310 



THE WORLD'S ADVANCE 



world to the studio, as you now see/' 

 The studio was not large, as movie 

 studios go in these days. Used scenes 

 were shelved about the walls and in the 

 corners. Not an inch of space was 

 wasted. 



A Miracle-Man-of-the-Movles 



"We work always at top notch speed," 

 continued the director. "Our output is 

 a play a day, and if any contingency 

 should arise we have enough finished 

 reels on hand to supply the exhibitors in- 

 definitely. Our play-a-day capacity ex- 

 cludes, of course, the new V-S-L-E com- 

 pact (Vitagraph-Lubin-Selig and Essan- 

 ay) to produce in rotation one big fea- 

 ture a week." 



In another part of the studio building 

 George W. Terwilliger, the Lubin direc- 

 tor-prodigy, was directing the filming of 

 a breakfast room scene. I mean prodigy 

 in the sense of youth and unusual ability 

 combined, for George Terwilliger has 

 youth and an uncanny amount of moving 

 picture resourcefulness. George is the 

 kind of a man who will take pictures at 

 random of the large fires, railroad wrecks 

 and naval maneuvers, and then spin a 

 heart-throb plot to fit spectacular parts. 



One time he was on the ground with a 

 cameraman during a U. S. Navy sham 

 battle. In the back of his facile mind 

 he had previously hatched a scenario in 

 which a South American revolution 

 played an important part. The way he 

 worked the idea out, in order to combine 

 U. S. Navy uniforms with a South 

 American revolution, was to have his 

 revolutionists steal several thousand U. 

 S. Navy uniforms and thus his flicker- 

 story ran logically. 



Nomads of the Reel 



In the winter time Mr. Terwilliger Lu- 

 binizes at the Philadelphia studio, or per- 

 haps he and his company will take a fly- 

 ing trip to Florida, for he is one of the 

 Lubin's several nomads. In the summer 

 he goes to Newport, where he directs the 

 staging of society and navy plays or 

 to Cape Cod to build flicker dramas on 

 the grounds of our Pilgrim fathers. 



Perhaps the most interesting of the 

 Lubin nomads is Romaine Fielding, who 

 at this particular moment may be in Tas- 

 mania, the Yukon, or Chihuahua, as the 

 spirit moves him. Fielding, like Ter- 

 williger, writes his plays as well as di- 

 recting them, while occasionally he acts. 



tter at Work Sketching the Outlines of the Scenery for a Lubin Photoplay. 



