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About The Omaha morning bee. (Omaha [Neb.]) 1922-1927 | View Entire Issue (Dec. 30, 1923)
At Last the Truth on Screen Lovers Frank Mayo declares that love making before the camera Isn't real —yet It Is. You don't really love them but when the camera begins to grind the character you play does love 'em—until the lights flash out and the director calls "cut.” From experience In variegated love making. Mr. Mayo ha* gleaned many technical points to be considered In l'art d'amour. , 11 “It Is more artistic to make love to ' one nearly your own height, he be lieves. "A girl should be careful In throw ing her arms around a man’s neck. My hat was knocked off once and spoiled the scene. "It’* really easier to make love to a vamp on the screen. "The European technique seems the best. It Is more ardent. “A girl should never shower her kisses over a man’s face. She should let him do the kissing, for she Is apt to leave the Imprint of her red lips on his forehead or cheek. “For screen loving, stroking the eyebrows Is out because It Interferes with the makeup. “The outstanding screen kisses are uiosu given .Nonna Taunauge by i5u 'gon O'Brien. “Pauline Frederick's love making is the most interesting. “Claire Windsor is ideal for a tall man to embrace. “Love making, if it has to be con tinued all day, doesn't get as tire some as some other kinds of acting, but it does become mechanical. "Many times amusing things hap pen during love scenes. In the film ing of ‘Six Days,' Mayo burned his hand putting out the candle which he is supposed to Quench in a most ardent love scene." "While filming a scene at Mount Shasta,” he tells, "I was supposed to .lump out of a canoe into the water, and throw both hands up to my sweetheart, saying, 'I love you,’ I jumped all right, but when the Ice cold water hit my waistline, I was petrified, and forgot all about love making. The scene had to be retaken —wet clothes and everything.” Mayo will be seen next in the lead ing masculine role of King Vidor's "Wild Oranges." Frank's demonstration should be In teresting In "Six Days" In which he appears on the, Bun screen, Janu ary 8. By JAY CHAPMAN, Associate Editor, Palmer Photoplay Corp. Filming the Picture. The night before actual camera work upon a ecreen ytory begins, ac tors and production staff get a call for work at a certain hour next morn ing. Eight o’clock calls for studio work are the most popular, but If a location trip away from the studio Is tc he made, an earlier hour is often named. Work upon daytime exteriors usually is begun as early as light con ditions will permit, and continued while satisfactory light remains. In teriors, or artificially lighted exterior sets built on dark stages are indepen dent of sunlight and weather condi 1 tions. The actors appear on the eet cos tumed and made up, ready to work. The entire production staff Is also ready, some divisions of It having ar rived earlier to make final prepara tions. With everyone at his post and ready, the director shouts “Action!” and when the players catch the swing of the scene, ‘'Camera!” The director has visualized the length of his scene, but he plays It beyond the right point to give the film editor latitude In cutting and assembling the picture. If the scene Is satis-' factory, the camera boy holds up a. number board bearing the scene number, which is photographed to Identify that strip of film. If is has been spoiled by a mistake In en actment, flickering lights, or any of the many things that may happen, the letters "N. G.” are added to tho number. If the director decides to take the scene more than once In order to have a choice of several , ways of Interpreting it, the different “takes” of the single scene are designated by letters. The actors “called” must jemain ready to "“go on" Instantly, with makeup In good condition and the action of the scene In mind. In wait ing to play Important scene*, the principals usually keep apart from AT ZaST. .. Positively the Year’s f Outstanding Sensation* The years, like great black oxen, tread the world, and God, the herdsman, goads thf>m on behind. —W. B. YEATS The vivid, pulsating story of tho romantic affairs of the most beautiful and brilliant wo man of New York's richest and most exclusive society set. Her rejuvenation after forty years of conquests in Europe— returning to America so young and beautiful she was a success ful rival to the daughters of her former friends. Never so strange, so fascinat ing a romance as this by Ger trude Atherton. t cntifrinn Corinne Griffith and Conway Tearle NEXT SUNDAY everyone In osder to Remain poperly "keyed" emotionally