314 



THE WORLD'S ADVANCE 



come the great bulwark of the motion 

 picture drama business. This is natural, 

 as well as evolutional, for a feature which 

 calls for a world of work and money. We 

 spent $100,000 on The Sign of the Rose,' 

 but we do not begrudge the expenditure, 

 because we know we have produced 

 something that is worth while and will 

 repay us." 



MOTION PICTURES COST $275,000,- 

 000 ANNUALLY 



It is estimated by prominent motion 

 picture producers that over $275,000,000 

 are being spent annually by the people 

 of the United States for the production 

 and maintenance of moving picture en- 

 terprises throughout the country. Few 

 people realize that the ordinary feature- 

 film which provides the evening's enter- 

 tainment costs between $15,000 and 

 $30,000 to produce. 



Aside from the money actually spent 

 on admissions to the shows all over the 

 country, the greater part of the capital 

 used in connection with the moving-pic- 

 ture industry is that tied up by the pro- 

 ducers of the embryo features. Over 

 $120,000,000 are tied up in the apparatus 

 and property of the giant syndicates. 



HOW THE WAR AFFECTED ONE 

 FILM 



"All For Old Ireland," the first of a 

 series of made - in - Ireland comedy 

 dramas, was finished under the greatest 

 of difficulties last August after the out- 

 break of the European war. Sidney 

 Olcott, who directed the pictures, had, 

 the day before the declaration of war by 

 Great Britain, taken a number of scenes 

 on the Island of Valentia where the great 

 cable station connecting Ireland with 

 America is located. 



Not having finished the required num- 

 ber of scenes, Olcott and his company 

 returned from Killarney to the island the 

 day war was declared, and found the 

 island under martial law and photog- 



raphy absolutely forbidden. When it is 

 considered that a number of natives, to- 

 gether with a lugger, manned by captain 

 and crew, had been used, and in no way 

 could be again secured, a serious problem 

 confronted the producer. Olcott, how- 

 ever, managed to find a way out of the 

 difficulty. The scenes were finished fifty 

 miles away without using the same peo- 

 ple, and yet the manner of doing so de- 

 fies detection even by experts. Olcott 

 said he was not only glad, but lucky to 

 get back with any pictures at all after 

 the torch had been applied which set 

 all Europe ablaze. 



THE LOS ANGELES UNDER- 

 WORLD'S CONTRIBUTION TO 

 A CHICAGO SLUM PICTURE 



Chicago's famous Metropolitan Music 

 Hall, one of the best known resorts in 

 the country, suggested the model for 

 the immense setting of the dive, one of 

 the many vividly realistic scenes depicted 

 in "Up From the Depths," the new 

 Mutual masterpicture, screened at the 

 Reliance studios by Director Paul Powell. 



This set, measuring 150 x 50 feet, is 

 one of the largest ever constructed solely 

 for motion picture work. Some idea o 

 its vastness may be gleaned from the fact 

 that in the scene 200 persons are shown 

 seated or dancing in the resort. To se- 

 cure the proper types for this particular 

 scene Director Powell made a careful 

 search through the slums of Los Angeles, 

 with the result that many denizens of the 

 resorts were brought to the studio, spe- 

 cially trained, and then assigned parts in 

 the scene. Indeed, so realistic is this 

 setting that one would all but imagine 

 himself or herself seated in the resort. 



AN ENTHUSIASTIC RESPONSE TO 

 A FILM CALL TO ARMS 



While the Italian armies were scaling 

 Alpine heights in their invasion of Aus- 

 trian territory, over three hundred of 

 their countrymen were having a riotous 

 skirmish and battle around the imperial 

 throne in Urania, temporarily located in 



