The daily telegram. [volume] (Clarksburg, W. Va.) 1901-1926, 1914-04-17
ACTING FOR
THE MOVIES
IS HARD JOB
{. K. Lincoln Also Says Many
Stage Stars Do Not Make
Good before Camera.

new YORK CITY, April THAT
There is great difference between
the technique OF the speaking stage
and the motion picture studio never
becomes so apparent as when lie
climate stars enter the realm OF
tne photoplay, is the opinion of E *.
lLincofn, late star of the Yttagraph
Company of America, and now star
iof seThe LittleIE Rebel produced by
the photo Play Productions Com
pany, whose Offices are in the Cand-
ler building, 220 West Forty-second
street.
from the speaking stage to motion
pictures is one of great Importance
to all who are interested either
| in the stage or the photo-play. IL
has been especially agitated of late
when so many stars have been re-
crutted to appear in single phho9o-
play. AS a player who has been be-
! fore the public through ooeh In netl.s
ums and who Is recognized as one OF
tine coumtry's most intelligent as Wen
as most popular leading men, an
actor who has studied the art ana
technique of motion pictures as have
few others, Mr.. Lincoln Is slngularly
we'll qualified to speak upon this SUD
ject.
4 Must HAYS EiNK1CEEGuCGs
while / do not wish to decry tne
work of legitimate stars in any way, /"
said Mr.. Lincoln, their appearance
in motion pictures have impressed
ON me the fact that often times
very smart person may not under
tan1d another's business. The arr
OF the photo-play differs from that OF
the stage. Even making up IS done
differently for Instance. Then the
H 10
lPaying before the camera IS 1ar
different from playing before an au-
/, dience. To get the. best results one
must have experience and have
'sThat is my opinion and it is the
policy of the Photo Play Productloons
Company. Frank A. Tfchenor, enc
general manager and myself nave
made an. exhaustive study OF TINS
phase fine producing end of the
motion picture industry. We WISH
Iour pictures to reach the public as
the highest form of visualization OF
the plays from which they VIII ne
adauted. Take our first prod uction'
The Little Rebel 1t has played IN
every hamlet from coast to coast
and as a play ranks among the mosS
nonuIar. Now we will present 1t in
the best possible way. After stuoy-
ling the work on the screen OF play
H rs and of the players whose reputa-
lions have been gained by Work or
/ the speaking stage, we decided 70
make up our cast of persons expert
enced in the silent drama
Many Failures.
ttO11r decision to compose the COM
pany of screen players has oeeh
reached because we know before
hand just exastly what to expect
/ from their work They understand
tho Technique OF the business 1t IS
foolish, 1 believe, to expect to trans
plant a speaking actor or actress 70
an entirely new atmosphere anu anu
method of procedure at one wen wen
swoou and expect him or her 10 get
the best results,
Sorl1is idea is ample born out by
the appalling nhmber of failures that
have been made recently by legltr
mate stars In expensive motion PFC
tUre productions. 1 believe that e
would not be placing the averase
too high to say that not one In ten
of these great people of the spoken
drama nave been satisfactory IN
their work in pictures. In several
instances they fell down utterly.
lsomettmes it Is the exaggerated
artistic temperament which prevents
the star from getting into the spirit
of the work, but as genera rue
IL Is an absolute lack Oh huO"TSaSo
Of picture acting that causes thet
trouble. with reasonable training
and some real hard study Of the
basic requirements of this brand
new art, the real actors of the Ieg1t-
innate stage mould most readily INTO
| fine picture actors, but usually they
are drafted at big salary to work
lin one picture, and they have fallen
down and gone out of the game De
fore they have grasped even the ele-
mentary details Of picture acting.
voice Counts on the Stage.
..one great difference between mo.
ton picture players and those OF
the speaking stage is that the hrst
must be primarily actors or actresses
while the latter are often readers OF
lines, The speaking voice covers
multitude of sins on the spea4xin8
stage. It cannot do so in motion
pictures The player on the screens
have but two methods Of conVeylns
thoughts: expression and pantomafne-
He learns these. He becomes mas
ter Of the art and enlarges upon ms
yehmles till they are sufficient me
player on the speaking stage reiies
all too often on a, quaver oil the
s-ci,e 70 convey pcghos or mirth anu