for the coming bit of action. MurIc Is almost always used as a stimulant to emotion in im portant emotional scenes. Sometimes it is supplied by a violinist only, but usually by a three-piece orchestra. Just how much of the actual drama building Is the work of the director, and how much is handled by the play ers, depends upon the respective cal ibers of both players and the director, and upon Individual methods. Gener ally, the director governs the en semble effect, and on each capable player rests the responsibility of his own "business.” Such a director cor responds to an orchestra leader. Some directors, however, handle players as a potter handles his clay, directing every move and gesture. At the end of the day's ‘'shooting," the “rushes" of the previous day's work, and sometimes part of those of the same day, are shown in the studio projection room. They are merely prints "In the rough." un tlnted and untitled. If the producer exercises active editorial supervision, he, as well as the production staff and principals of the cast, sees them each day when possible. Flaws neces sitating “retakes" are often detected In rushes. Everyone connected with the production profits by them, for viewing them corresponds to the sur, vey an artist gives his canvas afte^ laying on a particular bit of line or color. Strand Announces January Bookings » " i ..I The 8trand offers Bert Lytell, Blanche Sweet and Bryant Washburn In "The Meanest Man In the World" on January 6, and claims for the pic ture that It la one of the funniest In the world. Constance Talmage In "The Dangerous Maid,” a story of the days when cavalier and roundhead battled In England, Is booked for Jan uary 13. Tom Moore, Edith Roberts aru^ little Mlcket Bennett In "Big Brother," a widely read story, comes on January 20 and on the 27th Is scheduled one of the Strand's banner pictures, "The Eternal City.” In Its cast are Barbara La Marr, Lionel Barrymore, Bert Lytell and 20,000 people of the city of Rome where the picture was made. Partners for 50 Years Fifty years as stage partners is the record of James McIntyre and Tom Heath, who are headlining this week's bill at the Orpheum. In celebration of their golden an niversary of stage partnership, these pioneers In blackface comedy are giv ing their original sketch. How many thousand times McIn tyre and Heath have played this act, no one—not even themselves—has any idea. It wa* In 1874 that Jim McIntyre and Tom Heath met at San Antonio, Tex., and decided to become partners. They were exceptionally fine dancers, and, Incidentally were the first to bring syncopated music and dancing to the stage. After several years In circuses, va riety and their own minstrel show, they decided to try Broadway, so, in 1679 they made their first New York appearance at the famous old Tony Pastor's, where they were an instan taneous hit. Special this WEEK SPECIAL THIS WEEK* For a week of laugh riots-thrill riots—surprises and chuckles bound to tickle anyone. It’s so dif ferent—so original it’ll just fit that empty spot. i SIDNEY CHAPLIN SYLVIA BREAMER OWEN MOORE 3K8 TULLY MARSHAL’ i He couldn’t get ■ thrill if a harem beauty kitted him— hut sha mart-lad him 'cause ha meant an awful lot of dough. Her haro. tha sheik of her dreams, swore to gat avan and suddenly thara wara four husbands on tha dimpled baby's * ? hands. Oht W^at a mlnupt More then a comedy—a roar from ttart to finish. " SUTTON Directing STRAND CONCERT ORCHESTRA PUylnc "MEMORY'S GARDEN" NEAL BURNS In a Comedy of l,ova and Insanity CALL THE WAGON It’s a KJp-Snorter Latoat Pictorial Now* —< of All tha World Strand'* Naw Yaar Frolic Naw Yaar'* Eva I THEY PLOTTED TO BLOWUP THE PAl^piMIWL 1A scheming sinister woman! Vhat power did she have over this man of mystery? "The Silent Command;!" Vhat weis it? i/owll find the answer in 7two hours of thrilling enlerlammewl / A One 'Ve©l<J STARTING TODAY . Shows Daily ah | n-l-g>~S~ 7-0 o'clock ^ti ^UO^IAUmt r^CtuA^ •5u/M/ 7R&6&a> 1£lc^uAjeA/ ■fuu'fc .eaA/ri£cl X$t£ W& 5/Ul3td> 4/n/ (DmaJW ^£0 'd&tt^CfoftTPMMtofc' (Pua> f(A&fc fov H2,4* >id/ JWtAV $C$VU ttuVTV tlvL iusdv AA/VUOUflL>. £ik& aJ& oC^AL^diXAS^J AiLGctAA&b/ AtJtabnwJ^AtdA/jOVMn\Aotumai tim,. c?fw AAA/jy f\f\(Kir\^nc/rr\0/nt. /dot&J /Tlrit> %.U/XoXjL tff /p&l£i At AfwWW^tl jjMAAMMtt* L iinaX Iwla) iv tiMAl the ^uru\t jpMuAiAt AjCio fiAvitvciAtvn/. iSee theSiui at fflidnigkt Special Midnight Show c tomorrow ^ night \/\ Siariing a.6 \ 1103 F.VI. Bee Publishing Ernes/ Scherer Manager 1 ATLANTIC 1000 ENGRAVING DEPT. Company Goppers Zinc Halftones, Zinc Etchings, Color Plates, Photo Retouching’s Advertising’ Pictures 17 TH & FARNAM Omaha, Nebr.