American Cinematographer - May 12, 1921 - 1

LOYALTY-'- PROGRESS _.- ART-'-rri~~~~~~:ij=~~

THE MEN WHO MAKE MOtiON

PICTUr:n:S

Copyrighted, 1921, by the AMERICAN SOCIETY OF CINEMATOGRAPHERS.
VOL. 2, NO. 10

LOS ANGELES,

CALIFORNIA, MAY 12, 1921

TEN CENTS A COPY

At the TheatresWeek of May 9
ALHAMBRA-"The
Old Swimmin' Hole." Photographed by
George Rizard, member of
A. S. C.
AMBASSADOR--"Habit." Photographed by R. B. Kurrle,
member of A. S. C.
CALIFORNIA-"An
Unwilling
Hero." Photographed by Marcel Le Picard, member of
A. S. C.
CLUNE'S BROADWAY-"The
Magic Cup." Photographed
by Roy F. Overbaugh, member of A. S. C.
GARRICK - "Madonnas and
Men." Photographed by A.
Caldwell.
GRAUMAN'S - "The City of
Silent Men." Photographed
by Harry Perry.
GRAUMAN'S RIALTO - "The
Gilded Lily."
Photographed
by Ernest Haller.
HOLLYWOOD Monday "The Woman in His House."
Tuesday and Wednesday"Clothes." Photographed by
A. Caldwell.
Thursday, Friday and Saturday - "The
Nut."
Photographed by Harry Thorpe
and Wm. McGann, members
of A. S. C.
Sunday - "Mama's Affair."
Photographed by
0 Iiver
'Marsh.
KINEMA - "Passion Flower."
Photographed by Roy Hunt.
MIL L E R ' S - "The MoneyChangers." Photographed by
Harry Vallej o.
MISSION-"Through
the Back
Door."
Photographed
by
Charles Rosher, member of
A.S. C.
NEW APOLLO - Monday "Conrad in Quest of His
Youth." Photographed by L.
Guy Wilky, member of A.S.C.
Tuesday - "A Romantic Adventuress." Photographed by
Philip Hatkin.
Wednesday-"Idols
of Clay."
Photographed by Arthur Miller.
T h u r s day
and Friday"Straight Is the Way." Photographed by Al Ligouri.
Saturday - "The Life of the
Party."
Photographed
by
Karl Brown, member of A.

S. C.
Sunday-"The
Kid." Photographed by R. H. Totheroh,
member of A. S. C.
PANTAGES
(Broadway)"Kentucky Colonel." Photographed by A. M. Davey,
member of A. S. C.
PANTAGES
(Hill Street)"The Silver Lining." Photographed by Edward Wynard
and Frank Zucker.
PHILHARMONIC
AUDITORIUM-"Over the Hill." Photographed by Hal Sintzenech.
SUPERBA-"Reputation."
Photographed by Harold J'anes.
TALLY'S - "Black Beauty."
Photographed by Reginald E.
Lyons, member of A. S, C.

President

Amertcnn Society of

Gin ematog'raphea-«

Aerial View of Hollywood Studios
The accompanying photograph
of the Hollywood Studio was
taken from an aeroplane and is
an exceptionally good reproduction, These studios, with offices
at 6642 Santa Monica boulevard, are under the management of John Jasper, The general layout covers an area of
twenty-five acres. There are
four separate stages, each seventy by one hundred and twenty
feet, steel and glass construction, with adjustable curtains,
so that daylight is available
when needed. The offices, dressings rooms and cutting rooms

are of hollow tile, fireproof construction.
It has been the headquarters
for Allan Holubar's
"Man,
Woman, Marriage";
Marshall
Neilan's
"Go and Get It"
"Dinty,"
"Bob Hampton ~f
Placer" ; Allan Dwan's "For~
bidden
Thing."
"A Perfect
Crime," "A Broken Doll"; Syd
Chaplin's "King, Queen, Jack":
also A. J. Callahan's Bessie Love
pictures; D. W. Schwab's David
Butler
releases;
George H.
Kern's Florence Lawrence productions and Marion Fairfax
specials.

Member of A. S. C. Refuses Record Offer to
Film Clara Smith
Hamon

Presented Life Membership in A. S.

At the open meeting of this
Society held April 18, the first
What is considered a record since the election of new
monetary offer for the services officers, the retiring president,
of a motion picture cameraman Mr. Philip E. Rosen, was prewas turned down recently by sented with a life membership
Rene Guissart when he was of- in the organization, which he
fered $500 per week to photo- founded in 1919.
The members took this methgraph Clara Smith Hamon.
od
of expressing to Mr. Rosen
Although Mr. Guissart was
their
appreciation for the invalfree to consider offers for future
uable
services he had rendered
engagements he stated that he
during
the past two years. His
did not feel it was the right
ambition has been to build up a
thing to do from the standpoint
of the industry.
membership
of
cameramen
"While the offer carried with whose name and work represent
it a splendid monetary return
the best in their branch of the
for my services, nu sum of industry, and to the growth and
money would induce me to become associated in the enter- welfare of the Society he has
prise," said Mr. Guissart. "As given unselfishly of both time
far as I can find, the general and effort.
consensus of opinion in the motion picture industry is in acFive Years Ago
cord with my own ideas about
the production of a motion pic"Where Are My Children?"
ture exploiting this girl. I do
Lois
Weber's famous photoplay,
not feel that I could be a party
written,
directed and produced
to the production of this film,
as I believe its presentation is by her, was presented for the
against the best interests of the first time at the Globe Theatre,
New York, with Tyrone Power
business."
As a resuit of his stand in the in the principal role. This picmatter, Mr. Guissart has been ture, which is still being shown
in various parts of the country.
awarded a long term contract
by Marion Fairfax, with whom was photographed by Al Siegler
he was working when he re- and Steve Norton, members of
the A. S. C.
ceived the offer.

Mr. Fred W. Jackman, chosen
by the Board of Governors to
serve as second president of the
American Society of Cinematographers, is known as the crack
trick photographer in the industry. For the past six years he
has been associated with the
Mack Sennett Productions, and
for four and a half years of that
time has been the supervising
ci nematog

raph sj-,

To Be Or Not To Be?
By John Leezer
Some of the boys, I understand, are just hankering to become directors. Not the kind
they have in banks, but the
chaps who yell "Camera!" Photography is so closely connected
with making pictures that even
the directors call out the name
of the instrument a hundred
and fifty times a day. This job
of directing, as I was about to
remark, seems to be mighty appealing to SOJIle. A director,
you know, can sit in a camp
chair which has his name
painted on the back of it. Standing up all day long and turning
a crank does get tiresome; and
speaking of chairs, the chairs
bank directors sit in are not
canvas backed but the canvas
backed directors get a much bigger salary than the leather
backed. I have been feeling
around and making some inquiries among the boys as to
what for and why they want a
megaphone for Christmas. One
or two of them said that a director was just a photographer
grown up; that a crank turner
couldn't become anything else.
A particular friend of mine figures that if he is ever going to
get to the top, he has got to begin now. Directing is the top,
"Why, look at D. W.." says
he. "To be able to produce
.a picture, a real picture, is
the greatest
thing
in the
world." Another brother's argument was that it paid from
the standpoint of the twentyfive cent dollar. "We won't be
able to get a sharp focus ten
years from now; and think of
the ·salary a director takes to
the savings bank!
All you
have to do is to make a
'Miracle Man' and your fortune
is made." I don't know as I
have said anything about it before, but I have been thinking a
(Continued

on Page Two)

Table of Contents for the Digital Edition of American Cinematographer - May 12, 1921