"MOTION PICTURE NEWS" September 11, 1926 (Burbank/First National pages only)

Scanned from the collection of

The Museum of Modern Art Library

Coordinated by the Media History Digital Library www.mediahistoryproject.org

Funded by a donation from David Sorochty I'list Niiaonai ^luciiosiSiirniiiLi^,

I heOpeiiI>€i>o>iway to tlie Staurf •r^~ hslNational FictifTes pT(

n tlie Stap I BVJ.'

me!*ieai4!sts I

mi

^i Johnny 'Jiarr}!iangdoK f^ Mney V^ PijsoK^n autap

mi Riilarthelrms

TUlUoearmihC

^€.

Ionise ^'atQlu'JilHgitOK Brooks

\iois ^illiatti yriscilla donm Mliey

JlolbYook J^ileen Mm !PriHgle

llough LION dollar names put irst National ahead of the industry—leading in tried and tested performance pic- Qertrude tures! Hit after hit—^^eek after iJstor '^^ iveek—S2 absolute big business weeks in the First National year! The nation is First 'Brian. National for backbone prod-

f t^ uct. It*s a banner year—-w^her- ever the Tiola Dana Chester Conklih.

playa, they'll stand up and cheer I

Flrac la Stars! rirat In Hits i " zet i UiasoK First In St«rlca! First In Fame! > ^am^^arciij ^^^m 1RAi eenestProc i nctionBM 1 1 is

0* ipKc-cyi

chayd "^raw iRowlund Jfane [JosephJU Schetick-' juKC tAhihls

SamJlorli George ^lizntaurice

iiiiriw"te?TiiiiHiTiiiiii ^flay .Tiockett \ (Alfred f \ Santell ^i I tjohn'jrancu A 'Dillon howman Producer Behind Every First y NatioaaLfifiture!

7n^a box olEice Director dictates every scene! i i CC-'Burr — 3>- Every one a leader )neman every one a man who knows what it takes to keep theatres at capaC' Oiobarl ity! That's why there's never a once-in-a- '^jii/0^ " ^?Vl^ whiler in the First National line up— con- 'Howard j^ sure-fire, big sistent, Qeorge •w: / business product that J^rcliaiKbai makes e-v-e-r-y week a profit week — e-v-e-r-y (hreif'WilsoH week in the year! iJ^ gled

Leads the Industry I \

^^rW (Charles \ ' \ / Ji'Jioym \ aie all FIRST NATrOMAI — 1 ; '

r^'^i^gfis ^ 1I M1 ^i«P im. HIi ii1

ill 11 iliilf i "I M^

. --^i*- ..-,, X-.- -.:— -:^--.

Facade of the administratic K at the Burbank studios of First National, done in Spanish style of ta:. Burbank Studio Culmination of First National's Progress

CHANGE is the keynote of the mo- cooperative, exhibitor-owned organization, picture to be accjuired was "On Trial," an tion picture's history. No business engaging in no production, but affording im- Essanay production. alters its complexion so rapidly partial and thorough distribution to any Then came a move that completely no industry demands such constant alert- producer who could meet the quality de- eclipsed the sensation created by the origi- ness to maintain leadership. The motion mands of the group. nal formation of First National—the sign- picture company which does not keep step The men who made possible the fulfil- ing of the Famous "Million Dollar from to Avith the day day steady change ment of this dream—the 26 original fran- Contract" with one Charles Spencer Chap- going on in the demands of the business chise holders, who dug down in their pockets lin. This was hailed as another preposterous soon falls behind and is lost sight of. Pow- for their proportionate share of the nega- move—but none could deny that First erful corporations have risen, prospered tive and print cost on each picture and Avho National was in a position to deliver a and fallen, all because of their failule to ad- distributed the program in their respective number of sure-fire attractions as a result just themselves properly to the shifting territories—included N. H. Gordon (Bos- of the contract. bases of an industry unique in its demands. fu- ton) ; Jake and Otto Wells (Charlotte, N. Nevertheless, there was the immediate

Fi-oni the organization of First National G.) ; Jones, Linick and Schaefer (Chicago) ture to worry about, and things moved

Exhibitors Circuit, Inc., in 1917, to the Swanson and Nolan (Denver) ; A. H. Blank slowly for a time, of necessity. Two other building of the $2,000,000 studios at Bur- (Des Moines) ; John H. Kunsky (Detroit) pictures were acquired during 1917,

' ' ' ' bank, Calif., in 1926, is a long and interest- Robert Lieber (Indianapolis) ; T. L. Tally ' Daughter of Destiny ' and ' Alimony. ing trail not only in point of time (for — (Los Angeles) ; Col. Fred Levy (Louis- A critical period developed as the time nine years is a long time in this shifting ville, Saxe (Minneapolis); Ky.) ; Thomas for the annual meeting in April, 1918, drew in industry), but point of the interesting Frank Hall (New Jersey); E. V. Richards, near. Progress had been all that could be progression of changes which the steady Jr. (New Orleans); J. "D. Williams (New expected, but would the franchise holders progress of the corporation has involved. York Citv) ; Samuel Rothafel (New York —exhibitors rather than men familiar with There was no lack of scoffers in 1917 City); H. 0. Schwalbe (Philadelphia); distribution—realize this and be willing to (Pittsburgh) William when a little group of exhibitors, strong in Rowland and Clark ; carry on? Sievers (St. Louis); Turner and Dahnken their own territories but with practically Fortunately, just at this time a rapid

