davidaulloa/AmericanStories huggingface dataset:
Daily capital journal. (Salem, Oregon) 1903-1919, 1916-08-15
PRESIDENT GIVES
CONTINUED from Page one.)

president yesterday, after hearing both
sides, urged this method of procedure,
asking each party to reduce its conten-
tions to the "irreducible minimum IN
order to bring the issue more quickly to
q focus.
Beyond this, yesterdays conference
developed nothing definite beyond a
strong indication that both sides are
now more willing to cooperate to bring
peace than they were before talking
with the president. When the president
resumed the hearings today, the original
question-what shall be arbitrated and
what form shall the arbitration takeq
was the foremost problem under con
sideration.
Have Candid Discussion.
Headed by their spokesman, Elisha
Lee, the committee of railroad man
ayers filed into the White House at 0
o'clock. Lee carried with him small
portfolio. He refused to state whether
he had the proposition on which the
roads were willing to arbitrate their
differences with the employees.
- ~ can say absolutely nothing at this
time" he said.
All of the delegation looked some
what weary, as result of their confer
ence which lasted until an early hour
this morning and during which they
Daily capital journal. (Salem, Oregon) 1903-1919, 1916-08-15

work to end at the conclusion of that
period. The question of whether they
would yield on the point of delaying
actual application of the new program
until it has been subjected to thorough
investigation remains to be seen.
The railroads countered with the sug-
gestion outlined after working most OF
the night. AT times it is said, there
was strong feeling among some of the
managers that the president had at
tempted to place the burden of conces-
sion upon them. He mad, it is under
stood, told them in conference yester-
day that the eight hour principle was
the one upon which they should try to
work and suggested they attempt to
formulate the ground work of a set
tlement on that basis.
discussing the Hours
Those close to the managers said in
vestigatiOn might reveal tne fact that
railroad systems might be operated on
a nine hour basis, or perhaps ten and
that at any rate, the subject was one
for thorough investigation and not ar
bitration.
A. B. Garretson, spokesman for the
employees, smiled little when told of
the managers proposal but refused to
discuss whether Or not it was satisfac-
tory to the men.
II have given the pledge of silence
to the president and therefore cannot
say directly or indirectly whether the
propositions are acceptable" he said.
% As long as the matter is in the hands
OF the president, shall follow this
Daily capital journal. (Salem, Oregon) 1903-1919, 1916-08-15
Will Undertake Flight
In New Style Aircraft

Los Angeles. Cal, Aug. 15.-Floyd
Smith, chief pilot of the Glenn Martin
aero school here, prepared his departure
for San Francisco today where he viii
attempt a nonstop flight to San Diego.
via the Overland route.
Smith will pilot one of Martins new
est 125 horsepower, "Can California "
war planes in the flight. ,
The motor Of the craft was designed
and built by San Francisco manufae-
turer, while the plane was constructed
in Los Angeles without importation OF
mats from the east.
Leaving San Francisco, Smith VIII
follow the same route taken by Silas
Christofferson in flight which cor
sumed a number of days some time age.
Smith is the holder of three world alti-
tude records for hydroaircraft.
Daily capital journal. (Salem, Oregon) 1903-1919, 1916-08-15
FLOCK TO SAN DIEGO

San Diego, Cal, Aug. 15.-The best
amateur athletes of the Pacific coast
and inter-mountain states were flock,
ing into San Diego today for the annual
ring, track and field meet of the Far
Western division of the a. "A. U. Ihe
big events will take place Friday and
Saturday at the new municipal stadium
near the grounds of the Panama-Califor-
MIA International exposition.
The first events are scheduled for
Friday night, when the boxers will
meet. Heading the list of visitors are
Archie Wyard from the Seattle Ath-
letic club, and his team mate, Earl
Baird Wyard will be matched with
Lloyd Madden, also of Seattle. if the
latter comes, as has been announced.
Daily capital journal. (Salem, Oregon) 1903-1919, 1916-08-15

rule"
Another representative of the 10
ployes was sarcastic regarding tho
managers proposal.
"That will be very NICE he said,
"but there is nothing new about that
idea. have known about that Tor
week. They were talking tnat propo-.
sition before we ever came down here
Garretson and his associates appear
ed to take the managers idea lightly
The men say there is no reason 10
change their attitude thus far.
Daily capital journal. (Salem, Oregon) 1903-1919, 1916-08-15
BELL-ANS s
Absolutely Removes
Indigestion. Onepackage
provesit. 25c at all druggists.

