El Paso herald. (El Paso, Tex.) 1901-1931, 1913-04-12

-HE director IN the MOVING pIc cur s
world performs the same function
as does the stage manager IN the
Electrical world. and there are as many many
,5ifferent methods Of directing az -
arc directors. But the nloN4LlER p ne
Deople have discovered M - 777arI1-
lint two or at the OUTSIDE ILlLs0 --as,-I+
10 Zr-bich produce the desired 49, -
and unless the director conLOl NJ - 80
- the other of these ne may
Son directed TO some other 1oSf 1 - ,-,
rTLe 55rector-is the grand Ilos " " =
- co-1es 10 pictures in the raw - q
Tha fact that a man mas DgC-- - ta
eTaa-a manager is no guarantee 10 -
stasS ILL--[------f,7i1z- invade cameraland' aS
- a stare manager has IOunu ~ 1919 ~
sorrOy Therefore, Wnel d So rT+s5u
Tor is unearthed the baLtle 70 49,
his service is spirited - q - -.~,,,15
- sctor e-ets the idea that ne Noulu
-1al-e a good director ana IS 4et -
L-l+isfis5 men until he has tried MS
hand at it ,-,7+s IN rob-
hin PETER to pay Paul, but Tor the mus
1arf YOU could never convince Ine a. -
- tbis was the case And II Is a.
most an axiom that the peIleI IH0
the worse the director.
No Help From Dialogue.
The first and perhaps the Dlss N M,
6ifficulty that the director runs -
eTainst is the fact that he can depend
verv little If at all, on dialogue 70 50
,-eeII1rs And right here Is where -
many vvouIdbe directors come 70 SIleL-
Frederick Thompson, director LoL Il ~
Vftagraph company, is an exponent o.
o1e ~ the successful methods OF olreCt-
ing and if YOU watch MS WOIh LO4 q
while when he is putting z picture oLl
7-Ou begin TO see where his success l+ss-
n. aT-1Iains carefully to the actor WnaL
he wants him to do, and Lhen SNOW
him how to do It But az the same L-t--S
in order 10 bring out the actor s 0flsl n
alitv he warns, Don't initiate / nom -
son . For he realizes that the IeacneT
must be surpassed by the pupil, else ms
work is going to De purely l-4- al y .
and often poor ImltaJloh- =,
He works harder Lnan any one II
the company. acts out every part Wnen
inc actor or actress is not quite sure
Of himself, and directs from the manu-
script No set dialogue Is u5eu' ,-C ol5S
actor taking his lines as ne goes
along. and in fact only using, a rev
words from time TO time When ne
wishes TO emphasize some particular
point- generally at ThOmpson's suSgeS-
lion. Thompson has his manuscrlpl
with him at all times, and refers 10 II
He Iesyes the taking end Of the pic
ture almost entirely to his camera man
Perez. HiIIburn. better known as sun
shine" on account Of his flame coloreq
hair Sunshine is always on the JOB
and needs little OF no coaching, and any
director can tell you what that means
in the making Of a picture
THOMPSON and Sunshine have recent
" been working together on a numDer
OF animal pictures, and much patience
and skill is needed, as well as many
assistants armed with various lmple-
ments Of war, to get results
Not long ago Prince and Princess,
two big Bengal tigers, were brought
into a scene to wreck a room They
did the job, but not in the manner eX-
pected- At the start the tigers were TO
make their entrance from the rear Of
the scene Before the entrance they
were let out of their cages and driven
into little room together. Then the
action commenced
Princess decided that she didn't like
the cut of Princes whiskers and told
him So She also sidesWiped him across
the nose Prince retaliated by knocking
her into a corner, and the family row
was in full blast when the assistants
arrived with effective implements and
effected an amnesty for a few minutes
Then the door to the stage" was
opened with the aid Of a Iong prop
and Princess sailed into the middle Ot
things with q rush, upsetting Prince
en- route
WhirIWind Of Flying Fur.
The big cat accepted the challenge
and for the next few seconds the all