(San Francisco) ; Jensen and Von Herberg no knowledge of national distribution, sequence of events changed the entire com- to enter the field in (Seattle); Tom Moore (Washington, D. undertook competition plexion of the situation and left little doubt with the strongest companies to assure for C); E. H. Hulsey (Texas); Brouse and as to what the franchise holders might themselves for exhibitors Stapleton (Eastern Canada) ; W. P. Dewees and evei-ywhere think. First National obtained for dis- supply first-class jiroduct, re- (Western Canada) ; Emanuel Mandelbaum a steady of tribution two of the outstanding box-office gardless thi-eatened monopolistic condi- (Cleveland). of successes of the year, "Tarzau of the Apes" ' tions—but there are no scoffers today These men, with the few State Rights ' and ' My Four Years in Germany. ' These Avhen First National throws open the doors exchanges already operated by members as went into the Broadway and Knickerbocker of the mightiest modern studio and most a nucleus, obviously covered the strategic theatres respectively, where they played to built, maintain yet to that same steady points of distribution in the United States capacity business, the very day before the supply of worthwhile product condi- under and Canada, but thei-e was open skepticism opening of the annual meeting, Chaplin's tions which now demand that First on every hand concerning the successful first picture under his contract, "A Dog's National produce a certain share of its own group. functioning of the members as one Life," made its bow at the Strand Theatre product and in its own studio. Just an- Where, said the wise ones, could product be and registered a sensation. other move to keep step with the needs of found to compete with that offered by As a result the visiting franchise holders the industry. powerful rivals ? How could a group of men had such tangible evidence of the sound scattered about the country and with little judgment being displayed in making up the First National was formed on in common successfully conduct a highly WHEN releasing program that they returned home April 25, 1917, the purpose of the specialized business on a national scale? ^\nth full confidence in the future of the origiiml franchise holders to assure the How could financial expenditures be alloca- was company. availability of a plentiful supply of first- ted in a manner to suit each member? The next star to be placed under a First grsidc product, suitable for showing in the opinion in many quarters was that these The contract was Anita Stewart, who important first-run houses which they con- things could not be done, and the prophets National signed in the summer of 1918. Chaplin trolled, regardless of any threatening moves gave First National but a short while to was delivered his second picture, "Shoulder on the j)art of certain menacing interests. live. which still ranks as one of his It was felt that this could be done through Arms," "Pershing's Crusaders" came the supplying of adequate distril)ution to DESPITE these pessimistic forecasts the greatest. right moment and scored a independent producers, who were then vir- men in charge went ahead with their just at the tually without a channel for the marketing plans. Offices were opened in two small triumph. of productions of any magnitude. First Na- rooms at 18 East 41st Street, New York A few weeks later the roster of stai'S tional, it was felt, could function best as a City, with a staff of four persons. The first was brought up to full big league strength Attractive entrance to the administration building at the Burbank First National sti dios, showing the handsome style of architecture, the inlaid tile decoration and the landscape gardening with which the buildings are being surrounded

