But if they are on sculptural
terms, and are studies of the faces of thinking men, let the producer
make a pilgrimage to Washington for his precedent. There, in the rotunda
of the capitol, is the face of Lincoln by Gutzon Borglum. It is one of
the eminently successful attempts to get at the secret of the countenance
by enlarging it much, and concentrating the whole consideration there.

The photoplay producer, seemingly without taking thought, is apt to show
a sculptural sense in giving us Newfoundland fishermen, clad in oilskins.
The background may have an unconscious Winslow Homer reminiscence. In the
foreground our hardy heroes fill the screen, and dripping with sea-water
become wave-beaten granite, yet living creatures none the less. Imagine
some one chapter from the story of Little Em'ly in David Copperfield,
retold in the films. Show us Ham Peggotty and old Mr. Peggotty in
colloquy over their nets. There are many powerful bronze groups to be had
from these two, on to the heroic and unselfish death of Ham, rescuing his
enemy in storm and lightning.

I have seen one rich picture of alleged cannibal tribes. It was a comedy
about a missionary. But the aborigines were like living ebony and silver.
That was long ago. Such things come too much by accident. The producer is
not sufficiently aware that any artistic element in his list of
productions that is allowed to go wild, that has not had full analysis,
reanalysis, and final conservation, wastes his chance to attain supreme
mastery.

Open your history of sculpture, and dwell upon those illustrations which
are not the normal, reposeful statues, but the exceptional, such as have
been listed for this chapter. Imagine that each dancing, galloping, or
fighting figure comes down into the room life-size. Watch it against a
dark curtain. Let it go through a series of gestures in harmony with the
spirit of the original conception, and as rapidly as possible, not to
lose nobility. If you have the necessary elasticity, imagine the figures
wearing the costumes of another period, yet retaining in their motions
the same essential spirit. Combine them in your mind with one or two
kindred figures, enlarged till they fill the end of the room. You have
now created the beginning of an Action Photoplay in your own fancy.

Do this with each most energetic classic till your imagination flags. I
do not want to be too dogmatic, but it seems to me this is one way to
evolve real Action Plays