The Washington times., 1913-05-04
MAKING OF FILMS
REQUIRES ARMIES
Every Facility Afforded to Give
Best Results in Studio Of
New York Company.

Have you ever been hack tstaEe in a
motion picture studio? If not, you
have missed something.
Within the four walls Of the Univer-
sal Film Manufacturing Compa any's
Imp studio. a large brick structure at
Forty-third street and Eleventh
avenue, New York, there is a con-
glomerate army of artists busily en-
gagged In the making Of motion pic
lures.
OF course, everybody has seen mo-
tion pictures, but few have had the
novel experience of seeing them made.
To all outward appearances, the
studio resembles any ordinary factory
building. The trains of the New York
great shipping interests of the North
river. with the attendant trucking in
fhe. streets adjacent, keep up an almost
ceaSeless noise on the other side.
But how different inside the big
Here is an artist Coming the cos
tune of soldier of France: there is
girl wearing the peasant garb of old
Ireland. On one stage they are re-
hearsing scene from n cnapPy
dy is being enacted. There is action.
plenty of 1t, any way you turn. And
back stage-behind the scenes, as it
were-it is the same. Scene painters,
and the hundred and one others en-
gagged in the preparatory work-all are
busy.
Director at Work.
A voice rings out sharply from a d.
fOc4or: -,
fS.say. here, remember YOU are only a
couple of pieces OF fried egg. Tou are
just plain soldiers. so stop that acting
{ Turning, YOU observe a rehearsal of a
scene from THE Bishops Candlesticks." /"
Ii carries You back to Victor Hugo's q
masterful story depicting the life of
that remarkable character, Jean VAL
Now, that's better: hold it," says the
director TO his people.
The operator in charge of the moving
picture box is ready. stationed directly
In front of the scene, with a blaze of
electricity to aid him.
Ready" asks the director. Then
begin
Before you there is the setting of an
old French inn. in the time OF long
ago. The actors appear in their re-
spective roles and the picture is in the
making.
You stand there looking on, bewil-
tdered. To your amazement you are wit
pressing a real live, throbbing .play-one
sNith action and words. not The words
pf Victor Hugo, but words supplied by
the director himself
4 You ask IF the actors have prepared
stheir parts in advance, and the director
eells youi no. He is versatile genius,
the, man of many parts, that supplies
all. The actors are autOmatons, mere
machines. who are told to make Up a
certain way. and then are called into re-
hearsaL
In The Midst.
OF course. these Deople, or most Cf
them. have had wide experience in the
business of acting. When one receives
instructions TO make up as a beggar. he
knows that he is not to act .s a love-
sick hero when called into action. He
Is a beggar, plain and simple. and that
is aH-there is TO il. The director sum
mons the cast before him and briefly
outlines The scene. The actors; in their
ttrrn,, come on. They rehea,rse their
parts again a dozen tImes. before the
The director. standing directly in
front of the stage. eyes Zach actor
keenly, keeping a small thistle at his
lips TO call a halt when some par
ticulsr thing goes wrong.
Mr.. Blank" he suddenly cries out
in a rage. after blowing furiously on
the whistle, why can't you remember
your part? It's singular can keep
all your parts in my mind and you
can't remember yours. Why. there's
only one good actor among you. The
rest are boobs. just boobs. who ought
10 be shining shoes instead of trying
10 act"
He wipes the perspiration from his
brow, heaves sigh. and then con-
tinHes:
Now. try it over"
The scene begins anew. r
Whistle Ever. Ready.