Airplane view of the $2,000,000 First National studios at Burbank, Cal.. giving some idea of the vastness of the project and the amount of construction involved Robert Lieber, president of First National Richard A. Rowland, general manager of First National Pictures. Inc. witli the iK-qui.sition of ^lai-y Pickford, to a meeting in Atlantic City in January, During 1921 a difficult situation arose. Xoriiia Talmadge and Constance Talmadge. 1920. At the conclusion of a series of con- The sub-franchise plan had extended the but Three Mary Pickford vehicles were de- ferences all the territories were signed up scope and strength of First National, livered in following months, ''Daddv Long with the exception of Texas, Oklahoma and it had also increased the number of men Legs," "The Hoodlum" and "Heart of the Arkansas. who might be affected by adverse propa- Hills," all outstandingly popular. made dissatisfied by opposition Experience had shown tiiat central con- ganda and interests. This came about in some cases, trol was needed to bring about uniform pol- 1918 outside interests pei-- First National might have been r^URING made icy and practice in the releasing of the and *-^ inside had not wise and sistent efforts to weaken and disrupt program, which could not be accomplished wrecked from the the First National action by the executives headed off organization. This suc- under local handling, so with the fornuition l)rompt ceeded in one this but instance, but one case of Associated First National complete con- the danger. convinced members that the time had come "get-together meeting" was held in trol of all the exchanges was centralized in A for the first change in the form of organiza- Chicago in October, attended by approxi- the home office. tion, so that measures might be adopted mately one hundred delegates elected by the Having progressed thus far and proved which would prevent any territory passing sub-franchise holders. The cards Avere laid that exliil)itor co-operation in distribution into the control of alien interests. on the table, and for four days all of the was possible, the franchise holders decided Long and careful consideration was siven important actions of the company were that a broadening of the franchise idea, to the problem and in the fall of 1919 the freely and openly discussed. A rousing take in a larger number of exhibitors, would members of the circuit, aided by the best vote of confidence was given the executives. strengthen the organization and extend its lawyers available, drew up plans for reor- Any remnants of dissatisfaction were benefits throughout the industry. Confer- ganization and refinancing along lines that dispelled by President Robert Lieber 's an- ences with this end in view wei'e held be- would insure uniform accounting, central- nouncement that any sub-franchise holder tween January and April, 1920, and at the ized and uniform sales, distribution and ex- who wished to withdraw might do so, pro- annual meeting in Chicago a complete sub- ploitation. A committee of five was appoint- vided that he was not in arrears under his franchise plan was presented to the stock- ed to work out details. agreement. holders and received their enthusiastic en- As a result, in November, 1919, First Conditions were again changing, and a dorsement. National Exhibitors Circuit gave way to considerable number of sub-franchise hold- Associated First National Pictures, Inc. ers withdrew under the terms offered, due November, concurrently Avith the time The stock of the company Avas placed in IX to local conditions, and harmony once more the hands of five voting trustees, elected for release of "The Kid," sub-franchises reigned. by the entire membership, M'ith full control were offered to exhibitors, and the response While these organization changes were over the transference of stock vested in was immediate. An intensive campaign was taking place. First National continued to them. The men elected were Robert Lieber, carried on, and ultimately some 3,500 ex- strengthen its line-up of releases. The first enrolled as sub-franchise Indianapolis; N. H. Gordon, Boston; J. G. hibitors were Constance Talmadge vehicle, "A Tempera- Von Herberg, Seattle; Fred Dahnken, San liolders. mental Wife," had arrived in September, Francisco; and Moe Finkelstein, Minne- Difficulties had arisen with ('lia])Iiii, 1919, and Norma 's initial contribution, "A apolis. meanwhile, over the terms upon which "The Daughter of Tavo Worlds," in January, Shortlv after the meeting, N. H. Gordon, Kid" was to be released to exhibitors, but 1920. In September, 1921, all of the re- J. D. Williams, H. 0. Schwalbe and E. these were ironed out and the picture leased pictures of the Associated Produ- Bruce Johnson toured the country obtain- placed in circulation in February, 1921. cers (Thomas H. Ince, Mack Sennett, ]\Iar- ing the signatures of the original franchise Charles Ray was added to the roster of shall Neilan, Allan DAvan, Maurice Tour- holders to the new agreement, preparatory First National stars. neur and J. Parker Reid) were taken over : —;

