The New York herald., 1922-04-02

rehearsing a recumbent burro. The burro
was supposed to scramble to its feet when
the big man, standing few feet in front,
snapped his fingers. In its own good time
it did so.
"All right, Sammy, get aboard" called
out another man, who by every token Of
riding breeches and leather puttees should
have been movie director which indeed
he was. little negro boy with half his
galluses missing shot up from nowhere
mounted the burro, dug his bare knees into
his ribs and pounded the beast with his
fists. The boy was Sunshine Sammy. If
you saw "Penrod" you remember him. In
the new picture it will appear that 1t was
Sammy's frantic goading that stirred the
burro from it's siesta in front of the Cen
trail Hotel but we are here to swear that
it was the swapping and clucking of that
trainer out in front beyond the range of
the camera.
Sammy then sauntered over to a neigh
boring log pile and sat down beside a
young negro woman. She is his tutor
a graduate of the University of Texas.
The law compels each studio to provide
schooling for it's actors not yet 16 years
of age. Sunshine Sammy snatches his edu-
cation in large bites between camera shots.
On this day the textbook was Work and
Play With Language" The teacher showed
him a picture and he had to write a
story about it, When we left Sammy he
was bent over his copy book and had writ
ten as far as "Once there were two goats
lived on opposite sides of the stream"
Hollywood Studio Style
Differs Materially
Studios of the Hollywood district vary
widely in appearance. Some sprawl like
lumber yards and are Nbout as tidy.
Others would satisfy the most exacting
architect or housewife The Hal e. Roach
Studios, where Harold Lloyd. Sunshine
Sammy and others make their comedies.
are Of the informal type. The Goldwyn
Studios, which we next visited, are great
white city of forty-two buildings, eighteen
of which are permanent steel and concrete
or stucco. These with the temporary "sets"
are scattered over fifty acres of ground.
The talisman that got us past the gate
keeper was the name of Joe A. Jackson,
publicity chief whom we had known in
New York as a newspaper man. The master
of the gate phoned Mr.. Jackson and sud-
denly became human and opening the
barrier told us where to find him. We
passed through the administration build
ing into the '1ot" In the scene opening
before us we're we'll kept lawns and trop-
ical foliage--ten acres Of lawn and gar
den, the dutiful Joe told us-many little
parks set down between and surrounding
four great glass rooted, glass walled stages
where interior scenes are made. We In.
spected workshop as big as New York's
city Hall, where movie scenery is made;
a huge property room where $4,000 objects
ranging from thrones OF emperors to pine
needles are neatly classified and tagged;
wardrobe room from among whose 5000
costumes can instantly be summoned the
appareling OF King Menelik's army, the
hordes OF Ghengis Khan, harem, whal
ing expedition or a bull fight; a laboratory
with aproned girl alchemists transform
ing raw yellow film into the magic ribbon
of the projectoscope and with gigantic
wooden drums on which the finished ribbon
was being dried, revolving in heated at
mosphere.
But I have no intention OF wearying the
reader with a detailed description of the
complex organism which 10 the modern