MARIE DRESSLER

Dominion, Volume 8, Issue 2423, 31 March 1915, Page 9

MARIE DRESSLER

0 ON ACTING FOR PICTURES. To an interviewer in Los Angeles Marie Dressier, the star performer of "Tillie's Punctured Romance," which is at present adding to the gaiety of two nations, stated that the difference between picture acting and the spoken drama is not in manner, but in methods. The manner- of playing is the same, excepting, of course, that the picture setting for a studio scene is about 10 times as'small as that of the ordinary dramatic stage. Ever since I started on the stage, which was when 1 was almost a baby, it was impressed on me to let the audience see what I was doing, and that facial expression was of more value than mere action, but that action must render assistance to the expression of the face, the voice of course being of some value, but the voice was less important than facial expression and action. Not the windmill or flag signalling action that accompany the inexperienced actor, who, before breaking into the profession, was told to follow the immortal bard's advice and suit the action to the word, the word to the action, and who could therefore not make an exit without extending his arm with finger pointed to. the wings, and chase his finger off the stage. He was suiting the action to the word alright, he was pointing to where he was going aiid marching in the direction the finger pointed;. no audience in this world could mistake that. "However," added Miss Dressier, ;' F I was saying the competent performer re'ied mostly upon action that is aided by facial expression, and these to be effective, must be seen by .the audience. Therefore, one must let the audience see what is doiug. The same thing applies to picture acting—the camera being the audience. So much for - the manner, now for the method. "The spoken drama, is rehearsed in consecutive scenes, each scene taking an hour or so, and slowly grows, the actors reading from their parts, the stage manager suggesting certain alterations, the author giving the actors his idea, the actor pointing out a more or less effective way, and the players are allowed weeks to grasp the action of the play. In the picture drama actors are not given -parts, they are told what to do. The director has a scenario, no one dare tell him what is to be done, he has read the scenario and everything is settled. And the scenes are not rehearsed consecutively. Probably there are 30 studio scenes in the play, these are rehearsed all at the one time, there might be the first, and any intermediate numbers between that and the 200 scenes wanted. The same with outdoor scenes. The director explains to the performers what is needed, and they being trained to grasp the action of a scene without loss of time go to it. "A picture director rehearses something like this (£ie company being already told the scenes which are wanted). 'Now, Mr. Grexon, you have fired your last shot in your gun, look at your gun, then look into the camera and register surprise; and you, Smith, you close in on him. Mr, Grexon, you now register fear, and club your pistol, Smith jumps at you, you hit at Smith, Smith dodges the blow and grabs you, then you fight towards the camera, and when I tell you to do so, fall down ( Grexon <m top. Mr. Spraggs, here is where you come across the line, you see the fal! and come into focus and register joy. Wlieh. Smith is on top, register anger and reach for your gun. When Grexon is underneath again, fire; at the report of the gun Smith will throw his hands in the air, and Grexon will throw Smith off, rush up and shake hands with you, Spragg. It ought to I take about 50 feet. Have you got that?' Well, now for a rehearsal—the actors' go through it guided by the voice of tho producer, following his instructions implicitly. That's the idea. Now have a spell and get ready for the camera, lleady. Camera! Aiid at it. the actors go till they hear the word 'Cut.' Then it is ready to be made into a film. In 'Tilly's Punctured Eonianco' there are 260 scenes, so you can imagine what- amount of hard work it was to produce it. Of course 'it has turned out a tremendous success, consequently we do not remember the hardships. When I hear the roars of laughter at tbo scenes in 'Tilly's Punctured Romance,' I could almost cry for pleasure; as a matter of fact, I have. After, the first matinee I went home and sobbed for fully an hour, my mother put it down to nervousness brought about through overwork. I agreed with her, but I knew differently. It was through sheer joy of my firstbig effort being a hit." This nil-night comedy picture has been secured for New Zealand bv tbo | Now Zealand Picture Supplies, Ltd.