iiiid anollu'i- eoiitrac't was signed with Incc executive, pai'tner in the Kowhuid iS: Clarke the pictures we need and make them right.

' and Sennett for new product. Circuit of Pittsburgh, had organized Metro ' What I wanted to do was to replace the The year of 1921 also brought other im- and remained president of it until its sale mediocre product on our schedule with portant additions to the program. In April, to other interests. pictures of our OAvn. I knew they couldn't Sol Lesser signed with First National for Rowland stepped into office as general be worse and hojied that they might be a "Peck's Bad Boy," starring Jackie Coo- manager—but we will let him tell the story great deal better. gan. A contract with Richard Barthelmess from that point "Also, I wanted to build up and develop followed, under which he delivered "ToP- "When I came into First National, I some stars of our own—stars that would able David" in November. During the found a wide variety of product being re- be a definite asset to First National and same year agreements were closed with leased, all from independent sources. Some whom we could keep under the First Na- Louis B. Mayer for the John M. Stahl pro- of the pictures were excellent, some of tional banner, once we had built them up. ductions and with Joseph M. Schenck for them were fair—and in order to make up "First National, up to that time, had the Buster Keaton pictures. a full schedule it was necessary to accept been solely a distributing organization for some pi'oduct that was distinctly mediocre. outside product and producing meant a SO 1922 found First National accepted in Schenck was giving us first-class pictures radical change of policy. Naturally, there the trade as not alone the expression of so was Ince; so were a few of the others was some little skepticism. an ideal and unique method of distribution, but some of the product needed to com- but as an industrial giant—an outstanding plete the schedule was anything but satis- "T T was necessary, first of all, to convince force in the business. The men who had factory. ' the directors and franchise holders that

' brought it along to this point from its in- ' Gradually I became convinced that we could make pictures successfully. As ception felt the need of an executive famil- First National, to maintain a consistently president of Metro I had largely kept my iar with national distribution as well as the high standard, must make a certain hands off production, respecting the tradi- needs of the exhibitor and cast about for a amount of product. I didn't favor mak- tion that there was some great mysterv or suitable man. ing all of the pictures we released secret about picture making—although I They found him in Richard A. Rowland, I don't today—because I don't think any believed then, as I believe now, that that who, after years as a successful theatre one man or one organization can make all idea was pure bunk.

jrJlMlCllrriJiurilllFTIIIayiljBLflai-"*

carpenter shops Views of the $2,000,000 First National studios at Burbank under construction, including the dressing rooms, the cutting and projection rooms, the the stages and the four dark stages, which may be seen in the background of all four pictures, showing how all of the departments are grouped around :

fully in picture making with those who made a great mystery of it. "I have said that a man, to make suc- cessful pictures, must have both the show- man's 'slant' and a sense of the value of money. That is because it is not enough that he make good pictures—he must make good pictures 'at a price.' A picture which would be a success if made at a cost of $200,000 might be a failure if $.300,000 were spent in filming it. "That has been the keynote of our ef- fort—good pictures at a price. They must be good, but they must not cost too much. "After producing for a time on the West Coast, we brought a portion of our produc- tion to New York because we felt that cer- tain pictures could be made here to better advantage. "All this time we were producing in rented studios and were cramped by lack of space. We needed more stages and we needed a large lot where we could build sets and leave them standing. Plenty of sjiace offers the biggest chance for economy of anytliing in picture making. It became ()l)vious that for economy and efficiency Ave must have more studio space, either in New York or on the West Coast. "Plans for both were under considera- tion, though nothing was being done, when tiie United Studios were suddenly sold, forcing us to immediate action. The result

