Vintage Movie Resources
What Kind of a Fellow Is — Cromelin? (1918) 🇺🇸
Our desire for a wider knowledge of Paul H. Cromelin is prompted by two reasons
What Kind of a Fellow Is — Raver? (1918) 🇺🇸
Harry Raver was the man who tried to save Art Dramas from the wreck
What Kind of a Fellow Is — Lasky? (1918) 🇺🇸
It is some job to get an interview with Jesse L. Lasky. You have to sign him up six months in advance
What Kind of a Fellow Is — Griffith? (1918) 🇺🇸
D. W. Griffith knows better than anyone else just what kind of a fellow Griffith is
What Kind of a Fellow Is — Brulatour? (1918) 🇺🇸
If the motion picture is still in its infancy, then J. E. Brulatour stumbled upon it about the time it was filling out its birth certificate
What Kind of a Fellow Is — Collins? (1918) 🇺🇸
Producer Frederick L. Collins actually goes to picture theatres and really sees other producer’s pictures!
What Kind of a Fellow Is — Selznick? (1918) 🇺🇸
You may have been wondering why Lewis J. Selznick didn’t come along earlier in the series
Billy Tummel — Go and Get It (1925) 🇺🇸
Billy Tummel found himself confronted by two difficult problems when Victor Schertzinger began shooting scenes
What Kind of a Fellow Is — Winik? (1918) 🇺🇸
One of Hyman Winik’s craziest principles is to make happy those concerned with him in his business deals
What Kind of a Fellow Is — Laemmle? (1918) 🇺🇸
Carl Laemmle consults his young son — 9 year old Carl Laemmle Jr. — on every picture
J. D. Williams (1929) 🇺🇸
J. D. Williams has playes played an important part in the progress and development of the motion picture industry, both in America and Europe
Hugo Riesenfeld — General Musical Director United Artists (1929) 🇺🇸
In 1916 Hugo Riesenfeld first became prominently identified with the motion picture industry in a musical way
What Kind of a Fellow Is — Williams? (1918) 🇺🇸
J. D. Williams is a Showman. That’s his proper classification. As a Showman, he’s an uplooker and an onlooker, and a widelooker
What Kind of a Fellow Is — Freuler? (1918) 🇺🇸
Once we told John R. Freuler a funny story and we expected to get a laugh. To our chagrin he said “Ah, yes!” politely and introduced us to a serious man who wanted to know what we thought of the market for one-reel comedies
What Kind of a Fellow Is — Hammons? (1918) 🇺🇸
So, gentle reader, we introduce herewith a snappy young man who’s always up on his toes: E. W. Hammons of the Educational Film Company of America
What Kind of a Fellow Is — Irwin? (1918) 🇺🇸
Walter W. Irwin is a good lawyer among film men and a good film man among lawyers
What Kind of a Fellow Is — Sherrill? (1918) 🇺🇸
“I don’t know the technical side of picture-making,” said William L. Sherrill, “but I do know fine pictures and I make them”
What Kind of a Fellow Is — Rothapfel? (1918) 🇺🇸
S. L. Rothafel intuitively knows his audience — any kind of audience
What Kind of a Fellow Is — Smith? (1918) 🇺🇸
We don’t understand what brought Albert E. Smith into the motion picture business
What Kind of a Fellow Is — Kessel? (1918) 🇺🇸
Adam Kessel Jr. and Charles Bauman have always been plungers
What Kind of a Fellow Is — Fox? (1917) 🇺🇸
“My business is making and showing pictures. I’m William Fox, and always will be.”
What Kind of a Fellow Is — Brady? (1917) 🇺🇸
For those who may wish to interview William A. Brady we cheerfully contribute a time-saving recipe