American Cinematographer - July 8, 1921 - 1

LOYALTY-·-

PROGRESS -.- ART-'-

~.:.......,

THE: MEN 'WHO MAKE MOTION PICTURES

Copyrighted,
VOL. 2. NO. 14

1921, by the AMERICAN SOCIETY Ot<' CINEMATOGRAPHERS.
LOS ANGELES.

CALIFORNIA,

J'ULY 8, 1921

TEN CENTS A COPY

AT THE THEATRES
WEEK OF JULY 4

GEORGE LOANE TUCKER
BUSINESS AND
-MIRACLE MAN
THE CAMERAMAN

ALHAMBRA - "Man, Woman,
Marriage."
Photographed by
FL. Lyman Broening and William M. McGann, members of
the A. S. C.
CALIFORNIA - "Cold Steel."
Photographed by E. S. Depew,
member of the A. S. C., and
John Thompson.
CLUNE'S BROADWAY - "A
Kiss in Time." Photographed
by William Collins.
GARRICK-"Through
the Back
Door."
Photographed
by
Charles Rosher, member of
the A. S. C.
GRAUMAN'S - "Beau Revel."
Photographed
by'
Henry
Sharp.
GRAUMAN'S RIALTO - "The
Woman God Changed."
HIPPODROME Monday"An Arabian Knight." Photographed by Frank D. Williams.
HOLLYWOOD Monday "Boys Will Be Boys." Photographed by Marcel LePicard,
member of the A. S. C.
Tuesday and Wednesday"The Passion Flower." Photographed by Roy Hunt.
Thursday, Friday, Saturday
-"Peck's
Bad Boy." Photographed by Alfred Gilks.
Sunday - "A Tale of Two
Worlds."
Photographed
by
Norbert Brodin, member of
the A. S. C.
KINEMA - "The Sky Pilot."
Photographed
by
L.
W.
O'Connell and Gus C. Peterson, member of the A. S. C.
MIL L E R ' S - "Pardon My
French."
MISSION - "Dream Street."
Photographed by Henrik Sartov and Fred Chaston.
NEW APOLLO - Monday and
Tuesday - "The
Traveling
Salesman." Photographed by
Karl Brown, member. of the
A. S. C.
Wednesday - "Trust
Your
Wife." Photographed by Joe
Brotherton.
Thursday - "To Please One
Woman"
Photographed by
William C. Foster, member of
the A. S. C.
Friday - "The Marriage of
William Ashe." Photographed
by Jackson Rose. member of
the A. S. C.
Saturday-"The
Ghost in the
Garret."
Photographed
by
Fred Chaston.
Sunday - "Puppets of Fate."
Photographed
by John Arnold, member of the A. S. C.
NEW SYMPHONY - "Foolish
Matrons." Photographed
by
Charles Van Enger and Kenneth C. MacLean, member of
the A. S. C.
PANTAGES (7th and Hill)"The Sin That Was His."
Photographed by Edward Van
Buren.
PANTAGES
(Broadway)"Her Lord and Master."
SUPERBA - "Wolves of the

It was not my privilege
to
know Mr. Tucker personally yet
I feel sure that I can appreciate
in a measure at least, the worth
of the man. Men are known
and borne in mind after they
have departed this life, solely
by their works. The Memorial
Service held at the Brunton
Studios, Sunday, June the 2Gth,
was beautiful and inspiring. Mr.
Frederick
Ward, a Brother
Lamb, in the course of his remarks. said of Mr. Tucker that
"He was good and kind." No
higher tribute can be paid the
character of any man. This w H8
not only Mr. Ward's personal
tribute but the expression of the
regard and esteem with which
he was held by his associates
and all with whom he came in
contact. To remember his character is the heritage of those
who knew him best, but what he
has wrought is the heritage of
the millions who knew him only
by his works,
The production of the Miracle
Man is a miracle in itself. Only
a master hand could have molded the characters thru whom the
story of regeneration comes to
us, for none of the cast has ever
given a like characterization before or since the release of this
picture. T,he theme and the appeal of the Miracle Man is unusual but its production has
been most unusual. Other productions have taken more time.
Other productions have cost
more, while others have made
more money because of the advertising campaign
back of
them, but aside from those who
had some part in their making.
they are forgotten.
Since the
birth of the industry not one
picture a year has been made
that will live. "They lack appeal." Who has seen the Miracle Man and gone away unrewarded, - unmindful that he
carries something with him he
did not possess before.
Defects can be found, surely.
In what work of man can' they
not? But the effect! Therein
lies the reason why this man's
work will live. It mav be that
some day the Art galleries of
the world will have on exhibition with other works of art,
examples of what has been best
in this most wonderful art of
all. And I feel quite sure that
the Miracle Man will be listed
in the catalogs with the name
of the producer, George Loanr
Tucker.