John McCormick, general manager of West Coast was the decision to build the studio at Bur- C. Levee, general executive manager of the First at Burbank production for First National bank—and we decided to build it right, National studios benefiting by our own experience and that "All that a man needs to make success- of other companies with their studios." centre of production. Hollywood itself we ful pictures is a show 'slant' and a realiza- did not consider suitable, for the reason tion of the value of money. Showmanship /^NCE a decision had been reached to that real estate values are very high, and and sense-—nothing mysterious about that. ^^ build on the West Coast, the problem since the city is growing rapidly there can

' ' That idea that some secret, God-given of a site became paramount. Real estate be no telling what building restrictions may gift is necessary to j^icture making was so values have progressed far from the early arise in the future. widely current that, naturally enough, the days, when ten or fifteen thousand dollars "In every direction we went from Hol- franchise holders were not at all sure that would take care of the purchase of a large lywood, except one, we ran into a highly we could produce suitable features. I said tract. Appreciation in value has been rapid developed sector—but in that one direc- 'Boys, let's make just one picture on a in the past, and has played an important tion, toward the hills, we found Burbank. modest scale and see what we can do. part in the expansion of many companies, The moment I saw the present site, I ex-

' Then you can decide whether or not you but this appreciation will be less noticeable claimed : What a perfect setting for a want to go ahead.' Tliey agreed. in the future in tiie well-developed sections. studio!'

' "We went ahead and made that first First National wanted, above all, a large ' The widening of Cahuenga Pass to al- picture, 'Mighty Lak' a Rose.' It was a tract of land on which there would be low for an 80-foot boulevard made Bur- success, and smashed the bunk about the ample space for all the facilities which bank an easy 10-minute drive from Hol- mystery of picture making. Soon we wei-e might be needed for many years to come. lywood. The section was relatively unde- launched on the group that included 'The That meant, necessarily, getting away from veloped and real-estate values were at a Sea Hawk,' 'Flaming Youth,' 'The Lost tlie area where property is priced on a sensible level. That meant that we could World' and 'Black Oxen'—pictures that residential lot basis. liave room enough to build as we wanted made screen history. We had proved that Rowland explains the selection of Bur- to, with a surplus for future expansion. ordinary, commonsense mortals with show- bank as follows: We were convinced that in Burbank we had manship instinct could compete success- "We took Hollywood as the geographical found our ideal site.

**^ ""

I 'i li- I iiJSt c mi fir 1 11 1 it

^Sifvv^Bt^,

the executives, producers, The row of administration buildings under construction at the First National Burbank plant. These buildings, now complete, will house directors, writers and casting department from this view of one of the stages under Some conception of the vast area and height of the four stages at the First National Burbank studios may be gained construction. The floors are so solidly built that trucks may be driven in on them with materials

serve for street scenes "We pui'f'liased throe tracts, totaling- G2 advantage of starting with a clean slate streets, which will be repainted and acres, and l)egan building. At the same and each building has been placed where of all sorts. Sets can over indefinitely. time, at the United Studios, we began work it will be most convenient. In addition to altered and used on a group of pictures. When that group that, we have laid it out in such a way "As I have said, you must not only make was finished and a new one started, the that future stages and buildings can be good pictures but you must make them at units were housed in the new studio at just as conveniently placed. This allow- a price. The room we will have at Bur- Burbank—in other words, the studio was ance for future needs is unique in studio bank will be a big move in the direction of completely erected while one group of pic- planning and we could not have done it economy. When you have to tear down tures was being filmed. From the turning liad not the site been so favorable in every each set as you finish with it, to make room of the first spadeful of earth to the com- way. for another that must go up, your set cost

' mencement of production at Burbank, only ' Although tlu' Burbank plant has been is high. When you can leave them stand- it of beauty. 72 days elapsed, marking ii new record in built economically, is a thing ing, to be redressed and repainted, you can studio construction. The natural setting is perfect, and I can sometimes save as high as 80 per cent, of ''The fact that we were able to transport imagine no greater inspiration for a writer, set cost, and at absolutely no sacrifice in men and materials to Burbank and put tiie for instance, than to sit in his office at quality or screen value at any point. studio up in record time is the best proof Burbank and look out over the foothills. "We feel that we have at Burbank what convenience of the That setting has been taken advantage of of the accessibility and represents the ideal studio of today. We in every way possible in laying out the site. are only ten minutes from Hollywood, and g(>neral plan, and the buildings ai'e in a can get anything we need quickly until we laying out the jdant at Burbank the uniformly attractive style of architecture. "TX are able to supply it ourselves. Our in- A effort was made to build a model studio "As you approach the studios from the vestment in real estate is very moderate, take advantage of every- boulevard in front, you find the administra- —one that would and values at Burbank are already rising which our own experience indicated tion building, the one housing the produ- thing ra])idly, so that our site is bound to aj)pre- necessary, and which would avoid the cers, another for the directors, and the was ciate heavily in value over a period of which had seen others make. casting office. Back of these are the dress- mistakes we years. Everything about the studio repre- "Fortunately, were not handicapped ing rooms, the shops, the property and we sents sound common sense, and picture limited space, and could lay out the wai'drobe departments, and so on, and to by making there will be on the same basis. plant the way we wanted it. Virtually all the rear of these are the large stages them- a good studio at a ju-ice; of the other studios have grown up, build- selves. Behind the stages is a large, open "Burbank is — and will contiiuu^ to ing by building, and the general arrange- lot, where we will put up sets and can leave and we are making m:ike theje good pictures at a iM'ice." ment* is far from efficient. We had the them standing. Here will be built three — center of the lot, and the space provided for four Bird's-eye view of the Burbank studios of First National, showing the central placing of the four stages in the more in an equally convenient position when the need for them arises.