at a bridge tea this afternoon. Miss
Crump who has been honored with num-
erous social attntions curing her stay
in Salem, as Mrs. w. Q. Knignton 8
guest, leaves tomorrow, being accom-
panied as far as Portland by Mrs.
Knighton. Miss Crump win go to Salt
Lake City before returning East.
Daily capital journal. (Salem, Oregon) 1903-1919, 1916-08-15

IOuRttnueu rroH PuEo one'T
80 yard foot race for girls 10 years
of age and under: Jean Nanana.
Sack race, open for everybody: W.,
Rotson.
Ladies' baseball throwing, no limit
as to age or size: Fannie Kennedy.
Potato race for girls under l6 years;
Era Sultz.
Spike driving for men, open to all
regardless of line of work: L. w. Nc
Mahon.
Daily capital journal. (Salem, Oregon) 1903-1919, 1916-08-15

Journal Want Ads Get Results You
Want-Try one and see.
Daily capital journal. (Salem, Oregon) 1903-1919, 1916-08-15
S.P. BOYS HAVE

CONTINUED from page one.)
Daily capital journal. (Salem, Oregon) 1903-1919, 1916-08-15

Mr.. and Mrs. Ralph White and
daughter, Miss Margaret, Miss Sadie
Heath and Edward Ostendorf motored
to Mehama Sunday for the day.
Daily capital journal. (Salem, Oregon) 1903-1919, 1916-08-15

Have made by which any subscriber of the
IL CAPITAL JOURNAL, delivered by carrier in Salen who
for the paper months advance the regular rate
D. will receive without extra charge, the following pubca
for year:
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-06-17
Happens from
Scenario to Screen
The President of the Mutual Describes the Processes
and Tells the Cost of Making Film
Productions
By IOHN R. FREULER

The picture is reassembled and II is pro-
jected and screened again before another
conference with the titles in their proper
places. If 1t passes this examination the
negative is then cut to conform with the
form and the approved positive print.
According to the scope of operations OF
the concern through which the picture In
released or through which 1t s sold and
delivered to the theatres, a large number OF
prints are made. In the instance of q
certain great comedian a total of several
hundred prints are made while on the usual
five-reel production II would be fair to say
that from 80 to so prints would be made
for release in the United States.
. Each of these prints will be 5000 feet
long and will require many hundreds OF
dollars worth of film stock. The making
of these prints involves expensive chemical
and mechanical processes. Very large
quantities of chemicals. costing as high as
$50 per pound, are used II our fve-reei
production Is run into q total OF approx
imately so prints, we may say that prob
ably not less than $50 900 and maybe $780,.
900 in capital is tied up in that production.
Now the distributing organization begins
its work. These prints must be shipped
to the motion picture exchange from which
the theatres get service. In the case of the
most extensive releasing concern in the
United States this means supplying prints
to IS branch offices or exchanges, There
are others nearly as large From these ex-
changes the positive prints are distributed
to the theatres which rented or booked this
production. / have not burdened YOU with
Continued on Page Two
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-06-17
APARIS POTPOURRI
ON YANKEE
MOVIES

