"Av. MARCH 20, 1922
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HMF. right in and make yourself
at home."
Theodore Roberts, the young-
wbl man in pictures, smiled afiably.
- home on the peak of Vine streq
'1 Hollywood, is not only beautifll
vtself, but affords :1 view that is in-
~.v.p;u':1l)le. It is a new place, recently
...r acmrding to the ideas of the
-..r .md Mrs. Roberts, both of whom
it ,Wflt‘tl with artistic taste, besides a
l m uh conviction that home is where
Iv 1 all is—so they've put their
“2.11 :n lllCll‘ home. ‘
Juli-r ,1 gencral view of the house
‘Nr’z hd me into the yard and in—
tact -‘. me to his ” zoo." '
3 An and other" pedigreed dogs, a
{u .rpl' if tame seagulls, a Siamese cat.
. rm! Hlllt'r ornithological and zoo-
-.-.1r.‘ ,u'rimcns made up a very re-
inc: .l h mrnagcric.
l'l‘lS Give Pleasure.
..rc all my pets," observed thrl
:.1 wave of his hand. "They'r't
.
«Hf-l, ‘.\ ll:
rl‘l":l..‘ happy family. You can't
alum the pleasure I get out of taking
it at tlmn, watching them play add
wrlrp .25 in case of the dogs—{foil
»l..1\'«':r5 to full grown and serious
mlr'll grown ups Animals are a lot
I lm .: ns—and everyone has a dif-
- K‘
icrent character; they have their mo-
ments of thought and their moments of .
relaxation even as you and l.
"A good deal of ’instruction can be
derived from simply studying animal
life when it is lives without too many
restrictions as applied by human mas-
ters. Left to themselves dogs, cats and
bird; will develop unexpected idiosynv
oracles, unexpected characteristics. And
Mrs. Roberts and I get a lot of real
joy from watching them.
“Take this Siamese (mt—with his
black muzzle and his fawn-colored
coat. Over in the Orient he's sacred;
he’s a serious-minded chap with a se—
date manner, as he knew he was an ob-
ject of. worship. He would as soon
take a licking as associate with com-
mon barnyard cuts. He is an aristo~
crat yet veg-y docile and amenable to
affection.
"Then here's an airedale who loves
a cold shower better than a beefsteak.
When I turn the hose on him he
jumps up in the air to get the spray in
his face. ,He frisks around like a
maverick and seems to laugh with glee,
as i! to say, "that's the stufi—it feels
grcm—go to it!"‘
Fondnoss for Fishing. ,
Theodore Roberts is a great fisher-
fia 205157971? Icy/eti-
man. Old Izaak Walton would have
found him a boon companion, but he.
’Accuracy important to the Photoplay
”it!!!
‘ \‘ITURS from the Guide world
i wh, visit :1 motion picture 5
‘ di u are often struck by an 39‘
t “our—attention" to detail and
m. that much time is unnecessarily
ed llurchy. But there W “cm
xrralrr fallacy. While there is 31‘
.- the pussibility of someone who is
con-.:ur.-mious “stalling"-——to use all
colloquialism,-—and attributing it to
:1” this does not alter the fact
-_;1 for l’lt’ll results in the making 0f
tum. the closest attention to detail
essential.
QT: firat of all notices the care with
och a director makes each scene. The
" is gin-n to the minutae-—the exact
ls: of expression, the position of the
tr. the hght as it falls across 4h?
"NUTS grrlden locks, the m“ in
m. a hm or hand are placed. the
“5; in which a portion of the [own
over the arm of the chair—a bun-
cl and one little things that the av‘
716 “crson would never even see. But
Khose things be wrongly done, ”Id
crliatcly someone catches film on
ft screen and severely criticises the
Pctor and others. Furthemom'k ‘3
cumulative efi’ect which achieves
‘i Perfection now dcmandcd by the
. trOns of the screen.
on to de
_ than. on the Paramount
1n Hollyw ‘
_ “"819 are not frequent, but atten?
rPerkins nowhere is there greater st- ,.
its head or a cigar to shed its ashes at
the right instant, “I'd go mad if I had
to do that!" But it is just doing “that”
and doing it right that constitutes the
difierence between a good and a medi-
ocre picture.
