Show CHAPLIN LOSES SHYNESS WHEN DISCUSSING FILMS I 1 Movie Without Dialogue Aim of Film Comedian in Spite of Talkies By MOLLIE MERRICK Copyright 1934 for The Thc Telegram HOLLYWOOD NANA NANA NANA-A A great shiny limousine stopped before an group English of buildings on onLa onLa onLa La Brea avenue and the double gates swung open to admit it From it stepped a dapper little littleman littleman littleman man in gray His thick iron iron-grey hair was brushed until it shone shone his his face shone too with sunburn and health and something more vitality more vitality and energy Charlie Chaplin was beginning his days day's work A group roup of ot people were talking on the studio lot and the little man skirled skirted skirted skirt skirt- ed them carefully although he threw a shy smile and a quiet good morning morningto to a couple of them Chaplin is 3 shy and much of ot that shyness is due to the world within himself which he must find more satisfying than most humans find their own resources Chaplin Loses Shyness Charlie Chaplin Isn't shy at all after he starts talking about movies For then the world within himself comes to view little by little and his absorption absorption absorption ab ab- ab- ab sorption in his work is paramount He doesn't think it at all strange that he can make a picture which is unique of its ilc kind a kind a picture with sound effects and music and without dialogue dialogue and and get et away with itAn itAn itAn it An author who is worth the name doesn't write what he feels will be bea a ol commercial hit your true author writes what he must write He says the things that arc are hammering inside to be said He releases the dreams that have been milling about in his head and the release is a compulsion and anda a relief Builds Own Films Perhaps nobody else can make a film without dialogue because nobody else feels about it as I do It is the way I 1 see pictures That is pictures for me I 1 shall shan be pretty much the same character char acter Ive I've been in other films And therell there'll be some slums and some workshops workshops work work- shops and some big city things Paulette Goddard my leading lady Jady will be a sort of type gamin one I think for which she is especially especially especially espe espe- suited There will be some familiar faces people faces people that have made pictures with me through the years year Henry Bergman Of course course Henry Henry German Is Friend Henry Bergman the restaurateur has been in all the Chaplin pictures made in Hollywood His friendship for Charlie is historic The great fat German would die for this dapper sad eyed clown But since there is no need for such extremes they have many nanny an hour of reminiscence philosophy philosophy philosophy philos philos- ophy and epicurean delight together The only radical difference in the making of this new picture is this Charlie CharJIe Chaplin plans to have the actual making take far less time than some of ot his other films But he also intends intends' to spend more time on the preparation That is his greatest concession concession con con- cession to modern motion picture methods In the old days Charlies Charlie's pictures I 1 j 4 I C 4 Charles Chaplin were shot from the cuff as th they calit call cal ll it in Hollywood Today's film is being carefully prepared and actual shooting shooting shooting shoot shoot- ing will not begin until every single step is ready |