Casper Daily Tribune Newspaper, September 15, 1923, Page 8

vice AUIVIQIVIO ITORFRZVO, RAINIEL Fi POL RACE-HORSE has to do a lot A of training before {t can win arace!"” That's the way Her- bert Brenon, veteran producer, sums up his philosophy of the movies, No one is better qualified to give advice to beginners in motion pic- tures than Herbert Brenon, pro- ducer of Pola Negri’s new starring picture, “The Spanish Dancer” for Paramount. For 16 years he has engaged in the production of motion pictures and his stage experience goes back over a quarter of a century, Much has been said and written which was intended to guide the footsteps of those starting the ardu- ous career of the films. A great deal has come from those who were not in a position to speak authori- tatively. Here is a man whose achievements in the production of motion pictures give him the right to advise. This is what he says. “Read, mark, learn and inwardly digest the plays of Shakespeare. Study carefully Hamlet's advice to the players’ beginning; ‘Speak the speech, I pray you, as I pronounced it to you.’ Study the Best. “See as many stage plays as you possibly can and study carefully the work of the artists you most admire. See all the photoplays produced by the directors whose work you con- sider the best. Let the rest go. Work as an extra in as many stu- dios as you can. Study the methods of such artists as Pola Negri, Mary Pickford, Douglas Fairbanks, Gloria Swanson, Antonio Moreno, Nazimova, Conway Tearle, Richard Dix, and many others the public have ac- cepted as their favorites. “When you work in a studio, study the work of the dire 7 and his art- ists. Don't gossip. Mind your qwn business! Work! “Don’t laugh at a person because he has real temperament. It shows genuine ability to feel deeply and ex- press emotion faithfully. Even though you are_only one of a mob, do what little the director tells you well. Don't worry about what the other fellow is doing. “Keep your counsel. If you have a complaint to make, make it your- self and in your own way. Nobody 1s going to help you succeed except yourself and the man under whose immediate supervision you are—the representative of your employer. Don't imagine that the shedding of tears makes an audience cry. It's the dramatic situation which tears at the heart, not the grimaces of the player. The audience cries with the artists, not at them. Tears come as a result of natural emotion and are not forced. Remember, if you do not feel a situation, you can't expect the audience to feel it. “Study—Study—Study and real all the Hterature of the poet, author or dramatist that time has classed as great. ‘Read their works whether you like them or not, “Go to the art museums, Study paintings and their composition. “There are two kinds of success— artistic and commercial. Make up your mind which you are going to achieve. The former fisually brings poverty and immortality. The latter usually brings wealth, comfort and your name plastered in the newspa- pers while you are living. Usually, too, it will be forgotten when you are underground. “When you see a make-up of an artist on the screen which appeals to you, look at the make-up at the stu- dio. Don't be afraid to speak to art- ists if you catch them at a moment when they are not busy. This applies to the directors also. Approach them at the right moment. Anyone who has succeeded will help others to succeed, but don’t ask advice of the director when he is directing two thousand people or an artist when he or she is preparing to play one of the best scenes, Don't buy a high-priced automo- bile and sport a chauffeur the mo- ment you get your first contract. Live modestly, work hard and saye for those quiet times between engage- ments. Then you will be able to choose and not beg. “Don't grouse if you have to work 14, 18 or 24 hours once in a while. A race-horse has to do a lot of train- ing before it can win a race. Firom a M “Be loyal to whoever employs you. If you. can’t be loyal to him don't work for him. Be grateful. Don't be afraid to express your gratitude to whoever advises you. “Cultivate the workers, not the loafers. Study the thinkers, not the drinkers, Never use a stimulant. Remember that for every step it takes you up, you. drop back two when {it wears off. Fresh air, exer- cise and sleep will fit you properly for any natural task that man is called upon by God to perform. Be constructive, never destructive in all you do. “The universal aim of art is to at- tain perfection. Therefore, let each act of yours attempt to carry for- ward and upward the branch of art you represent.” A Model for Directors of the Future By Albert Dorris, T has long been the belief of the I writer that William DeMille knows more about motion pic- ture production than the great ma- jority of those now engaged in thelr making. That opinion covers scena- rios, artistry in translating a story to the screen and practicability in business matters relating to film production. These convictions concerning Mr. DeMille were materially strengthened after a short int with the gentleman and s¢ chats with members of his personal staff. confidence and unselfish- ness are the on which his organization {s built. Clara Ber- anger is his scenario writer and has Loyalty, foundations been for over two years. George Hippard has been his assistant di- rector even longer than that. Guy Wilke is the chief cameraman, James N. Doolittle is second photographer and Roy Clark is the camera assist- ant. Morton S. Whitehill ts the com- pany business manager. Adelaide annon is script assistant and cutter, The final member of the little DeMille family is Viana Knowlton, who Is a sort of composite clerk, secretary, watchdog and quite a few other things which could be handled by a knowing and observing young lady. Clara Beranger constructs Mr. DeMille’s scenarios. They are adap- tations, as a rule, and there is no record of any author ever