Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1917-10-18
HOYT, FARCE ACTOR,
PRAISES FILM WORK
Otis Harlan Rejoices in Fresh
Air Features of Screen
Plays
by the Photoplay Editor

The chief difference between working
n pictures and in musical comedy is that
in the former you get up at daybreak ana
work until sundown and in the latter you
get up at sundown and often are not in
he'd until daybreak."
This was Otis Harlan's first remark in
answer to the much-asked question as to
his opinion as to the relative interest of
DlctuEe work and straight dramatic work.
The interviewer had sought the famous
comedian In his dressing room at the For
rest Theatre right after his first exit in
: The Grass Widow" Harlan is well known
% Philadelphia playgoers. especially those
a generation ago. who delighted in his
ianous character parts in the old Charles
koyt farces at the Chestnut Street Theatre.
Much has been said" Mr.. Harlan went
On to explain to his questioner, about the
dnerence between acting on the stage and
beiore the camera. To a man like myself
VINO enjoys outdoor life there Is much that
= fascinating about picture work, for so
many OF the scenes are taken out in the
open You put on your facial makeup In
NE studio early In the morning and then
IN automobile Is waiting to take you to
ne spot where the outdoor scenes are to
ee taken. Usually arrangements are made
loi you to put on your costume In some
private home In the neighborhood. and by
Wo 1880 in the morning you are ready
~ long day of rehearslng and screen
ug mat, II taken in the right spirit, Is more
Iun than work
IN musical comedy you are rehearsed
nc rehesrsed In an il-ventilated theatre for
ulee or four weeks before ever you play
sour scene, whereas these rehearsals for
tAufes, while they are done over sometimes
y many as dozen times, are always
p0'ographed and done with the day they
started. And once scene has been
N".ered on the camera 1t Is done Will.
~ forgotten. while after a regular show
srns Il may be changed here and there
.s.a an ana again 20 please the producer,
'''nor or director.
lhe work Of comedian of the screen
~ pueh more difficult task than that of
ny oonedian on the stage. The latter has
aaorous lines and catchy songs to help
ni @'huse his audiences, but the picture
csrss1 must depend entirely upon facial
e,s.lons and comedy situations Then,
mas none OF the stimulus that comes
n ks-a nearing the encouraging bursts of
M 'sss '-sss that he Is accustomed TO have greet
antics when on the stage.
course, though. when all is said and
oI the two prefer the stage life.
I'm more are Irregular and much more uncer-
ss,o ~ u possesses advantages to one who
lb,ssssted ~, IN II that are lacking In pic
motk There Is always room for inn
l,,,.eht and always a chance to do just
tcln~s better the next time when you are
his part on the stage. You are never
a - win your character, but can MAKE
tit and develop from performance to
IN s..sanee. To an artist that is a genu.
M ,s.uslaetion. Then. too. once the try
nk t-.lou OF rehearsals is over, one car
~. s0 ss q comparatively regular routine
q attn ~ you do begin your days work wher
'lness man closes mis-
eeni know what more / can say re-
ne merits OF picture acting and
Ntl comedy acting. l have worked
and am free TO confess have en-
'n but twenty-six years on th'
f'utt two IN the movies Is bount
AZ toward the older form O