Were the average man suddenly called upon to assemble all the women in his town who looked like Mary Pickford, he might find himself at a loss as to how to commence. In fact, he might even doubt that there were sufficient persons answering this description to warrant such a campaign. We know a way to get them all together on twenty-four hours' notice. Just insert a small advertisement in the local newspaper, reading: "Wanted for the movies—a girl who looks like Mary Pickford—apply at such-and-su

Most people seem to think there are concerned in the making of motion pictures just four classes of people—actors, scenario writers, directors and cameramen. It all seems very simple. The scenario writer sits down in the morning and works out a scene; he wakes up the director, who packs some actors and a cameraman in an automobile, together with a picnic lunch, and goes out to make the picture on some lovely hillside. Then, having finished the photoplay, they take it around to your local theater

In New York resides a dramatic critic, now on the staff of a great newspaper, who has his own ideas about movie acting. The idea in question is that there is no such thing as movie acting—and the gentleman carries it out by refusing to allow the word "acting" to be printed in any of the notices and reviews in his newspaper. When he wishes to convey the thought that such and such a star acted in such and such a picture he says, "Miss So-and-So posed before the camera in the motion picture." Now t

Probably the number of people who have not at one time or another wondered in a sneaking sort of way if they wouldn't look pretty well on the screen is limited to the aborigines of Africa. And, believe it or not, two of the aborigines themselves applied at our studio for jobs not long ago. They had acted in several travelogue pictures, taken in darkest Africa, had traveled as porters with the company to the coast, and had finally become so enamored of the work that they "beat" their way all the

Rouging the Lips for the Camera Red photographs black, so particular care must be taken in rouging the lips for movie work. John Emerson is helping May Collins with her make-up, while Anita Loos and the director, Victor Fleming, give suggestions. Although most women use cosmetics in their every-day life, they are lamentably ignorant of the principles of make-up. For example, not one woman in a hundred knows that she should never rouge her face until she has put on her hat, since the shadow and l

There is only one drawback to the pleasurable life of the movie actor or actress. They draw big salaries; they get their names in the papers and are deluged with "fan" letters to such an extent that special postal departments are installed in their offices; the work is interesting and the hours comparatively short. But, alas, they have to have a lot of clothes. To be sure, the buying of clothes is a most pleasurable experience to all women and to many men. And, forsooth, if they draw big salarie

This chapter does not deal so much with how to act in a picture as how to act in a studio. Motion picture people live, more or less, in a world of their own. It is a world which may seem a bit topsy turvy to the outsider, with its own peculiar customs, and a greater freedom from restraint than is customary in the conventional world outside. Examined a bit closer, these outlandish ideas appear to be the very same ones which are always associated with artists—a bohemian spirit which is the same wh

On the legitimate stage actors and actresses are called on to read their parts before beginning rehearsals. In the movies the part is read to them. Before the company begins to make even the first scene in a photoplay the scenario writer and director call a meeting and rehearse the company, reading the scenario and explaining the meaning of each scene. If the author and director are wise the story is then carefully rehearsed clear through, scene by scene, before anything is photographed. In this

"But they have no brains!" someone is sure to say. That sort of thing is rather cheap cynicism. As a matter of fact, they have plenty of brains, but of their own peculiar sort. A movie actor, like any other type of artist, is an emotional, temperamental creature; but the problem which worries him the most is one of intellect rather than emotion; in short, just how to control the reactions inside that discredited gray matter of his. Every movie actor—and you, too, if you enter this field—is at on

So much propaganda and press-agentry has been at work during the last few years that no one knows what to believe of the movies. There appears to be a sort of attenuated smoke cloud thrown up about all connected with the artistic, and, more particularly, the financial side of the movies. And naturally the first question to be asked by one who is considering entering this field as a vocation is "What do they pay? Is it all true? Is there money in the movies?" The leading stars of the screen get a

On the legitimate stage nearly every actor at one time or another writes a play. In the same way, in the movies nearly every actor tries his hand at scenario writing. In fact, many of the most successful playwrights and photodramatists have had stage or screen experience as actors. For this reason, although this series is designed more for those who wish to act than for those who wish to write—and although we have already one book on "How to Write Photoplays"—nevertheless, a chapter on scenario

The histories of the movie celebrities are as picturesque as the story of their industry. Nearly all of them have risen from the ranks. Few of them, in the days when the motion picture was classed as a freak novelty, expected the present amazing expansion of the industry; still fewer had any conception of their own latent talents in photodramatic art. But characteristics which they all had in common were determination to succeed in their profession, a modest faith in its future, and a desire to

Amateur theatrical clubs, theater guilds, and the like, have done much to make the modern drama the great art that it is. But because of the overwhelming expense heretofore attached to the making of movies there have been no attempts at any similar activities in the films. The movies have never had the advantage of the experiments of amateur societies. To-day, however, the making of movies by amateurs is a distinct possibility. The possibilities of making a motion picture at comparatively little

T: IT'S BAD ENOUGH FOR SOME TO BOSS THE REST OF US WHILE THEY ARE ALIVE, BUT THE LIMIT IS REACHED WHEN THEY WANT TO KEEP RIGHT ON AFTER THEY HAVE CASHED IN. T: FOR INSTANCE, THERE WAS OLD HARDER N. STONE, THE VICE-PRESIDENT OF THE BRITISH-AMERICAN INSURANCE CO. 1. LIBRARY, STONE HOME IN WASHINGTON. (Fade in.) Harder N. Stone, an old skinflint, is seated at his desk writing. INSERT—Stone's hand writing the following: "I, Harder N. Stone, of Washington, D. C., hereby direct that, should I die befo

Throughout the dialogues, there were words used to mimic accents of the speakers. Those words were retained as-is. The illustrations have been moved so that they do not break up paragraphs and so that they are next to the text they illustrate. Errors in punctuations and inconsistent hyphenation were not corrected unless otherwise noted. In the list of Illustrations, "CREPE" was replaced with "CRÊPE". On page 6, "ConstanceTalmadge" was replaced with "Constance Talmadge". In the illustration on pa