shortly after I had reached my de- cision, I made 'Custer's Last Fight'. I used 5,000 feet of film on that, re- duced it to 2,000, and the picture, in- stead of being a flivver (as many pre- dicted it would be) proved an instan- taneous success. I followed that with 'The Battle of Gettysburg', and it was in the wake of its success that other two and three reel productions began to present themselves. "The present? Oh, it is speaking for itself. It is simply heralding greater things for the future. Count the number of erstwhile 'legitimate' and vaudeville theatres, now devoting them- selves exclusively to the showing of the photoplay. Count the illustrious stars of the stage, who are now acting for the films. A short time ago, many of them scoffed the idea of abandon- ing the footlights for the studio. Now they seem to be tumbling over one another or a chance to work in front of the camera. Why, right within this very studio now, while I'm talking to you, there are a half dozen celebrities —once of the theatre, now of the film- world. "I said the industry is only youth- ful. Well, don't the prospects for the future bear that out? Just keep your eye on what we do. We're doing big things now. But we're going to do bigger things—bigger than you have ever dreamed of. Then, perhaps, when we have fulfilled our promise, you can say that the photoplay industry has passed the age of maturity. "But there are certain obstacles which must be overcome before the public—everyone of the public—will worship the photodrama." It was apparent to me, at this junc- ture, that the great Ince—he of re- markable achievements—was on the verge of carrying out his hint, made previously, that irony might creep into his conversation. So I prepared, per instructions. "And the biggest of these," he con- tinued, grim determination in his face, "is the plagiarist. Several years ago, a director severed his relations with me and associated himself with another company. About six months ago, that company released a picture, the plot of which was identical with one my former director had put on. Investi- gation led me to believe that this self- same director had been responsible for the repetition of theme. "I am not made by that incident the target of public disapproval. Neither is the New York Motion Picture Cor- poration. But the company which re- leased that picture is. That is what will do the industry harm—more harm than you will at first imagine. It will observe the similarity. It is a plain case of theft. It is a blight that must be eradicated, even if stringent meth- ods must be employed to do it." "SIG" FEATURES. With the expiration of the present contract between the New York Mo- tion Picture Co. and the Mutual Film Exchanges Sept. 1, it is understood the same will not be renewed, but the for- mer will instead establish a string of its own exchanges throughout the country to handle a new schedule of releases to include weekly two five- reel features and two two-reel Key- stones. The pictures will be directed and supervised by Messrs. Sennet, Ince and Griffith and the trademark of the yficm will carry the first letter in the names of each, viz. "SIG." It is understood that on the same date the Mutual will lose the Broncho, Keystone, Domino and Kay Bee brands, those titles going into the discard. The Majestic and Reliance brands are also slated for a change, according to the report With the new combination holding contracts for many of the most prominent legitimate stars, the ex- hibitors look forward to a cheaper rental scale. Just what effect the new firm will have on the market is a ques- tion, but it seems reasonable to believe that the field will be thoroughly sup- plied with features which carries its own incentive to reduce the figures for the exhibitor. FILMS BY EXPRESS. The exhibitors in the small and sub- urban towns around New York are complaining about the refusal of the railroads to allow films to be carried in the day coaches owing to the federal law recently passed making this rale possible. The exhibitors have been accustomed to come to New York and select their pictures, returning with them on train to their town. To tend now it must go as preferred express. Payment for this transportation must be made ac- cording to the value of the picture. It is said the law was passed through a fire that occurred in a train near Chi- cago in which films were being carried in a passenger coach. In New York all films must be en- cased in fire proof boxes before they can be transported around the city, and in some buildings this rule is enforced when pictures are carrieH from one floor to another. DOING BOTH TOO MUCH. A group of directors were discuss- ing pictures this week and it was the consensus of opinion the business has gotten down to a basis of two things —namely features and regular program. One of the men who has just left a manufactory after long years of serv- ice is of the belief that sooner or later some of the present big companies will either quit making regular releases and stick solely to features or vice versa. He says that trying to do them both at once and give them the proper at- tention in the making and billing is going to prove too much of a hard- ship and cause much confusion in the end among both patrons and ex- hibitors. It was reported this week that both the Biograph and Edison would make multiple-reeled features to be released through the V-L-S-E channels. FOR THIS WEEK ONLY. Two features at the Strand will be the policy there for this week only. Commencing Sunday the house will continue with its usual bill of one Faramount release, using next week's Lasky's "Kindling" with Charlotte Walker. "The Right of Way," with William Faversham and "The Rug Maker's Daughter" with Maude Allan, are the two principal items on the current Strand bill. It happened accidentally, according to report, and after a verbal contest between the several parties interested. The Strand management, led by B. A. Rolfe, its manager, viewed several subjects for interpolation into the program, finally deciding upon "The Right of Way" through the strength of the Faversham name at- tached. The Strand has a contract with the Paramount, and by virtue of it was entitled to the Allan film for this week. NO KALEM BIG FEATURES. So far the Kalem executives have not taken any decided steps toward making long-reeled pictures and at present there is little likelihood it will attempt anything beyond three-part pictures. Kalem proposes to "specialize" upon the regular Kalem releases for the reg- ular service and this intention will pott- pone indefinitely the decision to do the big features. What three-part pictures Kalem is making is turned loose via the regular G. F. program. Kalem was invited after the promul- gation of the V-L-S-E to join with it in making features but declined with thanks. Alice Joyce, for some time leading woman with Kalem, has severed her connections with that concern. She hasn't done any picture work in six months. EDISON AND KLEINE. The report is the Edison five-reelers are to be released through the Kleine exchanges, with the first Edison feature thus placed upon the market to be the Minnie Maddern Fiske picture. It is the present intention of Edison to make a special five-reeler every two weeks, alternating in release dates with the one made during the same time by Kleine in the Biograph studios, giving the Kleine exchange a weekly feature release. PADDING "THE GODDESS." New York exhibitors have been com- plaining since the last release of the Vitagraph's "Goddess" serial. It was supposed to have been in two reels (2,000 feet), but the exhibitors say they received but about 1,500 feet of film, although the Vita may have in- cluded in its shipment the synopsis of the preceding story, which is carried on each new chapter. The General Film Co. is charging $25 daily for the early runs of "The God- dess" serial.