They may bar American films out of Eng
land by the means of excessive taxation,
but II would take more than that to exclude
from France the reels from Yankee land.
says Paris correspondent of the New York
telegram. Pathe's host of cinema houses
are packed nightly by the enthusiastic folk,
Fho throng to renew their acquaintance
With my big time" friends, Pearl White,
Arnold Daily and Edward Arden. IN.
carel' Is fairly worshped by the French
people, and when the blonde heroine seems
hst indeed, one encourages the other by
aging. wait, NJ Clarel will save herP'
At the opposition houses Chariot (Charlle
chaplln's nom Francaise) is the all-power-
ial magnet which drags In the francs. In
sgery revue lines are introduced anent THE
hfslerles OF New York" and Chaplin inn
.g1or' Some disgruntled lady has invaded
us columns of London newspaper and
saaeaYors to tell why films from the United
esAtes or America should be passed up"
pne regrets that she has not been able 20
NV The Black Hand" pictures, sent over
nom your side OF the Atlantic but AYERS
nss they must be exciting. II immoral.
ans personnel of the filmed parties she
se'ses TO- and dishes up certain OF the cast
! I us pedantlc manner: II can always
~ an American thing directly the curtains
~HsN SNSNhJf b4Alll-ltdLuTeu JcuIlo
Hssnlsf wears awful ready-made clothes
- curious low-crowned hat, while his
ss1apanion Is an exuberant young lady in a
sss.,Ea,st - a and skirt. with skimp hair down
al, ~ tof the child In the play, it is usually
~ = peeslsh'loking. as though 1t had been
- ~ candy and doughnuts, and no more
k.sslIui Indictment Of marriage could be
y ia,sAs,hed so disquietlng and sinister was
a. -ppsarsnee One story was about a
Z ina burglar, and the infant seemed
~ and by night AS they were gupposed
~. wealthy persons, / maryeled that
ih,saa ~ not hire a nursemaid. After going
- the pantomime of eating dinner,
sss1.h,.e s1s.fe until the thief enters, when, en-
ssssssse' they meet him and he departs
49, = leaving the watch which he has
z's'sa IN the baby's crib"
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-06-17
Comedy and Melodrama.
Siamese Twins of
Screen

TNHE polite or drawing room comedy
i has for basis some novel twist in plot
or some unusual situation. 1t rarely re-
quires any grotesque makeup" or extraor-
dinary stage properties.
In the slapstlck comedy we find that melo-
drama Is the basis of the story, and the
comedian makes up his character along
burlesque comedy lines. Also we find quite
often that most elaborate stage sets or
props" are needed.
The difference lies in the fundamental
distinction between the two branches of
comedy; 1. e., the probability that the
comedy might be true and the certainty,
on the other hand that such situations are
impossible and tolerated only because of
the element of humor. In the polite"
comedy there must be an air of realism.
The spectators should feel that what they
see on the screen could have happened to
them If situations similar to those shown
on the screen had arisen in their household.
In slapstick the audience never Is supposed
to take the situation seriously, and improb-
abilities are passed over for the amuse-
ment afforded
Melodrama offers a wide field for slap
stick comedy. 1t is easily burlesqued or
''out- ut-melodramaed," II we may coin a word
TO express our meaning The melodrama of
yesteryear, wherein the villain ties the hero
lIle 10 lne saw wheel OF uTOpS ner Ill MS
playful way from some skyscraper offers
opportunities for excellent comedy. The
audience once took these daring dramas
seriously and Missed the villain roundly
1t would be impossible to write a play
like this today and get away with 1t. The
audience would laugh, If your comedian is
obviously comedian (witness the makeup
and wall), you can play such scenes as these
in a most serious manner, yet the audience
feels that 1t is a comedy and is both thrilled
and pleased.
Impossible rescues are made, wild plots
are attempted and the suspense" Is the
element that carries the play The biggest
successes of the present day In slapstick are
melodramatic comedies The bigger the
thrill the bigger the success
Railroad trains in collision, dynamite
bombs, aeroplanes meeting in mid-air, sub
marines, daring falls all are thrown into
the melting pot from which come the best
slapstick comedies. These elements in the
story make for suspense, and your comedy
without suspense is just as bad as your
drama without suspense, perhaps even
worse,
To illustrate suspense In the slapstick
comedy and to show how close to drama II
comes, we briefly outline the plot OF slap
stick comedy and of "a melodrama.
In the comedy the villain plants bomb
in n piano, so that when a certain key is
touched, 1t will, through connection with
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-06-17
4 New Theatre
That the Movies Built
A Prominent Actor, After Rest in the Movies
Plans Playhouse Endowed With
His Photoplay Salary
By HOLBROOK BLINN

