Evening star. [volume] (Washington, D.C.) 1854-1972, 1931-08-02

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nv chance agrees with those in authority.
So that it seems strange to hear from one
who should know that temperament Is an asset
to an actor and an aid to those who handle
stars
The one who should know Is Charles r.
Rogers, vice president in charge OF production
ut one Of the Culver City studios, whose ex.
perience as a guide to film favorttes dates back
to the early fame of Priscilla Dean. At present
his list Of feminine stars consists OF Ann Hard
Ing. Constance Bennett, Helen Twelvetrees, Ina
Claire and Pola Negri.
ItCTARS are not temperamental In the sense
- that they are unreasonable" Mr.. Rogers
contended, marking of his points with gestures
Of q cigarette.
''They are highly nervous people, whose feel
ings are uppermost, they must be ~ any
emotion Is to be produced to order for the
pleasure Of the public. They are like chill
dren to whom every occurrence IS important
and ON whom impressions can be easily made.
They cannot be bullied.
mo star-and in my opinion no spirited tndi-
Vidual anywhere-iS going TO do good piece
Of work If you shake your fist at her and growl
between clenched teeth: You are to do this
because say SOL
1.-THE way to get your way with her Is to
een her the idea.
GOOD craftsmanship is the key TO an rela-
tionsh,ip Getting on well with your wife or
your child Is simply q case OF selling them
your ideas on what will make for happiness.
"And the more often you can arrange things
DO that the idea seems to come from the other
side, the higher the percentage Of harmony.
Eat our studio it is not In any stars con.
tract that she shall have the choosing Of her
own stories. 1t has been my observation that
stars are seldom good judges OF their own
vehicles. But we make it q practice to talk
~foG cfOr1oR Vxyifh
they are intended before buying them In order
30 get her reaction. II quick action Il impera-
tive and the screen rights must be bought
before we can consult our star, we call her In
Ind get her slant on the method Of treating
our material
ssTHE best can be obtained from any one
! only by gaining her sympathy In what
Sou are trying to do.
Frequently, the reaction get Is something
like this:
ooh Mr.. Rogers, I couldn't possibly play .
Part like that. don't feel it.
eff the speaker, for example, Is Connie Ben
nett and the part in question Is that Of girl
Of the slums whose father can't read or write.
my sympathy would be all with Connie. She
O. q sophisticated girl who would not be &C
cepted by the public as a slum product with
no background.
"But If It is q role In which it IL possible
b picture Connie, 1t IS up to me to sell her
the part. Sometimes this can be done by
changing some bit Of action, or by emitting or
adding q scene. Often have been glad To
accept the viewpoint Of a girl who brings
fresh slant to story to which feel am too
Close.
"Only lately one of our stars. after ohjecting
Enormously to vehicle slated for her, an
nounced that she could see herself as the chief
character In the story If we would alter it so
that before the action began she could be pre-
scented as having been q different type Of girl
who had been badly treated, 30 that her later
conduct would be justified In the audiences
Eyes.
ITO the average attendant Of picture the
atexs the Importance Of sympathy may seem
overemphasized. But 1t is q very real problem
% the girl whose whole career depends on the
public loving her.
''In their eagerness to keep this vital quality
theirs, stars are often selfish. They scan their
6cripts with eagle eyes for scenes IN which
some one else takes honors. A.e sses
IT seems to me that his slster-person, has
b lot to say, Is q frequent complaint.