Detailed Story of the New Burbank Studio

ornamental board fences. and "nudes" the slang term for little By R. L. Russell sides by wire and — The entire street frontage of the studios gas and electric tractors used in the studio {Construction Engineer) is covered by lawn and landscape garden- —to enter the buildings. a site wliere alfalfa grew foiu- ing, and the buildings seen from botli On one side of the stages are the three OXmonths ago now stands the newest streets are very pleasing to the eye. (liessing-room buildings. These, in com- and largest motion picture city—the mon with every other building on the Burbank First National Studios, erected by THE administration buildings are occu- ground, are Spanish in style, and made of the Austin Company of California under pied by the chief executives, by busi- stucco of a soft brown tint. They are the supervision of John McCormick, gen- ness managers and production heads of two-story structures, one containing twelve eral manager of West Coast pi'oduction, various units; the accounting department; star suites of two rooms each on the ground and M. C. Levee, general executive man- the publicity department; the te!e])hon(' floor, and twenty-four single dressing ager. exchange, the telegraph office, scenario rooms on the upper floor; the others con- The new studio at Burbank coinjn-iscs writers' offices and directors' private taining single rooms and general rooms. twenty-three huge buildings containing offices. Every room is fully equipped, well lighted over 350,000 square feet of floor space, The part of a motion picture studio and heated, and nicely furnished. The besides the various bungalows, sheds and around which all others revolve as th"? dressing room buildings cover a ground minor buildings. All the buildings are of spokes of a wheel around the hul), are the space of 124 feet by 33 feet each. old Spanish architecture. stages upon which three-fourths of the Equally handy to the stages is the prop- The remaining ground is held for futuic average production is filmed. Therefore erty and wardrobe building. This is one expansion, for temporary street, village the central positions on the big First Na- of the larger buildings in the studio, being and other "sets," and for location work. tional lot are occupied by the four mam- one hundred and twenty feet square, and It includes flats, a river bottom and wooded moth stages already built, and the space two stories in height. hills. for four more which will be erected when Within the permanent part of the studio fui'thcr production activities require thein. BETWI']EN the stages and the adminis- are several miles of concrete-paved streets, The system of overhead tramways, and tration buildings is a collection of all heavily reinforced to support not only block-and-chain methods of handling the structures connected in function with each, the heaviest trucks, but even artillery, heavy mei'cury-vapor lights and sun-arcs inasnuich as it houses on the side nearest should the filming of war pictures at any not only facilitates the use of this elec- the executive and directors' offices of the future date call for it. There are six main trical efiuipment and saves time, but it latter, the film cutting rooms and projection

streets, fifty feet wide; four smaller streets also prevents accidents caused by falling rooms ; and nearest the stages, the camera-

and a number of paved alleys. light apparatus. ' men 's dark rooms and camera vaults, the Within the grounds is a parking station The floors, in themselves, are an innova- still photograph printing and developing for employees' cars, capable of taking tion. They are built so heavily that a laboratory, and a portrait gallery. care of the machines of tlic ciitiro studio truck of any weight may drive over them In this group is one large building that personnel. and deposit its load wherever it is needed measures 75 by 111 feet. It contains the The entire forty-eight acres of perman- on the floor, instead of backing-up to one projection rooms, three in number, each

ent building space is enclosed by a high of the doors and unloading there. One of of which is a iriiniature theatre ; the well- ornamental metalwork fence, on two sides the two huge doors in each wall of each equipped art portrait gallery, where a por- facing the streets, and on the remaining stage has a cement apron to allow trucks trait specialist makes photographs of the players; the camera rooms, and incidental- this group of structures. This includes sheathing was erected and laid in three ly, the studio barber and manicure shop. also sheet-metal shops, the mechanical and a half hours and 35,000 feet of sub- storage shops, the timekeepers' flooring was laid in a little over four hours. The entire southern part of the enclosure equipment hey(lquarters, and the studio hospital The l)ig bowstring trusses for the stages, is devoted to other mechanical departments garage building, fully equipped and measuring 136 feet, the largest of their of the production work. Here is to be A expert auto mechanics, takes kind ever constructed in the West, were found the carpenter shop, with its benches, manned by transportation cars and others erected at the rate of nearly one an hour. machinery, tools and a large force of men. care of the It is 40 In the construction of the three Adminis- In an adjoining building, the metal work- on the lot as the need arises. by 100 feet in area, and has its own gaso- tration buildings the excavations were ing shop—a sort of super-smithy—and the station. nuide and the foundations completed with- plaster casting shop, where everything of lene and oil in twelve working hours from the time this nature from making imitation brick Behind the carpenter shops and other ground was broken. These structures were wall sections to fine casting and sculpture mechanical buildings are two lumber sheds, framed complete in three days. work goes on. each 30 by 50 feet; a lumber storage shed mill vitally important part of any 24 by 75 feet, and a saw and planing Another size of the plant can be mill, housed in a building 60 feet square. idea of the large motion picture studio is the electrical AN with all the gained from the fact that three million shop and generator plant. All massive, Connected by suction pipes incinerator, feet of rough lumber, or 150 carloads, was electrical equipment at First woodworking shops is a huge stationary miles which also has a mechanical belt feed from I'equired. In the electrical system six National Studios is housed in a single large hopper into which general rubbish of underground conduit, 20 miles of light- building, 58 by 75 feet in floor area and 30 a dump trucks. ing wire and 10,000 feet of telephone wire inside height. There is is thrown from feet in the clear, was consumed. Twenty-five thousand feet here for a battery of twelve gen- Toward the far corner of this group is a space of steel sash, or three carloads, was iised in but this is a provision for future scene dock where large units of scenery erators, the mill buildings, while dressing-rooms expansion only, as but a third of this are stored for future use. This structure and offices required between 500 and 600 is needed to supply the entire studio is 80 feet Avide and 100 feet long. At number steel casement windows. present. the outpost of all the buildings is another at In spite of the fact that "dark" stages shed, of similar proportions, where wreck- The electric lighting and power system are now used exclusively in motion picture age of used sets is stored for future sal- at this time handles electricity of .33,000 studios a large amount of glass is used in vaging. volts delivered by the Southern California the construction of a modern film city. Edison Company, reducing it by trans- Another structure that must not be over- In the erection of the plant, over 50,000 formers to the required voltages of 220 looked, so constant is the demand for what square feet of glass was used. and 110. Twenty billion candlepower is it supplies, is the studio greenhouse, 40 Each stage measures 137 x 240 feet. The available; in other words, current more by 100 feet in measurement. buildings have been designed so as to than sufficient to su^jply a city of 10,000 In the course of the work, which was greatly facilitate the taking of indoor population. finished just one month ahead of schedule, scenes and the huge floor area makes it several new records in industrial construc- possible for several production units to EADQUARTERS of the mechanical de- tion were established. Each of the four work on the same stage. A 35-foot clear H' partments, and the transportation de- huge stages, measuring 240 x 135 feet was height from the floor to the bottom truss partment, are in the Planning Department framed complete within three working gives ample room for the tallest sets and Building, 120 feet square, in the center of days. On stage No. One, 40,000 feet of roof for the arrangement of overhead lights.

