The Alaska citizen., 1915-08-30

or moving plCluItS III Ihr NoIIu' at taining results seemingly absolutely impossible. The following interesting article concerning NIT. Griffith and his work is taken from the New York Sun:
 An observing officer of a moving picture corporation was watching re hearsals for a little film drama one morning seven years ago, when a complication developed and it was patent that, as arranged for, the idea in the language of the studio. would not get over. One of the players in the company, a slender young leading man. went up to the producing director and said: Why couldn't it be done so and so2' in dicatins his plan.
 The producing director nodded em- phatically. Right" he said. and serving officer first mentioned turned to the actor, saying seriously Why don't you try producing, Griftith?'
 'I wouldn't mind having chance to work out few little ideas" was the answer.
 Work them out then" was the decision.
 Up at the Liberty theatre during the last few weeks people are stand ing in a line which stretches from the box office nearly over to Sev- enth avenue, suffering for the privi lege of paying B for seat in many cases, to see nothing but a moving picture drama. The man who pro duced that g movie is the man ad dressed in the studio seven years before. the man who said he had few little ideas to work out.
 He was Griffith then, now he is David Wark Griffith, for whom even the most surfeited regular dramatic critic had words of praise when that movie had it's first night in New York and of whom also other men who study and observe rather than direct, declare that he has raised the film drama to an art with I capital A. and that he has unfolded new possibilities. pioneered in hith- erto unsuspected fields
 In brief. Mr Griffith took The Clansman." novel by the Rev. Thomas Dixon, and from it evolved an ambitious spectacle for the cam era in which, working on a stage roughly speaking five miles long and two miles deep, he employed altogether 1S,0O0 persons and 5000 horses. He delineated battle scenes conducted according to the records preserved in the War Department at Washington. using artillery, cavalry and infantry as they were used in a real battle of the Civil war
 His artillery duels were real artil-
 
 passed by the men who participated in such a charge fifty years before His men died as men had died in the trenches of the south and they suffered just as the men who did suffer said they had. He built or caused to be built no less than five complete southern towns. faithful to the last architectural detail and he burned three of them.
 He massed and handled great mobs of whites and negroes as his tory said the real mobs acted. He size and delineated the great na- tional tragedy of the assassination Of President Lincoln just as history says it occurred. He built the legisla- tive halls of a southern state and with an actual still photograph as model brought back to life a scene in that chamber fifty years ago Above all throughout two hours and forty minutes he ran the threads of love story.
 Thus it was that MT. Griffith leaned back in his chair puffing con- tentedly at an after luncheon cigar, taking his first vacation in about fourteen months He was at that moment digesting among other things four questions which would take several hours to answer
 "Who are you?"
 Where did you learn how?'
 "How did you do this?'
 What will come after?"
 MT. Griffith told how he was born in Kentucky some thirty odd years ago, the son of Jacob Wark Griffith, a brevet Brigadier-General of the Confederate army His family comes near being eligible for about all the patriotic societies, for his grand father was Capt. Daniel Griffith, Of the war of 1912. Before that time there were the Griffiths of Virginia.
 After the war, of course, the Griffiths of Kentucky had. like many