Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-04-08

TNHE methods of the man who made
i "The Birth of Nation" who Is D. W.
Griffith, are of great interest to all who
keep apace with what is done In the
movie world. Not long ago some visitors
were allowed in his theatre, and give this
account of what they saw under his can
vas proscenium arch which kept the suns
rays from the players:
We were free to wander about where
we liked and for as long as we liked
so long as we obeyed studio laws.
Chief of these is: Never step in front
of camera. That rule Is obeyed even
by the studio dogs, of which there are
sure to be several Most of these dogs
have either to be led on the set-so thor
ough is their understanding of the rule
or else rehearscd in the one scene till they
know they belong there
The second law has purely local applca-
ton, and is not really n law at all 1t
| is expressed by every one in about the
| same words:
Better not bother Mr. Griffith unless
it's absolutely necessary he's very busy
man"
We conclude that he must be, not only
because every one we speak to says SO
repeatedly but because during one whole
busy morning we failed to catch even
glimpse OF the man.
He is there; every one says that, too.
He is rehearsing, or directing, or con-
sultng, or all three, here, there, or
somewhere about but you do not see him.
ON the big orderly stage. crowded with
sets and players and technical assistants,
there Is dominant spirit that you cannot
at once put your finger on. IL you are
used to motion picture studios you get
dozen Impressions from a dozen different
details, and they all dovetail into an in
dviduality-the personalityOf the studio
l To- 60 ka1N he
personality Of its director-general.
Looking for this man Griffith you wan
der from stage to stage of the Fine Arts
studio. up and down the paved streets of
this miniature city, from the group of
/ technical buildings In one corner to the
outdoor gymnasium in the court of the
mems dressing room, or on to the great
storehouses of furnishings and the shops.
Everywhere you hear one name--Mr.
Griffith, The big projection room Is to
be clear for his work at o'clock--he sug-
gested certain kind of hanging for this
Renaissance drawing room, and so that
kind will be found at all costs-Mr. Grif-
fifth saw it in rehearsal and let it go
through. so II must be all right. That's
a piece of business that Mr. Griffith sug-
gested and II makes the scene. Mr.. Grif-
fifth said to be there at sharp and, you
know, he mustn't be kept waiting
The listening visitor becomes possessed
rector Is at least five men. How else is
such ubiquity possible?
We stand among the quiet watchers
behind the battery of cameras Here are
directors and assistant directors, operators
and their assistants, players off duty or
waiting for their entrance into the scene.
Occasionally a bit OF vigorous. high
pitched dialogue from a set marks sharply
the recording of some intense moment in
a play where the use Of spepech will help
the players to an accentuatlon OF dramatic
values, but for the most part voices are
subdued to ordinary conversational tone
There is none OF the traditional shout.
ing of directors-no fine frenzy at all
These are Griffith directors. They use
speech during the actual taking of
scene about as much as the leader OF
symphony orchestra at fnal rehearsal
director is arguing with somewhat
self-assertive player
We'll. you know. Mr., Grlfith liked it
better done that way" he says, and the
argument is ended.
We get II in bits like that every few
minutes, and all the while we have one eye
open for an extraordinarily agile man In
shirt sleeves whom We expect to see come
tearing across the stage, waving hands full
OF script and volleying orders land prob
ably imprecations) like a human cyclone.
Oh! we're sure Wen know him-when he
comes
But nobody yolleys and no arms are
waved This might all be a drawing
room scene II il were not for the mot
ley OF costumes and the blazing OF the
California sun overhead. There is lit
tie subdued laughter among the gathered
knots Of players behind the cameras and
over there a group OF women and girls
one Is in erlnOlne and ringlets. another
in modish evening dress and still another
In the short riding skirt OF the plains
are working on embroidery aud-talking
about ID. W. Griffith.
"He seldom seems to see any one" says
a veteran OF the studios, unless he has
business 70 speak of. But he sees every
thing and seems 10 know everything. They
say he Is the quickest and surest Judge
OF character ever. Just one glance and
he has your number"
This Is disconcerting. We stihe an i'm
pulse 10 escape while there is yet time,
and begin 20 ask questions. We ask the
same sort Of questions OF players and
carpenters and eameramen and even OF