Cecil B. De Mille
greatest stickler for detail. Nothing
with him is ever "good enough.” It
must be right or it isn't worth doing at
all. And his- techn'cal staff, knowing
this, never take chances.
It is not necessarily in the specular.
lar scenes such as the escape from
crocodiles in. the pit from “Fool's Para-
disc."
"Male and Female" that male: the most
trouble. They are hard to do, of
course, and additionally worrisome be
cause they can't always be done oyer.
is possibly the
When'ah’ouse is burned orstrain
wrecked for a scene. the producer
doesn't like to find that- it has been
badly: done and go to the expense of
repeating the scene. So these things
generally—almost invariably—are suc-
cessfully accomplished at the one time
--usually with a battery of cameras to
get difiu-ent angles-a1: to render-as-
surance doubly sure. 1‘. _
' A mutiny.
It is the mor details. :ecmiugly
nor yet the wreck scenes in
James Cruse recently finished directing
for Paramount, with Will Rogers and
Lila Lee featured.
It was an unusual story—full of
spooky. but highly humorous scenes,
where a tiny spirit ambitions to find
an earthly home crawls into the sleep-
ing body of an old professor of psy-
chology who has succeeded in mining
his own soul to leave and go to a
spiritualism: seance. ' “BK." this mis—
chievous but kindly little wandering
soul causes all sorts of ructions.
is played by John Fox, a boy actor,
while Rogers .plays the professor, and
Lila Lee the daughter of his landlady
whom he secretly loves to distraction.
Imagine getting the effects by double
exposure and triple exposure necessary ,,
to this series of incidents!
It was a period of anxiety for all
concerned because the slightest mistake
in counting would spoil theysynchmni-...
ration of’an entire scene perhaps.
.1. mum Production.
As Will Rogers remarked: "I got
so I counted' in my sleep.” ‘ -
Take apicture like GcOrge Helford’s-
He'
has gone the old philosopher a few bet-
ter and likes to go after big and gamy
So it goes with all productions of a
whorth while character. And every do
partmcnt enters into the work.- The re-
search department at Lasky studio has
a constantly incrmsing responsibility—
to find out things is their mission.
Elizabeth , McGnfiey and her assistants
delve into ancieut‘tomcs or the ultra-
modern literature on a world of nib-
iccts‘and get the accurate information
for scenic artists. property makers. di-
rectors, costumers. etc.
The Bight Wort—Pan.
In Agnes Ayres first Paramount
star picture. "The Iane‘ That Had No
Turning." directed by Victor Fleming,
for instance, it was essential to know
just what sort of decoration would be
awarded by the‘Ktng and Queen of;
Englandtoanotedoperasingerata
command performance in Covent Gar-
den. Theyfoundthatthe"C.V o:
., V o u' ’
. ' -., " V
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LEJ‘ ENJOY/A612 cdo 447/1!
fish, such as tuna; '
Every so often the actor hies himself
or "Compariions of Victoria Order"
would be appropriate and a design was
made and the order made up. A com-
pany which paid small attention to ac-
curacy might have taken an old prize
medal for floor or barns and bacon and
madeuscof it. figuring thatgthepub-
lie wouldn’t get it anyway. What a
mistake! Not only wouHLthey get it—
but they would ridicule it. Md 3 mo-
tion picture can not stand ridicule—
evri. a comedy. Mike em laugh with
you. not at you,—-is the motto.
come up and the entire organization
from General Manager: Charles Eyton
to the prop boy on a set feels the im-
pulse of each separate problem and
contributes a share of either actual
work, judgment, or specialized'lcnbwl—
edge toward the achievement of per-
fcction. Itistheonh'wayl "
‘ and with great success.
’ a cigar
to Catalina or St. Clemente Islands and
seeks the festive tuna "in his lair. . .
These am the things, be avers, which
keep him young. He has worked hard
at his profession—3S years on the
stage and screen, playing almost every.
famous role to which he was suited
His relaxed
moments. his home life, all tend to
ward 08 the cncroachmcnts of Time.
It was probably because of’ his fine
constitution and his mental cheerful-
ness that he was file to come so suc—
cessfully through a recent period of
illness.
