New Britain herald., 1922-05-15
'cD11 h louis Jo,s:h v.nrs
BEGIN HERE TODAY


 To forget the bitter troubles of her domestic life. '.f.t LUCINDA BRUCE, Fifth Avenue so-
 ciety matron, accepts an invita-
 ton to visit the film studio of the
 famous screen star,
 ALMA DALEY. The visit is suggested
 by
 HARRY .LONTAINE. who hopes to
 form motion picture company in
 California. He is the husband Of
 Lucinda's school girl chum. FANNY LONTAINE. On the trip to
 the studios on Fifth Avenue, Lu-
 cinda muses over her break with
 her husband,
 BELLAMY, Wealth. youth, beauty,
 had failed to bring happiness to
 their Fifth Avenue home after
 five years of married life. Bell
 lamy's heavy drinking and pro-
 miscuous flirtations had destroyed
 her early love for him. And now RICHARD DAUBENEY, her old
 sweetheart had returned 10 New
 York. She tried to forget her per
 sonal affairs watching King Laugh
 
 shannon, leading man, rehearse
 scene.
 GO ON WITH THE STORY
 "Oh, Tommy shannon" said Mir. Lane equably-"Tommy's all right, he knows what he's doing. All you got to do is let Tommy Shannon alone and he'll ring the gong every shot,
 But if that's the case, why did MT. Laughlin take so much trouble to show him-?"
 Well, you see, it's this way" Mir. Lane explained: Kings all right, and Tommy's all right. but if Tommy don't see scene the way King shows him, and King Starts to bawl him out, why, Tommy'll just walk off the lot, And then where are you? You can't finish your picture without your lead ins man, can you? And there's may be hundred thousand dollars in vested in this proposition already One of the first things a directors got to learn in this game is how to handle actors"
 'I see," said Lucinda thoughtfully '.The way to handle an actor is to let him have his own way"
 You got the idea" MT. Lane ap- proved without a smile.
 But suppose" she persisted Suppose the leading man insists on doing something that doesn't suit the part he's supposed to play?" That's easy. Whats your con- tinuity writer for?' T don't know, Mir. Lane. You see, writer is.' Why he's the bird dopes out the | continuity the director works from you know, the scenes in a picture the way they come out on the screen: Scene One, Scene Two and all like | that. Well. you get your continuity | writer, of course, and have him make the change" You mean you change the story to please the actor?"
 Sure: it's the only thing to do 1 when you got maybe a hundred and fifty or two hundred thousand dol lars hung up in a picture"
 But doesn't that frequently spoil the story?"
 "Oh, what's a story?" Mir. Lane argued reasonably. People don't go to see story when they take in an Alma Daley picture. They go be- cause they know they get their worth when they see Ben Culp production that's taken from some big Broadway success and costs 8 hundred and fifty or maybe two hundred thousand dollars. But prin- cip'ly, of course, they go to see Alma Daley, because she's the most poplar actress on the screen, and makes more money than Mary Pickford." There was a sudden delugng of the set with waves of artificial light of weird violet tint, falling from great metal troughs overhead and beating in horizontally from the metal stands or screens, which were now seen to be banks of incandescentl tubes burning with a binding glare. Nor was this all: shafts and floods of light of normal hue were likewise trained upon the scene from a dozen different points, until the. blended rays lent almost lifelike colorng to