El Paso herald. (El Paso, Tex.) 1901-1931, 1910-02-09
MOVING PICTURES
HOW PLAYS ARE PRODUCED BEFORE CAMERA

U ID are ONcI aVVV 1lONAA5 PAO-
ture theaters in the United
= States, besides 5000 other places
where motion pictures are shown over
200 miles of film are unrOlled on the
screens of these places every day. and
more than 100000 people are in daily
attendance at these performances Of
the canned drama" 1t IS estimated
that of the entire theater-going pub
lie in the United States fully so per
cent belong TO the moving picture
class On Sunday alone New York en-
tertains 100000 people in its more than
500 theaters.
Plays Before the Camera.
When the motion picture was first
introduced the spectators were salts
fled with the simple views to be Sc
cured in almost any city, such as rae
tory hands going TO work, the depar-
ture of trains and ships, and what was
considered the best treat OF all, street
parade This however no longer salts
fies the Unsuitable thirst of the nickel
odeon patrons Today coherent story
must be unfolded before their vision,
which means that the uptodate maker
OF films must have plays written and
acted before the camera.
The Studio" of the modern film
manufacturing company is equipped
with all the adjuncts of the regular
playhouse. II mas q StdSc anu SSCAAOAJ
as elaborate as that of the ordinary
stock company, and an equal array Of
costumes and make-ups. The people
employed in the making Of these silent
plays number anywhere from a hand-
full to several hundred, while for spe-
cial films outside people are called In
to give local color" as in certain
battle scene where both indians and
United States troops were used, not to
mention the gattling guns.
1.Trick'' Films.
In an effort to retain public approval
the film manufacturers have had to re-
sort to innumerable tricks" in order
TO find something new In this way
many films are seen which for stag
gering effects and thrilling incidents
are far beyond the possibilities Of the
ordinary playhouse
Tt is a common sight TO see objects
appear and disappear in the twinkling
Of an eye, to see men and automobiles
scale what appears to be an impos-
sible wall or slide down an incline
warranted to kill the strongest, or to
witness the antics of a tiny fairy no
bigger than a human thumb and yet
too real TO be a dummy.
These films are for the most part
made in France, where the highest per-
lection has been reached in their de-
velopment. The explanation Of the
various devices is usually ridiculously
simple Objects come and go by the
simple process of stopping the camera
while the object is either removed or
placed within range
A cloth. bearing the painted resem-
blance OF a wall, stretched on the
floor of the stage while man or auto
mobile moves over its surface, gives
the desired effect when photographed
from the wings" The substitution Of
a dummy at the top of the hill is the
answer TO the miraculous tumbes
which are so frequently seen. The ex-
PLANTATION of the fairy Is slightly more
difficult, that result being obtained by
the use of a mirror so placed as TO
reflect the desired object within range
of the camera.
Notable Events.
While these dramatic miracles are
very popular, the reproduction of
some really notable event is also well
received In this work the principal
advantage to be gained is in being in
the proper place at the proper time.
An instance of this occurred in Mes
sina at the time of the great earth
quake there. The picture man was
Just on the point of leaving when the
quake started. but he quickly unpacked
his machine and secured pictures which
were unique
In the enacting of these silent
dramas il is not always in the studio"
alone that all the work Is done Many
scenes are taken direct from nature. in
the streets. and if the occasion de-
mands, on the roof. IN consequence a
photographer often has to make sew
eral films on account of the interior
ence of policemeH. who believe the
scene to be real, or from the efforts Of
passersby and children to see what Is
going on. thereby getting within range
of the camera
While moving pictures are in reality
silent dramas, they are not silent at
the time of making Those taking part
talk quite as loudly as when ordinar-
lily acting. This is done in order that
the movements of the mouth and the
expression of the face will be natural
Many Feet of Film
Still another type &C film IS that in
which inanimate objects perform ap-
parently human antics, as a bowl run
ming around the table, dead figures
coming to life or clay mclding itself
into a bust. The greatest require
ment for this is patience. The bowl