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tch patriotism. They made the picture a memorial. It reminded one of Maurice Hewlett's novel The Queen's Quair. Evidently all the actors were fused by some noble managerial mood. There can be no doubt that so able a group have evolved many good films that have escaped me. But though I did go again and again, never did I see them act with the same deliberation and distinction, and I laid the difference to a change in the state of mind of the producer. Even baseball players must have managers. A team cannot pick itself, or it surely would. And this rule may apply to the stage. But by comparison to motion picture performers, stage-actors are their own managers, for they have an approximate notion of how they look in the eye of the audience, which is but the human eye. They can hear and gauge their own voices. They have the same ears as their listeners. But the picture producer holds to his eyes the seven-leagued demon spy-glass called the kinetoscope, as the audience will do later. The actors have not the least notion of their appearance. Also the words in the motion picture are not things whose force the actor can gauge. The book under the table is one word, the dog behind the chair is another, the window curtain flying in the breeze is another. This chapter has implied that the performers were but paint on the canvas. They are both paint and models. They are models in the sense that the young Ellen Terry was the inspiration for Watts' Sir Galahad. They resemble the persons in private life who furnish the basis for novels. Dickens' mother was the original of Mrs. Nickleby. His father entered into Wilkins Micawber. But these people are not perpetually thrust upon us as Mr. and Mrs. Dickens. We are glad to find them in the Dickens biographies. When the stories begin, it is Micawber and Mrs. Nickleby we want, and the Charles Dickens atmosphere. The photoplays of the future will be written from the foundations for the films. The soundest actors, photographers, and producers will be those who emphasize the points wherein the photoplay is unique. What is adapted to complete expression in one art generally secures but half expression in another. The supreme photoplay will give us things that have been but half expressed in all other mediums allied to it. Once this principle is grasped there is every reason why the same people who have interested themselves in the advanced experimental drama should take hold of the super-p
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