Holbrook Bliun, tcho has Vdrled ms
association t0ith Margaret AngHn IN
rs,1val OF Oscar Wiide's "a Womdn OF
M Importance" by appearances on the
,crssn IN World photopldys, announced
,oms time d1o that he t1dS concerned
a a project for the erection OF a the
arr ,nhich tDus to bear his name
doabtless. sndotued BY the films he has
appeared in Here are some OF Mr.
\ Blinn,s IDEAS on the subject
Yr1ERE Is no need for new theatre
| but there is room for one. The revolu-
tcnary IDEAS in my proposed enterprise are
not numerous. I mean to have small
comfortable theatre, seating, perhaps, 700,
with balcony, but no sYbrry' and mean
70 put on phys not Sau1shercially profitable
10 the ordinary manager.
Strangely enough, this type of play is
doing very we'll now. When you can put on
"Justice" and Shaw plays and get COM
Portable runs out of them, it's a sign posi-
tive that New York is getting big enough to
do things In. You see, we're getting to be a
centre Tours are no longer fashionable,
and people who want to see plays come to
New York.
The Princess Theatre, which I started
several years ago with a policy of one-act
plays, was a step in the direction l am pro-
ceeding now. The Princess was unsuccess-
full for the lack of 81 seats and the small
ness Of the house. Admission was denied
he great class of theatregoers who can
sEofd only ST. At that, with its terrific
kHiicap Of smallness. the Princess came so
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-06-17

near being a success over a period of two
years that have the greatest optimism for
the new venture.
VIII produce only unusual plays, with,
perhaps, an, occasional revival of Wilde or
Pinero. Then, If get a particularly good
one-act play, shall add that to the regular
performance. You see, one-act plays are a
sort OF hobby with me. l admit l have a
leaning for them. You can get such a lot into
them and such a lot out of them. But there
Is no home for them here. Vaudeville ac-
cepts only comedies or melodramas and
they are uniformly Ill done. And If you add
one-act play to a regular play the audi
ence at once imagines a weakness in the
main play. Now. in my theatre, 1 shall con-
triVe to dissipate such, suspicious The
house will have regular policy and pa
irons will know what to expect.
That is what I want my theatre to
have more than anything policy. Until
Grace George took over the Playhouse there
wasn't theatre in New York with
regularly sustained policy Department
stores and shops have character, but not
theatres. True. Belasco does not run comic
opera in his theatre, and there is a certain
dignity to the performances at the EN-
pire, but II 4, Is impossible to Identify any
set policy The Bandbox Theatre has
character, but it is amateur. l am glad
the Bandbox has made good. I think the
old Princess helped launch It, and / think
1t will help my new theatre.
In order to establish policy theatre
must be free. That Is why we are building
new one. We must have independence.
In searching about we found no theatre
in the better theatrical district which did
not have alliances, and so we decided to
build.
shall try to make my theatre dis
tinctive for good acting to be found in 1t.
There will be no stars, and no actress
friends of hackers who have to be taken
care of whether they can act or not. And
there will be no type actors. We will
never judge an actors limitations by his
success in one role. You know how man
ayers say "That is John Drew's part" or,
THAT is an Ethel Barrymore part" and
hire their company accordingly. Well, we
shall never do that. All Of the company
will be people who act. / think 1t was so at
the Princess. We tried never to place a
square peg in round hole.
/ am attempting this new project be.
cause I fancy 1t, and because / feel that
there is room for it. Not many actors
would take the trouble, you know. 1t will
be a considerable strain. That is why /
have rested all year In the movies. An
other reason for my film career is that l
wanted to get some capital for l don't eX-
pect to make much money out of the new
proposition.
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-06-17
Movie Art of the
Future

The art form toward which moving pic
lures seem to be struggling is a form of
suggestive pantomIme Just what type OF
pantomime this will be we cannot yet say
but IL seems fairly certain that 1t will be
on the order OF frank, naturalistic spec.
tacle, such as "cabiria" 1t will not lie in
screen versions Of famous novels or plays.
however much this particular kind OF fea.
ture dim may be exploited at the present
time.
For these screen yersions' are neither
more or less than book or plays, they
are essentially different Moving-picture
directors. In their more honest moments,
will tell you this. They know only too
we'll that movie" plays are not the same
in structure or In form as the regular
Legitimate" plays from which they are now
so often, taken. "a fair average" a al.
rector said recently, lis this; one-thiFd Is
taken direct from the original play, one
third more Is adapted with considerable
alteration, one-third is Qrlginal-eFeated"
The emotional appeal Of book or play
adapted for the movies Is much weaker
than the emotional appeal OF an original
movie" play. Compare an ordinary short
film. written especially for the screen, with
the photoDlay version Of some famous
novel which you have not read. On case
you have read H. fair Judgment win be
dihieult. because associations and memories
give the ilm certain eztrinsie value }
There Bill be no question-ths frank
movie" play a'lll BE remembered long after
the tedious episode feature dln i for
Eotten.-fhe New Republic.
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-06-17
FLORENCE NASH WAS
THE LADY WITH
THE LISP

