Perth Amboy evening news., 1922-05-15

BY LOUIS JOSEPH VANcA<%
CON ~ Louis ksrAvuu ~
eIon ~ Lesis JosspAv anc
BEGIN HERE TODAY

DA<0IEN hEItE ODA
To forget the bitter troubles n,
her domestic life,
LUCINDA BRUCE. Fifth avenue so.
ciety matron. accepts an invita-.
II to visit the film studio of the
amous screen star
ALMA DALEY. The visit is sug.
gested by
HARRY LONTAINE, who hopes &c
form a motion picture company in
California. He is the husband OF
Lucinda's school girl chum,
FANNY LONTAINE. On the trip to
the studios on Ninth avenue, Luz
cinda muses. over her break with
her husband,
BELLAMY. Wealth. youth, beauty,
a failed to bring happiness to
their Fifth ven home after
nve years OF married life, Bel
lamy's heavy drinking and pro-
miscuous firtations had DESTROYED
her early love for him. And now
RICHARD DAUBENEY. her old
sweetheart, had returned to New
York. She tried to forget her per-
sonal affairs watching Kins
Laughlin, the director. and
Topmoy Shannon, leading man,
rehearse a scene.
GO ON WITH THE STORY
"Oh. Tommy Shannon!' said Mr..
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 IL that's the case. why did
Mr.. Laughlin take so much trouble
to show him."
well, you see, it's this way" Mr..
Lane explained: king is all right,
and Tommy's all right, but If Tom
my don't see a scene the way King
him out, why. Tommy'll just walk
off the lot. And then where are you =?
You can't finish your picture with
out your leading man. can you? And
there's maybe a hundred thousand
dollars invested in this proposition
already. One Of the first things a
directors got to learn in this game
is how to handle actors"
II see," said Lucinda thoughtfully.
THE way to handle an actor is to
let him have his own way"
you got the idea" Mr.. 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. What's your con-
tinuity writer for?"
II don't know. Mr.. Lane. You see,
! don't ever know what a continuity
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 0f cnllrSa and h9Va him
make the change"
you mean you change the story
to please the actor?"
Sure, it's the only thing to do
when you got maybe a hundred and
6fty or two hundred. thousand dol
lars hung up in a picture"
But doesn't that frequently spoil
the story?"
"Oh, what's a story?" Mr.. Lane
to see a story when they take in an
Alma Daley picture. They go be-
cause they know they. get their
moneys worth when they see a Ben
Culp production that's taken from
some big Broadway success and
costs a hundred and fifty or maybe
two hundred thousand dollars. But
principally, of course, they go to see
Alma Daley. because she's the most
popular actress on the screen. and
makes more money than Mary Pick
ford"
There was a sudden deluging of
the set with waves of artificial light
of a 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 incandes-
cent 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 coloring to
the faces of the actors, whose make
up had therefore seemed CHASTITY
and unnatural to uninitiated eyes.
Camera"
The command came from King
Laughlin. Lucinda could just hear a
muffled clicking.
Coached by Mr.. Laughlin. who
danced ~nervously upon the side