In Paramount pictures he reigns a
supreme favo‘rite, beloved of: old and
young. A Hi can do more things with
than most men can with a
whole unload of props.
weed in one corner of his mouth sug-
gests infinite possibilities of expres-
sion. That cigar simply talks when
held between the actor's teeth.
The Versatile Whiskers.
Also, in the: matter of whiskers,
Theodore Roberts is a constant source
of surprise. He can trim, shave, alter
the general shape or size or color of
his beard or mustache and be as many
difiercnt people of as many difiereni
ages.
To see the .
.—._..«-m
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”cavi-
I came away convinced that Theosl
dore Roberts is a man whom, to knoml
is to have been granted a real treat.
—.___§.._——
.GOT INTO WRONG HARE]; t
A pathetic looking Bedouin attiredl
in a flowing bournouse and. turban camel
up to the studio manager at the Para—l
mount Western studio and in brokcnl
English said:
“I cant find the right harem."
It was during the filming‘bf George:
Melford's Paramount production, “The:
Sheik" and Jr so happened that another..
film being made on a difierent stage at:
the same time also boasted a harem!
scene. ‘ ‘ . .
"I went there," said the Bedouin?
pointing to the other. scene, “and the)“
told me to get out. I said to the man
-—'I am in the Mir-em scene.’ ‘Not ing
my harem’ he answered and said to me
tor'beat it.’ Now I can not find the
right harem.”
He was directed to the proper set,
where Agnes Ayres and Rudolph Val-
entino. the featured players. were e.n«
acting a most impressive scene.
As may be imagined, the studio wore
a decidedly Oriental aspect while these
pictures were in the making.
l
When Grandma Was a Flapper
the Girls Knew How to Vamp
5!!!!
HE mental vamp is more deadly
to the male than the one who
depends on physiéal attraction,"
observed Betty Compson, the Para-
mount star who is enacting the co—
quettish Lady Babble in Barric’: "The
Little Munster.” "
’ l! i! 2!
and in the end she wins a man who
thought himself immune from all fem-
inine charms. The 1830 vampire was
really more deadly than the 1921 model;
because she was more subtle.
“The sly peek over a fan or drooping
lashes over a cup of tea are far more
"The modern girl who wmts to bgdangerous to the heart of a man than
In the daily round at 3 big plant 1‘1“ fascinating has much to learn from her the glaring attempts oi the so—callcd
the Paramount studio,athousandthings grandmother's methods when grandma modern vampires. »
was a’ flapper.
“Unsoplii‘stimtion' is more charming to.
most men than sop-tistcation," cxpiain~
ed Miss Compson. “It is the subtle
vamp who plays havoc with men’s
hearts She’s so sweet and charming
thatthemanfeelsthatitisallriglit
to fall in love with her. While the
modern vamp, with her obvious man—
painted lips and darkened eye-
Clothes. Don’ t Make the Woman -13...."2'v’? gum: has? =1: ..
It“
"You can’t 36389 eitherawoman or but withaswldevoidof depth. Herew’s
another, moreoslsssimcoutbgbut'pns-
sic-ins
ismemoaijisuov-Eopwrmdue. mix; that expresses icminity in not??? kadsdxmwyw
atreebythcirbnrk.” . -
maccordingtoCecilB. DeMille.
I!“
sensed of that wondrous
“Oneshould-nevcrbeobviousabout
anything—in love afiairs or in' acting.
Itisthmtbembtletiarmtheallur-
insinualdosthatmnwiuevenndnis-
hie doc-inB'ars-ie's “The .Idttlebiin-
ister.” '
" “In the days when Lady_ Babble
worked her charms women used their:
mentality to catch the men—and the
mental vamp is the most deadly.
Women nowadays use their W
attraction and fine clothes for the ap-
peal. which is so apparent that it is-—
laughable to most men.
“In thevpcried, allittle before the
'n‘; of which Barrie r rote, when Mme.
Rumble! ‘and Mme. Pompadour held
sway the men created the women
vampires but today the woman becomes
3 mp by her- own free will *and ac-
cord and thereby loses her charm. ’
“Hy warning to men who do not
want. lose their ha 1:
”tilt lily. unsophisticated girls, who us-
tbe'u' brainJo mm their 7165435.”
.—.———¢—————
cun- Bunion Visits El Bro.
MWsWWmI
Norwalk Chronicler