finding fault with one of her screen ver- sions. There {ts also splendid free- dom from interference by the various boards of censors, due to the fact that Mr. DeMille and Miss Beranger refuse to accept stories which have not a reasonable chance of-being ac- cepted by most boards. The censor- ship bugaboo is practically eliminat- ed before the script is started. Mr. DeMille works along lines strangely like those of the dramatist, He does not confine himself to three or four acts as in the theater, but his pictures have positive and definite sequences very similar to so: many little acts. This plan holds the story together and eliminates divided attention. In all the William De Mille pictures, the spectator has no reason for losing his story. Se- (Gleanings~ POLA INEGRL, POLAND! MOST EEAOTIF OT OOO F PORTEL EOE LEVEL CREP IMEED BY Dab” an Who Knows AERPERT BREINQN--~Z22ZQDUCOLLS —_—S Ss es S2VEA quences do not conflict and none are missing. The Cast Consulted. Miss Beranger first writes tie con- tinuity, finishing it to completion. Twice a year she comes to Los Angeles and confers with Mr, De Mille on the finished continuity, on the adaptation she is to do next and on the cutting and editing of the last completed production. Two times yearly Mr. DeMille reverses matters and goes to New York, the purpose being the same, When Miss Ber- anger and Mr. DeMille go over the Teach us Delight in simple things, And Mirth that has no bitter springs; script together; they discuss possible changes. Some of them are made, some are not. Then, when the script is in complete form, all those who @re associated with Mr. DeMille are called into a reading, at which mem- bers of the cast to appear in the pro- duction are present, and there Mr. DeMille hears further — suggestions. With such a script—a continuity which has been carefully worked out by. Miss Beranger and accepted by Mr. DeMille, he produces each of his pictures, Every director suffering with ag- gravated artistic temperament should see the DeMille unit at work. The days of running wild, shooting everything, eliminating thought, dis- carding continuities and the kindred “artistic” accomplishments of most present day directors, are numbered, and Mr. DeMille’s accomplishments prove the contention. Before actual production starts, every scene in the continuity is fixed; every set in the production absolutely settled. There is practically no deviation from the definite arrangements after the pic- ture Is commenced. Schedule Carefully Worked Out. Mr. DeMille’s pictures average 6,400 feet in length when released. This means about 6,600 feet of ac- tual picture when all titles, inserts, leaders, etc., are eliminated. The average time required to make each picture is 28 days. At a glance, it can be seen that but 200 feet of fin- ished pictures are required daily. If the daily average as reported night- ly by Miss Cannon is near this fig- ure, then Mr, DeMille knows that progress is smooth. Close adher- ance to daily averages and the pre- arranged number of production, such as this make is possible for every- one to know exactly where they are. Mr. DeMille and Miss Cannon edit the completed film. Since he uses three cameras throughout the pro- duction, the knowledge of how to cut his pictures ts really an art, a very fine art, which Miss Cannon pos- sesses toa remarkable degree. When actual shooting and editling ts done, the subtitles, made in accordance with the carefully prepared script, are Inserted in the film. The print, after all numbers and duplications are eliminated, seldom needs to be cut more than 1,000 feet to the de- sired releasing length. No person can truthfully say that Willlam DeMille ts lacking in artist- ry. No just and knowing person will deny that he is one of the best di- rectors we have in the entire pro- fession. No hard-boiled business man could ask for more consistent atten- tion to definite and prearranged, plans. William DeMille 1s slightly ahead of his time. He represents the di- rector of tomorrow. He is the shin- ing example of the combination of artist and business man, Cowboy On Way Back to Favor HEIKS may come and sheiks S may go—but the motion pic- ture comboy-hero will ap- parently go on forever, That ts the verdict of the American public, which {s today again de- manding its cowboys. For the past 10 Years the movie cowboy has been practically extinct. Over his expir- ing popularity has ridden the war hero, the sheik and the lounge liz- ard. To@ay the fickle public has sud- denly" rediscovered cowboys. But, according to motion picture direc- tors, it will be a different kind of a rough rider who comes back across the silver sheet this season. He will be a fing and more subtle character whose face will grace a close-up as well as a long shot. He will have a Screen personality as well as the ability to ride bucking bronchos. In the production of “To the Last Man,” which has been adapted from the original story by Zane Grey, Forgiveness free of evil done, And love to all men neath the sun! these new types of cowboys will be shown. The picturesqueness of the cattle country of Arizona and the character of its people will be por trayed rather than the mere ability of cowboys to ride wicked horses, This Zane Grey production fs the story of a feud between rival fac- tions of frontiersmen which was fought out literally “to the last man.” Many old-time cowboy actors will take part. In the exhibition of the picture it {s hoped to bring back the cowboy in @ new light to audiences the world over, This new cattleman will be a hard rider, yet his personality will be finely drawn. To Richard Dix, who plays a leading role in this new type of photo-drama, and Victor Fleming, director of “To the Last Man,” goes the credit for the introduction of this new type of screen hero. Besides Mr. Dix, the featured players In this Picture are Lois Wilson, Noah Beery, Robert Edeson and Frank Campeau.