Categoria: Produzione

Case di produzione

A Picture Pioneer

su da theain Cronologia 1919, Personaggi, Produzione, video

William A. Brady is the husband of Grace George, the famous actress of the legitimate stage, and father of Alice Brady, who needs no introduction. But he is also something far more than that.

For twenty-five years Mr. Brady has been a dominant factor in American theatricals as a pre-eminent stage manager and discovered of wonderful histrionic gifts, as a promoter of both the popular and higher-class drama, a patron of American authors, and as a builder of theatres. And though it does not concern us here, it may be remarked in passing that he is also an authority on pugilism, a national political force, and throughout the war the close and confidential personal friend of President Wilson. But what does practically concern us is his prominence as a motion-picture manufacturer and director — a prominence which gained his appointment by the President in 1917 as organiser of the motion-picture industry, and a fighting arm of the American Government.

In a word, Mr. Brady knows the whole art of production — both on stage and screen — from A to Z, and it was only to be expected that he would have some very interesting and illuminating things to say upon films and film players, so during his visit to England I begged Mr. Brady for an interview, which he very kindly granted.

An Very Early Motion Picture.

“I was connected with practically the first motion picture ever shown,” began Mr. Brady, – “which appeared in 1891, after Jim Corbett, my protege and find, beat Sullivan. It was made by Edison, and featured Corbett, in a fight — not a real fight, however. But he had made such a success that Edison persuaded him to go through some of his pugilistic poses before the camera.”

“And your recent productions, Mr. Brady ?” “Well, of course, I’ve produced all the World-Brady productions — the Select pictures have come under my direction, too — but if you want me to mention particular plays, here are a few: Rasputin, The Whip — yes, Maurice Tourneur was the director, but I was responsible for the racecourse scenes— Sealed Orders, and Little Women, of which I belive you already have a version by an English Company, Mr. Samuelson’s.”

MHC (The Picture Show, July 5th, 1919)

Instructional Films that Entertain

su da theain Cronologia 1919, Produzione

London. December 1919. A notable gathering recently witnessed the initial screening of the first series of educational films produced by British Instructional Films, Ltd. The audience included Members of Parliament, Members of the London County Council, Local Government and Educational Authorities, well-known professors of Science, Natural History, Astronomy, and, in fact, every note in the educational world. The programme of films screened comprised six very entertaining educationals, one of which was “The Evolution of a Caddis Fly.”

This interesting subject depicts the life history of this handsome fly, which lives a good portion of its existence under the water – the photography was remarkably sharp, and the treatment of the subject gave striking testimony of being the work of a master mind.

More about British Instructional Films, Ltd: The Bioscope

Queer Qualifications

su da theain Cronologia 1911, Produzione

Some of the reasons advanced by applicants for positions with Motion Picture stock companies to prove their availability are odd, to say the least.

At least three companies received a letter from a man who wrote that he was well fitted to play “sad parts” as his own life had been passed in the deepest gloom, and he knew he could “act pathetic” to order. Just to prove his point he gave three pages of generous size to his many woes. He didn’t get a job.

Another letter writer was anxious to get with a “film troupe” because his life ambition was to be a cowboy, and he was convinced that the cowboy in the pictures had the better time of it, since the night riding and contact with cows was avoided.

Unique was the writer who confessed that he liked to see his own photographs, the inference being that he wanted to see himself on the screen; while another argued his fitness for romantic rôles because  his feminine friends all applauded his love-making.

A jockey whose license had been taken away frankly confessed that he could keep his horse in any position the director decided, and could show others how to do the same; and a carpenter wanted to help build the scenery in the intervals of his acting, and draw double salary.

One dramatic actor actually obtained a position because he had been a hospital steward before he had gone upon the stage, and his knowledge could be utilized.

But the lady who offered as a bonus to tell the sad story of her life, and act it in the pictures, was turned down, as was the army private who created a sensation last summer by escaping from the U. S. Hospital for the Insane, at Washington, and marrying a girl he had been engaged to. He was released on court order, and pending this action he applied for a steady position, with his own romance as his first appearance.

A small Brooklyn boy wanted to act because he had read many stories about Indians, and another youngster urged that be possessed a sweet soprano voice that would aid in the effectiveness of church scenes.

A girl who had posed for a series of calendar picitures thought that qualified her for the moving sort, and another suggested that she was well known in her home town, and her engagement would assist in building up trade among its 5,000 inhabitants. Not many applicants realize that  acting ability is essential, and are surprised to learn that this is the first requisite.
(from The Motion Picture Story Magazine, october 1911)