Bessie Eyton — How I Became a Photoplayer (1916) 🇺🇸
I have been told that my entrance and success in motion pictures were somewhat unusual, for the reason that I had no previous dramatic experience.
by Bessie Eyton
As you know, a large majority of those prominent in the art of the silent drama were formerly players in the spoken drama. Very few players, I have been informed, have arisen to prominence in screen work who were not previously experienced in stage work.
“I never had any experience in dramatic work — not even amateur theatricals — before I began work for the Selig Company. The way I began was unusual. My home is in Los Angeles, where the Pacific Coast studios owned by the Selig Company are situated. I visited the Selig studios with a party of friends, purely for pleasure. I liked motion pictures on the screen, but at the time of my primary visit to the studio four years ago, appearing in the ‘movies’ was foreign to my thoughts.
“When I visited the studio floor the producer espied me and said: ‘I like your type, it is one I need in this picture.’ More for mere sport than anything else I consented to take the minor role that was offered me.
“And I have worked for the Selig Polyscope ever since that time, and I hope to continue to appear in the Selig motion pictures for Mr. Selig [William Nicholas Selig] has that artistic sense which urges on to better and better work. What success I have achieved in the movies is due solely to hard work and willingness to heed instructions.
“The art of motion picture acting is not an easy art. There is no means of ascertaining from one day to another just what character role or what action the director will call upon one to portray. I have enacted probably four or five hundred different character roles during my experience, and these characters range from a leader in highest social circles to a Salvation Army girl. A motion picture actress must know how to ride, to shoot, to fence, to dance, and to motor, for there is no telling when one may be called upon to exemplify these and other accomplishments.
“Many long hours are spent on ‘location,’ so-called. I have worked from early morning to late at night, in just one or two scenes of a film play. One of the problems confronting motion picture actresses is appropriate dressing rooms when changes of costume are necessary and there are no dwelling houses or other shelters near at hand. I solved this problem by arranging the interior of my automobile as a dressing room. The interior of my automobile contains a take-down dressing table, mirrors are arranged on the sides, and I have an especially devised drawer located under the front seat, which contains cosmetics and other articles essential to the art of motion picture make-up.
“I have never regretted my entrance into the movies, despite the fact that it came about by mere chance. I take keen pleasure in knowing that I have won many admirers and friends, many of them I have never seen, it is true, but who nevertheless, write me very kind and encouraging words.
“It might be wise to state here, too, that opportunities to enter motion picture work are now rare. My opportunity was one in a thousand. I would advise the many, many girls who write me requesting information about motion picture work to forget it. Art is long and art is fleeting. Many are disillusioned after they see the interior of a motion picture studio. It is best to enjoy motion picture plays seated in a comfortable seat in a movie theatre. Take this advice from me; I know!”
Collection: Photoplay Magazine, June 1916
(The Photo-Play Journal for June, 1916)