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ability actor or actress actress or actor ambition artist audience beautiful believe Birth bits of business Blanche Sweet blond called camera Camera-consciousness chance CHAPTER character Cinderella close-up clothes costume director Dorothy Gish dress emotion expression eyes face facial feel Fort Lee George Loane Tucker Griffith hair Harron important insert intermediate shots Klauber lady letters Lillian Gish look Mae Marsh make-up Marjorie Rambeau Mary Mary Miles Minter Mary Pickford matter Miss motion pic motion picture actress motion picture star natural talent never Norma Talmadge nose one's particularly photograph Pickford picture drama play opposite player possible reason scenes in Intolerance screen acting screen actress screen career screen success seems sometimes spoken stage star's story studio style succeed in motion suggest sure tell thing Thomas Meighan thought thousands tion trick ture two-reelers usually Vachel Lindsay vital
Page xiv - She is madonna in an art As wild and young as her sweet eyes : A frail dew flower from this hot lamp That is today's divine surprise. Despite raw lights and gloating mobs She is not seared : a picture still : Rare silk the fine director's hand May weave for magic if he will. When ancient films have crumbled like Papyrus rolls of Egypt's day, Let the dust speak : ''Her pride was high, All but the artist hid away: "Kin to the myriad artist clan Since time began, whose work is dear.
Page 79 - Mr. Griffith, who was closely studying the action, finally turned in his seat and said : "I don't know what you were thinking about when you did that, but it is evident that it was not about the death of your father." "That is true," I said. I did not admit what I was thinking about. We began immediately upon the scene again. This time I thought of the death of my own father and the big tragedy to our little home, then in Texas. I could recall the deep sorrow of my mother, my sisters, my brother...
Page 117 - If there had ever been a time in my life, when I regarded the lowest tier of human beings with indifference or aversion, I outgrew it during the war.
Page 76 - Intolerance," one cycle of which is still being released as "The Mother and the Law," I had to do a scene where, in the big city's slums, my father dies. The night before I did this scene I went to the theater — something, by the way, I seldom do when working — to see Marjorie Rambeau in "Kindling.
Page 76 - I went to the theater ... to see Marjorie Rambeau in Kindling. To my surprise and gratification she had to do a scene in this play that was somewhat similar to the one that I was scheduled to play in Intolerance: it made a deep impression on me.
Page 117 - What did you do?" he inquired. "I laughed," I answered. He saw the point immediately. "Good," he said. "Let's try it." It was the hysterical laugh of the little girl in the cellar, with the drunken mob raging above, that was, I am sure, far more effective than rolling the eyes or weeping would have been.
Page 58 - Gish had tried many styles of hair dress and found none of them to her liking. She experimented with a black wig and was delighted with the result. It contributed something to her expression — brought it out, as it were — which she felt had been lacking. Since "Hearts of the World...
Page 99 - The effectiveness of the closeup seems to be in inverse proportion to the amount of facial action in it."19 Restraint, the least possible movement, the smallest of gestures: these were the characteristics of an acting style for the intimacy of the close-up lens.
Page 112 - Griffith is extremely human. There is no unnecessary flourish, or blowing of trumpets, about his manner of direction. That has the simplicity of true greatness. He never lords it over his players as I have seen some directors do. He is kindly, sympathetic and understanding.