Show MOVI jovia i PICTURES p TURE S I HE I t aLJ 1 TI G JG TIja JOo 1 cJ C SJ I UcIl II C iI I i I Moving Mo pictures arc are blighting the attar as 88 well as liS the theatrical business busi I. I ness ness said one keen critic of the pros pros- r craze the other dj o day y The actor or or actress s who listens fo to the siren foi voice e of the moving picture man is 15 said suid another If U this thing keeps on growing rowin at t O pre present ent rate in ten years there fl 1 b be ap more actors They will give iTc a's Jf to a lot of and acro aero ys- ys i i q to do stu stunts ts in front of S mera e said ld a third thud is isas as ao not cheerful news DeS but but tt it lt II a nt f to any anyone one who cares caresa a AJl plays and a n 1 Herald Heral reporter r da e a JJ a II dozen persons who ought what t they thought about the thet the he 1 t Ono One was Ir Daniel Frohman d t n theatre who knows the C r deal business from A to Z and Ic ne his share sharo toward making the I tP rp of acting one to be proud of r also aso was ras a Broadway lUan manah mana- mana h ram T l but ono one who refused to have o his 1119 j ne used Still another expert was 7 Franklin fInklin H H. Sargent who for more I nan nn as twenty five years has been turning y mj 1 would woul be Romeos and fr ir Wales Vales Winter who finds places for o hundreds of actors and actresses t evv ev ev- v f reason also had something to say f f. Is s to tp tho objection that some managers I i avo to any ny player who in the I 1 in picture business j Y New Ney York Not Greatly Affected I v C to What are arc moving pictures doin doing doin to mitt echoed a a theatrical I manager 11 11 er who was was asked a fe few ques tion 85 as to the rising tide of film at at- ra ions an and its effect upon the busts busiA busi bust s 1 A sf ind the actor p M l They are just killing some of us us- us t gi mafs f's all But dont don't quote nie because I will sa say that I have been hit hitI and nd am prejudiced As a matter of S 1 Gt t I l haven't been hit for I deal in attractions that dont don't appeal strongly Jo to the gallery lI ry part of the theatres theatre's au- au New York has bas not felt the i bl of the picture shows as have the f. towns I believe that in small places four fifths of the money that r 1 ought night M to go o into the theatres theatre's box office of of- office fice now goes to moving pictures Therefore as I dont don't want t td to l see sec seethe seethe the theatre ruined ruine I want ant nothing to todo tolo I lo do 1 with ith J who have rune gonE over to Mo q m THE MOVING PICTURE ACTOR l G TO OUR S SURE OP cr TH THREE EE MEALS A ATHE DAY e 1 Too 2 1 1 0 r a m t j r 4 l m 4 A LOVE LAVE SCENE Bb r TH r TH THE L VAIL OF Or THE MANAGERS N NOT rC THAT I rAc Iw Tl a 4 I I t f Mii i il I t t- t l r r In L' L i 1 1 rya 1 1 MRS l u IT IS BELIEVED THAT IN SMALLER PLACES FIFTHS OF T THE E MONEY MOMEY THAT OUGHT TO GO INTO T THE THEATRE SOX BOX OFFICE NO T GOES THE MOVING rACE FACE HAS TO TH THE K P NO A ATTRACTION 1 P ACTIO FOR ri THE the the enemy Some of mv my brother managers ma may tell teU you ou that they dont don't care cire but 1 know better Suppose I engage a man manor manor manor or a woman whose face has become familiar familiar fa fa- to movin moving picture spectators Why in every small town and and even in iu lots lob of hi hilt big ones T nay in these people will be recognized when I 1 present them I will be told that my attraction must be a cheap one pue because my players can be bc seen elsewhere for 10 cents tents one Another Another Another An An- one feature other is that the actor ator who is good for fora a moving picture show is good for nothing noth noth- in ing else elso Kp Iff awful manner manner- isms and cannot help it The moving movin picture actors actor's work eo compares with that of the real actor as s the scene painters painter s art compares with that of the man who wh o paints paint's pictures It is w work rk done one upon n a crude big scale Take almost any example you wish wis h for for instance a love scene On th the a real stage age the young man nian whispers his devotion to the girl and not to the au au- In the moving picture ho addresses addresses addresses ad ad- dresses the tho camera Ho lie must make mako that camera see that he is in love lore and an so ho he ogles and gesticulates all over the stage with his eye on the tho machine aUthe all aU the time All the characters are arc in a hurry because there must be something doing every second What was the tho old ola time tim ranting and shouting of the barnstorming barn barnstorming storming actor is now fr frenzied lation You Yott cant can't tell me that a year rear of s such ch acting doesn't unfit a man or wom woman n for decent stage work worl Mr Ir Frohman takes a somewhat different different dif ferent view of the matterI matterI matter I cant can't see lee he said why a dip into the tile moving picture b business siness hould hurt any good actor This outcry I against the new business seems to ini me I much like the fuss made over vaude vaude- vaudeville ville when it was a new thin thing fifteen or twenty years ago go When the old time variety acts were baptized a. a a good name nam because nobody l know ew what the word m meant ant then and most people have a are re respect re- re dont don't understand speet for what they it was waR said that no DO real roal artist would ever eer descend to vaudeville Look at the situation now Almost any artist will now go o into vaudeville if th the terms are big bis enough h and when the player wants to he or she sno may return return return re re- turn to the time le legitimate stage work and find as w warm WE-rm rm a welcome as ever vcr Miss ROl Rose e Co Coghlan W. W H H. Thompson Thomp Thompson son Robert Hilliard and a lot of othere others oth ers ere here with Mme Mike Sarah Bernhardt Mme and Lady Tree on the other side have played in vaudeville vaude vaude- vaudeville ville and some day may play in mo in moving picture shows Mr Sargent said shi Lots of our graduates grad rad are offered places in the companies companies com com- devoted to making pictures and andI I have always s advised ed them against it it for I believe that it is ms a crude form of I art sure to hurt the player Such a athing athing I thing thins as goes by the bO board rd even een evenin evenin in vaudeville work in moving picture playing it is of course much worse Notwithstanding my advice a lot of my pupils have lava joined these companies and I understand undE are getting ettin about twice as much salary as they could coul l expect expect expect ex ex- in real theatres There are certain n advantages about the now new business that are unquestioned For v. v instance a regular u theatrical man v. v u ager alter can only offer an en gement of twenty or thirty weeks with the possibility poser that the piece piete may close in a a month or less For weeks of rehearsal the actor gets ets nothing The moving picture man offers his actors a whole years year's engagement There is no traveling and no night work The actor can have a real home To Tn any anyone anyone anyone one who knows the profession these advantages ad vantages are tremendous Mr Mr Winter mentioned several New NewYork NewYork ew York man managers er who want no film players play ers in their companies At the same ame time he said aid its an ill wind that blows blow no good These mo-in mo moving picture companies of which there are fully Uly in this country have bae been a blessing to hundreds hundred of players payers who would otherwise have been strand strand- od ed I know one good actor who lost hi his voice Ho lIe gets sets a week in a fit film I company Deaf people are at a discount t on tho the next regular stage staZe They are as goo good d I as th the next one before the camera |