Omaha daily bee., 1919-12-28

a big success. When she portrays
certain character on the stage or
the screen she puts her heart into
her work. She lives in the atmos-
phere of that person. When she talks
about something she thinks of moth
ing else but the subject at hand.
And Miss Binney is the kind of
person who will not discuss any,
thing in which she is not interested.
She will not bluff. She either puts
all her interest in subject or none
at all.
II think the screen is more diff
ficult than the stage" said she. "On
the stage il you do not do a certain
thing SO we'll the first few times, you
have opportunities of bettering your
self in future performances! But on
the screen if you make a mistake
while the camera grinds, it is made
and you cannot rectify it. You see
yourself on the screen and you wish
that you had the chance to do it over.
There are so many little things that
you know you could do better if you
had another chance. But, there's only
one opportunity in pictures. You can
learn a great deal about your own
acting from the screen. You have
the chance of seeing yourself and of
improving your mistakes in the next
picture you do.
There's one thing screen actresses
are very apt to do-overact. Haven't
you ever noticed that the best ac-
tresses save up the expressions of
their face until the real dramatic mo-
ment and then they give it to you-
strong aud lots of it.
"And | believe you've got to live
your character on the screen. You
can't act it. the camera photo
graphs your brain What you think
is registered on the film. YOU can't
niemorize lot of motions and then
go through with them automatically
and expect to give your audiences
true characterization. Live the part
and then act it. Think it every min,
ute you're in front of the camera.
It's the same on the stage; you can't
expect to really act if you're waiting
for your cue every minute If you
know what the play is about, you
don't need any cue. A good actress
never listens for her cue. She uses
her brain and when the logical time
for her TO speak comes, she speaksv
Miss Five Feet Three-quarters of
an Inch was all enthusiasm by this
time. She was speaking about a
subject il which she was interested.
"What do you think are the essen
tial requisites for girl to become a
good actress" I hopefully ques-
toned Luck was with me. She con-
tinued:
"Well I think good education is
very necessary. You'd be surprised
the number of things an actress is
expected to know. And the most
helpful thing I know is dancing.
Dancing gives one poise-the most
important requisite of good ac-
tress. Do you know the way most
managers size up an actress they
are engaging? They have her walk
across the room and the way. she
carries her body is one of the strong
est points they Judge her by. I have
heard some of the biggest men in
the profession say that they can
Judge an actress by her first entrance
on the stage. Have you noticed how
dramatic critics are stressing an
actress entrance more and more
each day?' Poise in a member. of
the theatrical profession counts for
IS per cent. And dancing gives one
that ever-to-be-desired poise."
She stopped short. smiled, her
eyes twinkling. Then. suddenly: "Do
you know what sort of dancing I like
best?" She vouchsafed no further
information and waited for me to
answer. Haven't the least idea.
What do you like best?"
"Waltzirg," she said. with an af-
hrmative nod of her pert little head.
~ think waltz music is the most di-
vine thing and those slow, dreamy,
enhancing steps-oh, | think they
are perfectly Intoxicating" These
words came tumbling over each
other from her adorable mouth,