Avenue and the row of administration buildings, in the rear of which Airplane photo of the First National studios at Burbank. showing in the foreground, Rowland are the various departments, the stages, and the lot '

Leading First National Production Personalities

Lewis Stone and Lloyd Hughes Ralph Hammeras cent pictures in which he has walked off with spotlight honors include "The Half- np wo of the outstanding players devel- ' ''HE all important work of the minia- I way Girl," "Bluebeard's Seven Wives," ' First National, and who will -'• ture and trick department, which makes oped by "The Savage," "The Great Deception," work in the new Burbank studios, are Lew- possible many scenes and effects which ' ' and ' The Prince of Tempters. is Stone and Lloyd Hughes. Both have would otherwise be difficult or out of the appeared as leading men in First National question, falls on the shoulders of Ralph A. L. Rockett productions, but they offer a striking con- Hammeras, so far as the New York studio common sense is the basis of A. trast in type—Stone representing the pol- of First National is concerned. Hammeras SOUND L. Rockett 's success as a producer. His ished, mature man of the world, while played an important part in the production ' ' knowledge of production is thorough and Hughes is the typical two-fisted American of ' The Lost World, ' and was instrumen- far-reaching, the result of many years' young man. Recent releases in which Lew- tal in solving some of the knotty problems experience with leading companies and a is Stone has appeared include "The Girl encountered. A former artist, he developed period as independent producer in associa- from Montmartre," "Easy Money" and the illustrated art title and later the meth- tion with his brother, Ray Rockett, which "Old Loves and New." Hughes' latest od known as "glass work," on which he culminated in the filming of "Abraham roles have been in "Irene," "Fast Step- holds an important patent. This led to his connection with pers" and "Ella Cinders." Lincoln." First National, where his first production, June Mat his Warner Oland "Puppets," showed the wisdom of the first ' A PPROPRIATELY enough, the repeated this success in ' Sub- ^^ move. He T70R many years the real ability of l^roduction to be started at the Bur- wav Sadie" and is now making "The -^ Warner Oland was not fully realized bank studios of First National was a June Charleston Kid." by many, half hidden as it was by the melo- Mathis production, "The Masked "Wo- dramatic nature of the serials in which he man," which has now been completed. Miss Robert T. Kane appeared. Even in serials, however, his Mathis has been a vital force in film pro- independent producers have work was distinguished by rare subtlety duction for years. actress and FEW First as an acliieved the spectacular, consistent suc- and consummate artistry. Oland is a later as a continuity writer she an made cess which has attended the efforts of Rob- master of character make-up and his por- important place for herself, but it was her ert T. Kane in producing for First Nation- trayal of oriental types, in particular, has work in connection with "The Four Horse- al release. He has displayed a remarkable been distinguished by an absolute fidelity men" that placed her in the front i-ank instinct for box-office angles, combined to the original. His most recent screen of M'ritei's and editorial supervisors. Now, with a shrewd sense of production values. engagement has been for an important with First National, she has an opportunity The list of successes has included "The role in "Twinkletoes." to give full rein to her abilities, which were New Commandment," "Bluebeard's Seven displayed most recently in "The Greater Wives," "The Reckless Lady," "The ' Ben Lyon Glory. " ' ' is " Here Y Are Brother next. Dancer of Paris," "The Wilderness Wo- ' ^ HIS popular young First National man" and "The Great Deception," while I •* player has been kept very busy the Frank Capra a special, "The Prince of Tempters," has jiast year, alternating between productions pR OBABLY no class of work makes just been completed. for Robert Kane and First National. He ^ severer demands upon the director than in Lothar Mendes has recorded a steady advance, both box- comedy work. Comedy is usually filmed office popularity and in the character of rather than written, and the director must THE best in European technique, plus his work. Recent appearances have in- play an important part in evolving the gags the finest American resources, is being cluded "The Savage," "The Reckless and situations. Dramatic work may succeed lirought to the screen by Lothar Mendes, Lady" and "The Great Deception." His in varying degrees, but comedy is either leading German director, under contract to next release is "The Prince of Tempters." funny or not funny, and on that test the Robert T. Kane, who has just completed He is now preparing to start work in "Not comedy director stands or falls. One of "The Prince of Tempters," his first pro- Herbert," the stage based on Broadway the fastest rising men in this field is Frank duction here. Mendes is thoroughly play of the same name. Capra, the megaphone wielder of the Har- schooled in European methods, and is ap- ry Langdon organization. He has just plying the best and most suitable of them Jess Smith finished directing Langdon in "The Strong to' his work, but he is keenly alive to Amer- view. npHE youngest executive producing for :\ran." ican box-otfice demands and point of seen his first picture de- -* First National release is Jess Smith, Those who have succeeded admirably. who is a veteran despite his years. His Carey W'^ilson clare that he has record goes back to the old Lubin days in CEYERAL veteran scenarists occupy C. C. Burr 1914. For the past six years he has been '^ positions of great importance in the one of the most successful managerial First National production lineup at the CLOSELY coupled with the success of agents, bringing to the screen such new jiresent time, one of the most prominent of the Johnny Hines comedies is the per- faces as Dorothy Mackaill, Ben Lyon, whom is Carey Wilson, who first gained a sonalitv and "ideals of the man who has Pauline Garon and Glenn Hunter. He has knowledge of motion picture requirements piloted Hines from the days of two-reel now purchased for production the Broad- in the sales department. He has been equal- comedies to the present features. Sound way success, "The Poor Nut," which ran ly successful as an adaptor and as the au- showmanship has been the keynote of in New York for ten months and has thor of original screen stories, and has held Burr's efforts, who has seen to it that the just started off brilliantly on a Chicago important editorial positions. The first of Hines comedies have appealed to the great- run. a series to be produced under his manage- est possible number of persons. Vulgarity ment at First National is "Men of the and suggestiveness have been completely Dorothy Mackaill Dawn." He will also adapt "Midnight taboo, and each Hines picture has been a of American A N outstanding feminine player devel- Lovers" and "Ladies at Play," and has clean, entertaining story obstacles. "The -^*- oped almost wholly in the realm of done an original for Colleen Moore, "Or- voutli and its triumph over "Rainbow Riley," and "The First National productions is Dorothy chids and Ermine." Live Wire," while Mackaill. This charming young English Brown Derby" are recent releases, is in production. girl, who has been on the screen for only Sam Hardy "Stepping Along" a few years, has advanced steadily in pop- ALTHOUGH he is freelancing, Sam Hines ularity as her work has grown in charm ^*- Hardy has been in such constant de- Johnny and artistry. She appeared in the first pic- mand by First National and Robert T. SOMETHING of a unique place among ture to be made by First National, Kane that he has been rushing from pic- comedians of the screen is occupied by "Mighty Lak' a Rose," and was placed ture to picture, almost without a breathing Johnny Hines, who represents the typical under contract shortly after. Her most spell. His likeable personality and rare American youth—breezy, resourceful and recent release is "Subway Sadie," in sense of comedy, combined with genuine unfailingly optimistic. His climb has been which she scores a personal triumph. She ability as an actor, have brought him recog- steady, from the two-reel "Torchy" come- is now working in "The Charleston Kid." nition as a distinctive figure. His more re- dies to featurcrlength comedies on the in- ' '