PhOtograph of the Spi'rograph disc.
It is 10 ~ inches in diat/wter and will
Gont(~~n between 1200 and
1300 pictures, which with the saving space in
titles will be eqwivalent to 100 teet in
1"011filrn.

THE "SPIROGRAPH"
By H. Lyman Broenino
Regardless of the various contrivances placed upon the market during the past ten years for
the furtherance of the motion
picture in the home, there has
been little or no success towards
this end.
In the course of a few months
time the very latest idea in
hom" projection will make its
appearance in all parts of the
Uniced States ana Canada, and
it is expected will run a close
second to the phonograph
in
popularity.
A large manufacturing plant
is being equipped at Irvingtonon-the-Hudson, by the Urban
Motion Picture Industries, Inc.,
and under the guidance of Mr.
Charles Urban, inventor of the
celebrated "Kinemacolor,' (the
first process of color photography in films). The new device
of Urban's has been patented in
all countries and will be known
as the "Spirograph."
The original idea was conceived by one Theodore Brown, a
well known trade journal editor
of London. Brown's first model
was purchased outright by Mr.
Urban in 1907. Ever since then
he has been developing it towards perfection.
The Spirograph embodies the
very same general principles as
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Four)

North."
Photographed
by
Thomas Rea.
TALLY'S - "Sacred and Profane Love." Photographed by
James C. Van Trees, member
of the A. S. C.
WINDSOR - Monday - "The
Dollar a Year Man." Photographed
by Karl
Brown,
member of the A. S. C.
Tuesday and Wednesday"Mama's
Affair."
Photographed by Oliver Marsh.
Th ursday "Blackbirds."
Photographed
by
Arthur
Quinn.
Friday - "The Education of
Elizabeth. "
Sat u r day - "The Little
Clown."
Photographed
by
Faxon M. Dean, member of
the A. S. C.
Sun day - "The J ucklins."
Photographed
by Paul P.
Perry. member of the A. S. C.

John Leezer, June 27, 192J.

OLD TIMER HERE
Gilbert Warrenton has deserted little old New York and
returned to the fold, but as we
know Gilbert so well we will
not guarantee his stay here.
But it's a pleasure to see him
even if but for a short time.
He's a real member in New
York or here.

By Rene Guissart
Mr. Outssart

is known

the most artistic,
best
man in the
industry,

understanding

as one of

paid cameraHis
thoro

camera

and

lab-

oratory
work
extends
back
to the
early
days
of cinematography
in
France,
his native land.
After coming to America,
he was
connected
with Eclair,
Fox and Allan Dwan.
Later he was associated
with Maurice Tourneur
productions,
where he attracted
considerable
attention
by his work
on "Woman,"
"Milady's Garter," "The Life Line,"
and
"Treasure
Island."
He
has
photographed
Anita
Stewart
and
Bessie Barrtscale, and has just finished
"The
Lying
Truth,"
with
Marion Fairfax
Productions.
He is
at present phqtogt-aphtng "Omar the
Tent Maker,"
under Director
James
Young.

Looking at the making of pictures from whatever angle we
may, we must always remember
that primarily it is a business,
and of this business the producer is the head. In the present condition of production in
America, competition with the
cheaper, foreign-made film necessitates reducing the cost of
production. The producer must
maIre-his picture-cheaper, Here
is the problem which confronts
him and which he must successfully solve if he is to continue
making pictures. To do this he
must reconstruct his method of
working.
When the producer has a good
organization he can estimate
the cost of a picture to within a
few thousand dollars. The aver,
age weekly overhead is between
ten and fifteen thousand dollars,
according to the type or style of
prod uction.
These many years the producer and cameraman have been
far apart in the business of
making pictures.
The cameraman has been chosen for his
photographic ability.
His responsibility has been limited to
his negative and the artistic
side of the production.
Never
has he been chosen for his business acumen.
Never for his
financial ability or as a factor
in the working methods of an
organization.
A cameraman is often engaged for a single picture, does'
not know the story, is not consulted in regard to the style of
photography. and because of the
lack of confidence on the part of
the producer, cannot take advantage of opportunities to save
time.
We all know that there is
lunch wasted time on production
and this costs much money. We
also know that thousands of
feet of film are taken and never
used, due to lack of planning
and .orrranization. A cameraman of ~_manyyears' experience,
having' worked with many directors, should have the confidence of his employer. If such
a cameraman has the script
and takes his job seriously he
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Table of Contents for the Digital Edition of American Cinematographer - July 8, 1921