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
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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.
