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Show How I Broke Into The Movies ' - Herman By WILL ROGERS NOW about this movie business and how I got my start. To be honest about It, I haven't yet got a real good start. And the way I figure fig-ure things, a fellow has to be a success suc-cess before he goes lecturing and crowing about himself. Out here In Hollywood, they say you're not a success unless you owe fifty thousand dollars to somebody, have five cars, can develop temperament tempera-ment - without notice or reason at all, and been mixed up in four divorce di-vorce cases and two breach-of-promise cases. Well, as a success In Hollywood, I'm a rank failure, and I guess I'm too old to learn new tricks, and besides be-sides I'm pretty well off, domestically domestical-ly speaking, and ain't yearning for a change. Now, about how I actually got started In this picture business. Mrs. Rex Beach was really the one who helped me get started, by selling sell-ing the Idea to Sam Goldwyn that he ought to star me In the movies. Mr. Goldwyn was connected with ! the Eminent Authors, Inc., of which Rex Beach was president. There were eight eminent authors In the outfit, maybe that's where they got the name, I guess. Anyway; Sam signed me up, and I starred In a series of 6-reel comedy nrnmas for him during 1921 and 1922. The outstanding picture of this group was "Jubilo," based on the theme of the song of that name. I also made "Doubling for Romeo" Ro-meo" for this company. It was the r v ) f - ' V - - J I I ; 4 N I Will Rogers. story of a cowhand who went to sleep and dreamed he played Romeo In Shakespeare's Immortal drama. I like my work In this one a lot, but they had a sales convention at the studio and showed the film to the gang. Although I thought the picture pic-ture was very funny, the boys seemed to think different and refused re-fused to laugh. At the time I was nearly heartbroken, I felt that I was a flop and was about ready to quit pictures. Gosh, It was awful I I wasn't writing much In those days, although since then the papers pa-pers seem to like my stuff and pay me for making wise cracks, which doesn't make me a bit sore. For re-creation I used to keep some horses and goats on the lot back of the studio, and I spent most of my time enjoying the companionship compan-ionship of dumb but honest animals. They couldn't laugh at me. Which X98 encouraging! From Goldwyn's I went to work for Hal Roach and made a series of 2-reel comedies there. I remember when I was In the j Follies. All I did was my rope act, and I dldu't say nothing. But one I evening the manager nsked me to ' make an announcement, and foolish- ! ly 1 did, and everybody laughed at nie or with me, and I was n success, suc-cess, and they've kept me talking or writing ever since. That's what comes of talking too much and trying try-ing to help some one out. Now I can't stop. Hut wise cracks and picture work pay better than the ropo-throwin' act, and that saves my feelings a lot Sam Rork, who produced "A Texas Tex-as Steer," In which I got tho big comedy part of a congressman who was a Texas cowman, say ha picked mo out of nil tho Hollywood actors because nil tho rest of them havo morality clauses In fholr contracts con-tracts and are afraid to act like congressmen. l(ut I figured It out that It's bo-cause bo-cause I was In tho Follies. I'm an ex-Follles graduates and If Unrrv-more Unrrv-more had my legs, ho could still be on tho sago, Hut I'd len In the movies before I signed up for "A Texas steer." Ivo been in moro ,,uiu' SlVj "vtes, and most of tho Job win "mudllng the rop. Hut that wan " smart movie, n eomedv special tliey called It, and nil I had to do was act the big comedy part of be li'K n congressman. TL'M's n cinch. Any day In the week nnv con,-res-"n I've known can give mo a W l"i:li acting natural. M.V advise to aspirin movlo-I"-U folk Is to by a good 12 feet ropo, practice win, ,, luu, , ,f y lon't Kneceed, why. yen can 1- ' .V stretch It over a nearby tr,y. "I"! oo end nronnd your neck. W VVI Hi vlua |