How a play is photographed for the cinema in the studios of the Baker Motion Photography Co., Ealing, London posing for the cinema. Such work is most remunerative and demands

Fig. 1. Love at first sight. Mr. Godfrey Tearle and Miss Mary Malone special gifts of facial expression and dramatic action

Photos, Martin Jacolette

Alluring Salaries

Several film players are now drawing salaries which rival those earned by musical comedy favourites. For instance, one brilliant leading lady, who started work as a stage "show girl," is now drawing £50 a week, and is considered one of the best film players of the day.

Another runs her close in the matter of salary; and both are adored by thousands every day, who do not even know their names.

A man player is now earning £25 a week regularly for cinema work; yet he started life as an Australian boundary rider; his horsemanship proved invaluable in his new career. A little boy is earning £10 a week at the immature age of seven, and by the time he is twenty will be worth £50 a week in the work at which he has grown up.

Several famous English actors have played before the cinematograph camera, including Sir Herbert Tree, Mr. H. B. Irving, Mr. Laurence Irving, and Mr. F. R. Benson. Sir Herbert Tree produced "Henry VIII." before the cinema exactly as performed at His Majesty's Theatre, and was paid £1,000 for doing so. This sum stands as a record in cinema payment for a single day's work.

Many actors and actresses playing in

London at night find that cinema work provides interesting and lucrative employment in the daytime.

The fact that a possible cinema player has never been a regular actor need not deter him, or her, from seeking such work. Indeed, many of the best film players have never set foot on the stage of a real theatre. Self-consciousness is a great drawback to this work, as scenes are always played before a crowd of onlookers, and often take place in the street, attracting a gaping crowd, which fact is liable to prove very disconcerting. But the film actor must be hardened and oblivious to such annoyances.

How Films Are Made

When a company assembles in a film theatre to perform a play, the complete scenario is read to them, and then each scene is described in minute detail - the actions, intentions, and positions of each character being fully described. The players thus learn exactly what they are supposed to be thinking and saying; for though no actual dialogue is given to them to study they have to speak in every scene. If they did not, the effect would be utterly unreal. They can say anything, but they must say something.

When a scene has been read, the producer sits where the machine will afterwards stand, and watches the actors give their conception of the story, altering and correcting when necessary. Once the scene is played satisfactorily, he rehearses it six or seven times, till it goes without a hitch, and then permits the operator to photograph it. By the courtesy of the Baker Motion Photography Co., we are able to reproduce a picture showing their celebrated studio at Ealing, during the taking of a film. It will be noticed that the stage is level with the rest of the floor, for cinema work.

Fig. 2. Doubt and indecision. Consummate art is shown in the subtle combination of facial expression and bodily gesture

Fig. 3. Suspicion. The hero observes the heroine in friendly converse with his rival

Many clever and ingenious plots are evolved for cinematograph purposes, but the predominant emotions and expressions of the players are practically the same in each. The unfolding of a modern, or oldworld drama story inevitably includes the portrayal of love, anger, sorrow, joy, etc., and all by means of facial expression and pantomime. The photographs accompanying this article were specially posed for by Mr. Godfrey Tearle, the well-known actor, and Miss Mary Malone (Mrs. Godfrey Tearle). Both these players have done a great deal of work for the cinema, as well as for the ordinary stage. A film representing them as Romeo and Juliet has travelled all round the world. To introduce the most salient and useful expressions and emotions they have followed a little imaginary story, which runs something as follows: as he confronts the heroine with an incriminating letter is

Fig. 4. A Lovers' Quarrel. The anger on the face of the hero admirably depicted

Fig. 1. Love at First Sight. The hero and heroine meet for the first time, and are mutually attracted.

Fig. 2. Doubt and Indecision. The girl is loved by another man, who writes her a letter, which she cannot make up her mind how to answer.

Fig. 5. Remorse. Here attitude also plays an important part in explaining the situation

Fig. 3. Suspicion. The hero watches the girl talking to the other man, and grows suspicious.

Fig. 4. Anger. The letter falls into his hands; he confronts the girl with it, and a quarrel ensues.

Fig. 5. Remorse. Far away, the hero gazes at the girl's picture, and regrets his anger.

Fig. 6. Supplication and Pride. The hero returns, pleads for forgiveness; the girl, clinging to her pride, is disdainful.

Fig. 7. Forgiveness and Joy. All ends well, and they go off together.

Intending cinema actors and actresses would do well to study the expressions and poses in these pictures, and practise them carefully. Any of these episodes may be seen on a film picture, and the portrayal of offers many lucrative openings, will not waste their time if they devote it to such serviceable preliminary work.

Woman's Work of strong emotion

Fig. 6. Supplication confronted with disdain. A finished study distinct and understandable emotions in dumb show is not nearly so easy as it looks. Those who wish to succeed in this hew career, and it

Fig. 7. The reconciliation. A characteristic pose, typifying forgiveness and joy