dependent market, and now a First Na- the same care that would go into a feature sible, each story is being adapted to the tional release. "The Live Wire," "Rain- of any type, and they are not characterized screen by the writer best qualified to put bow Riley," "The Brown Derby" and by the cheapness and lack of story which is that particular story into screen form. "Stepping Along", (in production) are his typical of the routine Western. May- Illustrative of this is the selection of Win- latest vehicles. nard 's personality is tremendously likeable. ifred Dunn to adapt "Twinkletoes" to the "Senor Daredevil" is his first for First screen for Colleen Moore. Miss Dunn is Hoivard Higgin National. the author of "Sparrows," a Mary Pick- ford original. /^NE of tlie most rclial)le and consistent ^^ of the directorial aces of the day is Harry Langdon Howard Higgin, who has contributed nota- T?EW comedians have recorded as rai)id Kenneth Harlan bly to the First National program the past -* or as sure a rise to featured rank as /^NE of the most consistently popular of year. After years of successful scenario has Harry Langdon. A graduate of the ^^ screen leading men is Kenneth Harlan, writing, which gave him a sound knowl- school of vaudeville, it did not take him whose appearance and physique make him edge of screen values and construction ob- long to find himself in the newer medium. an ideal foil for a feminine player. His tainable in no other way, Higgin took up His appearance in two-reel comedies was screen record includes Metro, Thomas H. the megaphone, and consistent success has so outstandingly successful and attracted Ince, Lois Weber, several pictures with Con- attended his efforts since that time. He is such widespread attention, that it was stance Talmadge, Warner Bros., and a num- now directing "Not Herbert" for First only a step from this to Langdon 's own ber of productions for Preferred. He ap- in- company ' ' National. Other recent productions to produce feature-length come- pears as Chuck Lightfoot in ' Twinkletoes clude, "In the Name of Love," "The New dies for First National release. The first for First National. Commandment, " " The Reckless Ladv, ' was "Tramp, Tramp, Tramj^, " which has "The Wilderness Woman" and "The now been followed by "The Strong Man." Albert Rogell Great Deception." S Ken Maynard 's director, filming a Francis X. Bushman A series of special Western productions Ray Rockett T^EW players have maintained their for First National release, Albert Rogell ASSOCIATED with his brother, Al screen popularity as steadily as Francis has distinguished himself among the men -^^*- X. Rockett, over a period of many years, Bushman. Had his fame not been making this type of feature. The usual including their joint production of "Abra- based upon genuine ability as an actor, he cheap Western was not enough for First would have ham Lincoln," Ray Rockett is now also dropped from sight after the National, and Rogell has set himself the few years Avliieh constitute producing for First National. His first to the film life of task of producing Westerns as fine in their a screen be completed is "Paradise," recently idol, instead of which he has gone way as any type of production. His. suc- on steadily shown, which establishes him definitely as to increasing triiimphs. As cess was demonstrated in "Senor Dare- Messala in an outstanding production executive. He "Ben-Hur, " he walked away devil," and will be again in "The Unknown with a is now about to start "Not Herbert," lion's share of the acting honors, Cavalier" and "Flame of the Border." which will be followed by a special, "Head while as the theatrical director in "The of the House of Coombe, " and "The Crys- ]\Larriage Clause" his work ranks as one of J. N. Wilson & "Pat" McKenna tal Cup." Ray Rockett is regarded as one tlic outstanding performances of the year. line with the growing tendency toward of the sanest and most reliable of producers. He appears in "The Lady in Ermine" for TN First National. original screen stories, developed for the Jack Mulhall screen alone. First Nationnal has purchased Colleen for a forthcoming Colleen Moore special /^NE First National player who may be Moore the story "It Could Have Happened," by ^^ counted upon for reliable, consistent /^NE of First National's objects in Jerome N. Wilson, which will be novelized performance is Jack Mulhall, who has ap- ^^starting its own production was the by Agnes "Pat" McKenna (Mrs. Wilson). peared in leading roles with several of development of its own stars, and in no This strong story team, which has been the First National feminine stars. Mul- case has it been more remarkably success- specializing in powerful screen tales, based hall turned to the screen at an early age ful than in the case of Colleen Moore. on big themes and soundly developed, has and was almost immediately successful. Her rise has been phenomenal but steadv, just completed the adaptation and treat- One of his best recent performances was in and has been aided by able story selection ment of Richard Barthelmess' forthcoming "Classified," which won him considerable and every production resource. Her com- jiroduction for First National release. critical and public acclaim. He then came edy gift, plus a likeable personality and East to appear in "Subway Sadie," where charm, have placed her solidlv among the George Archainbaud he again scores. He is now working in most popular feminine stars. Her first pro- "The Charleston Kid," after which he duction for First National's Banner Group "DEGINNING his career as a director in returns West for "Orchids and Ermine." will be "Twinkletoes," to be followed by ^ his native France, and first coming here "Orchids and Ermine." to direct for a French ccompany, George Svend Gade .Archainbaud occupies a firm position to-day Sam E. Rork in American directorial ranks. directed A LTHOUGH his fame in Europe was as He -^^ a great many pictures for Selznick, includ- an art director, and it was a mission "XTETERAN showmanship combined with ' ' ' ' ' ' One of this sort in connection with a stage play a sound knowledge of what the public ing The Common Law and Week ' of Love. ' one of the first directors that brought him to this country, Svend wants has made the career of Sam E. Rork He was to be brought East by First National. His Gade has demonstrated here that his abil- as a producer eminently successful. Such last three pictures are "Men of Steel," ity in the field of direction is equally great. pictures as "Ponjola," "Inez from Hoi- "Pu]>pets" and "IMen of the Dawn." He has brought to his work in motion pic- Ivwood" and "The Talker," displayed tures, including the memorable "Siege" Rork's ability to assemble all the elements and several Mary Philbin vehicles, a rare needed for an outstanding production. His B. P. Fincman sense of pictorial values and lighting. ?Iis most recent release is "Old Loves and A N(iTliER of the young producers play- ' ' ' current productions are "The Blonde Now, ' based on ' The Desert Healer. ' He ^ ing such an important part in the Saint,," which he is now directing for Sam is now completing work on the West Coast studios of to-day is B. P. Fineman, who has E. Rork, and "Into Her Kingdom," like- on "The Blonde Saint," adapted from the one of the units at the new Burbank studios. wise for First National. ])opular no\('l l)y Stephen Whitman. Fineman made a brilliant reputation for hiniself while in charge of the F. B. 0. Ken Maynard JVinifrod Dunn studios, where he delivered remarkable re- T TNDER the management of Charles R. C^I'LL recognition oi' the freniendous im- sults on that company's program. Now, pro- ^^ Rogers, Ken Maynard is appearing in a portance of properly prepared contin- ducing on a larger scale for First National, series of Western productions for First uity is given at First Natioiuil, and every he is accom]ilishing even greater things. National release which should make West- effort has been made to obtain the b(>st His ])roductiiuis for First National are ern history. Each is being produced with scenario talent available. .\s far as pos- •'Forever Affer" and "Ladies at Play."