The daily telegram. [volume] (Clarksburg, W. Va.) 1901-1926, 1915-09-20
REAL LIFE I'M THE MOVIES
By Frederic j. Haskin,

|I8 By Frederi
| s.ataaa:nca,s'aee:
Some months ago. a moving pic
ture was released by large Amer
lean producer which showed every
detail Of the life of the pelican In
his natice haunts. These grotesQue
and decorus birds were shown fish
ing, preentng their feathers, and sit
ting in their most characteristic at
titude Of profound meditation. at
such close range that the specta-
tor could veritably see the expression
in their eyes. furthermore. there
were obviously wild pelicans. as the
wide wastes OF water and mud all
about them showed.
The story Of how this picture was
taken is good example Of the pat
fence and ingenuity which the NOV
Ing picture operator must use in
making his films Of wild life. The
pelican pictures were made in Flor
ida. After much searching Of great
tiocks of the birds Tapping over the
sounds and rivers, the operator
charged with this particular task
found that at low tide the birds con-
gregated in large numbers upon a
sand bar mile or more from shore.
But they were very wild, and 1t
seemed impossible to get near enough
to use even a telephoto lens, while
the bare sand bar offered absolutely
no concealment.
Twig by Twig.
a blind Of bushes were erected
on the sand bar, with the result that
the pelicans would go nowhere near
1t. Then the operator removed all
his ambush except one little twig
with leaves upon 1t. He left this
several days until the pelicans be-
came quite used to 1t. Then he add
led couple Of more twigs. Day by
day, this ambush was built up until
lat the end OF two weeks It was large
enough to conceal a man and "a
camera, while the pelicans took no
notice Of 1t because It had grown up
so slowly in their midst that they
were used to its presence. From
this ambush were made those films
which showed to thousands Of de-
lighted children and adults too. just
exactly how wild pelicans live and
deport themselves.
Moving picture men in search Of
the unusual and interesting are to-
day securing literally every part Of
the earth. One producer at present
lhas camera me min Brazil, Australia
and the Philippines. while another Of
his operators has Just returned from
e trip to Peru.
In order to reach the mountain
haunts Of the Peruvian aborigines,
this camera man had to load his
films and machines and supplies
upon the backs Of mules and travel
into the interior for several days.
Then there was a big pow-wow with
the chief of the tribe, and It was
finally arranged that the camera man
make film Of a tribal marriage with
ell its native rites. There was no
acting in this movie drama, for the
participants were Incapable Of act
ling, but it is nevertheless striking
story with a most unusual setting.
The courtship and bethrothal are
are shown and all the steps Of the
wedding ceremony, which eliminates
when the tribal priest lifts great
earthenware bowl high IN the air and
Skaters 1t over the heads Of the
newly united couple. They are then
shown embarking in the bridge
groom's canoe. and padding away
down a tropical river to their new
home in the jungle.
Difficulties Tremendous.
The difficulties of this sort Of
work as compared with making dra-
matte films of trained actors are
tremendous. The natives do not
realize the Importance of keeping in
focus and facing always towards the
camera. Furthermore, they easily
become tired and If there are many
stops to give directions or rear
range things. they will all quit and
go home, as many an operators has
found to their distress.
The days Of taking in the moving
picture world are undoubtedly pass
ing away. The great majority OF the
films Of wild life and travel shown
today are the genuine results Of long
end arduous searching in out OF the
way countries. Sometimes, however.
the operator will resort to bit Of
deception in order to get drama
tic effect. For example, in film
which recorded the exploration Of
a tropical river, the explorer was
shown rushing down rapid in a
canoe. Suddenly he registers amaze
ment and horror, lifting his spyglass
to his eyes. Then he disappears
from the screen, and at the foot Of
the rapid great jungle bear Is seen
to lumber down to the edge of the
water and plunge in. It is tense
and exciting moment and splendidly
conveys the impression Of wild and
primitive surroundings.
AS matter Of fact, however, this
film was made quite near a town
and the bear was a pet cub belong
ing to one of the natives. He was
led to the river at point where
the growth was relatively small, 50
that he doomed up rather large. The
camera was set up In the water and