Florence Nash promises that she will
work without a lisp in the future. To
help her keep her word, Willard Mack.
the author of "Pansy's Particular Punch"
which Miss Nash will present at B. r.
Keith's Theatre next week, has carefully
eliminated all words which Miss Nash
might find difficult to enunciate He has
especially tabooed the word "disgusted,"
whose comedy pronunciation by Miss Nash
has caused all preceding writer's of her
roles to put it into her dialogue.
1t will be remembered that Florencs
Nash's first real hit came when she ap-
peared in 1.-THE Boys OF Company b" as .
stammering schoolgirl, who also lisped-
The stammer and the lisp pleased her audi.
ence so much that managers insisted upon
her continuing in this sort OF role. Frank
Daniels had part written in Miss Hook
of Holland" for Florence Nash and her
lisp, and again she scored. Then the man.
agement of "The Algerian" insisted that
she play lisping sOubrette. She objected.
but the director had his way. However. in
her next role, that of a manicure girl. In
when Sweet Sixteen" she cut out ali
tricky speech. and from then on she dis
carded her pecularities of enunciation ana
spoke straight English, getting her comedy
from slang. instead OF stumbling speech.
Talking to Willard Mack about vaudeville
audiences. during a rehearsal Of the new
sketch, Miss Nash remarked:
Vaudeville is a great school for actors.
In the two-a-day you cannot go out and
say I will dawdle bit in this scene and
make 1t up later You simply cannot let
down for a single minute. You've got To
act up to the mark all the time you are on
the stage" To all Of which the dramatist
heartily agreed.
Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-06-17
The Counte r-Plot-Its
Importance to
Films

WE have now seen how dramas and
w comedies are developed We have
paid some attention to the various elements
in photoplay construction. 1t will be neces-
sary to return to these elements and give
them our special attention in some future
articles particularly the interrelaton of
one element to another.
All this sounds rather difficult, but, as a
matter of fact photoplay writing is a
simple more or less mechanical operation,
If you have the ability to conceive strong
dramatic situations and to handle charac-
teTs.
In order to write a play for the spoken
stage, 1t Is necessary to understand play
writing. In order to write a novel, 1t Is
necessary to know how to write-to get the
viewpoint or viewpoints from which your
story is to be told. In order to write n
scenario, 1t is necessary to know how to lay
out a story in scenes.
In order to lay story out in scenes you
approach nearer to the stage form than to
any other kind of literary composition. On
the stage you have from one to ave acts
which usually means from one to five
scenes. All your action takes place in these
scenes, although the characters may tell in
dialogue many things which occurred off
scene or which have happened years be-
fore.
In the photoplay we are able to show
these scenes hence, instead of three or
four acts and as many scenes we get four
or five reels. with perhaps so scenes to the
reel. The whole object of photoplay writing
Is to place your action-to tell your story
in scenes. In order to tell it in scenes II Is
necessary to aralyze your plot, to treat 1t
mechanically, for 1t must be subdivided
into scenes. and hence requires mechanical
treatment.
To be able to perform these mechanical
operations without destroying the beauty
or the strength of your drama is the diff
Guilty which besets you in attempting seem
ario writing.
AS photoplays have improved and the
art has grown It has been found by direc-
tors and writer's that certain words and
phrases which they employ easily express
and convey certain thoughtsT hence, they
are used and these are simple, as we
have seen in preceding lessons.
We have dissected the photoplay both
comedies and dramas to discover just what
elements were necessary to make a fin
ished photoplay If we were to write a
play or a novel, we would find that the same
elements entered into it, We would have
plot and counterplot. We would have
character, atmosphere, suspense, continuity;
everything that we have In the photopay.
Indeed IL we were to study any form
of literature, we would be obliged to dis
sect 1t and to discover how II was con-
structed. The difficulty in photoplay writ
Continued Page Two