Tom Terriss — Director of Destinies (1925) 🇺🇸

Famous as a director, Tom Terriss is almost equally as well known as a discoverer of talent

by Rodney Hickok.

“Well, Chief, there’s another one finished and on its way and they seemed to like it.”

Tom Terriss and I had just come from the initial showing of “The Bandolero” which we had just completed in Cuba and Spain, and we were seated in a couple of comfortable chairs in his home talking it over. We had been working very hard for several months and were certainly glad to see the picture finally launched in the theatres. We usually get together immediately after a first showing of a picture and exchange views about how we think the audience enjoyed it. This showing had gone very well, and Mr. Terriss was feeling very pleased and talkative; so in answer to my remark he replied.

“Yes, they did, Rod, and now both you and I can take a nice little rest. We’ve certainly earned it.”

The Chief’s always been that way. When there is work to be done there is no rest for any one and he doesn’t ask any of us to work any harder than he will; but once the picture is finished, then he is the first one to see that we get a rest and some recreation. He and I have been together, off and on, ever since 1913 when we both met as actors in Fort Lee at the old Solax Studio. He was directing and acting in a picturization of Dickens’ “Mystery of Edwin Drood” and engaged me to play the part of Drood. We became good friends and later he made me his associate; and this is my chance right here to tell him (if he ever reads this) that my association with him has been very wonderful. He is a great one to produce his pictures in different parts of the world, and being with him has meant much delightful travel. We have been in different parts of the United States. In 1915 we were in the West Indies and now in Cuba, France and Spain. A couple of years ago he was making pictures in England and Egypt.

Thinking of the travelling we had done I remarked as we sat talking together, “You certainly seem destined to travel all right. Three more countries we’ve worked in. Where do we make the next one? At the South Pole?”

The Chief smiled but didn’t answer; so I continued, “And speaking of destinies, you certainly seem to have a lot to do with the destiny of some people. You’ve started two more on their way in The Bandolero.“

I was referring to Rita Rossi and Manuel Grenado. She had played the vamp in the picture and Grenado the juvenile lead. Both of them unknown when Mr. Terriss chose them to play the parts. Miss Rossi, absolutely unknown, and Grenado had been doing “extra” work at the Famous Players. Both of them, given their chance, made good as is evidenced by the fact that Rita Rossi is busy working in Dick Barthelmess’ [Richard Barthelmess] latest production and Grenado was given a contract by Metro Goldwyn on the strength of his work as the young bullfighter in The Bandolero and is now busy in California under his new name, Paul Ellis.

But giving a helping hand and starting people on the road to fame is nothing new for the Chief. He has been doing it for years with remarkable success. He has a wonderful faculty of seeing talent in an Unknown.

Years ago Richard Rowland, Vice-President and General Manager of First National, remarked that “every mob contains a future star.” Tom Terriss took that motto unto himself as an integral part of his qualifications as a director and has proved his faith in it by giving the Unknown a chance on the screen. And his ability in that direction amounts to positive genius inasmuch as those to whom he has given a chance have fully lived up to his anticipations and have become either stars or principal players. He seems to have a sort of uncanny ability to see in the “extra” on the lot certain hidden qualities which mean screen possibilities. To the majority they are only “extras,” a mob hired for the day, and the only impression they make is that of a — mob. But not to Tom Terriss. To him they are a group of individuals, each possessing potentialities, some more developed than others, and he is quick to perceive those with qualities worthy of the chance to develop. And he never fails to give them that chance. He believes that the public will appreciate anything good, and in the matter of their screen entertainment he feels the same to be true — a good performance is well liked whether given by some one with a well known name or not. And the choices he has made have proved it. While they are well known names today, still, when Mr. Terriss gave them their chance, they were absolutely Unknowns.

While in The Bandolero he picked two Unknowns for the important parts, in 1920 he picked three Unknowns for important, roles in one picture. He was directing at the Vitagraph at the time and the filming of “The Heart of Maryland” had been assigned to him. The picture was cast except for two men and a girl, and he looked around with the “destiny” light in his eyes for suitable people to whom to entrust the roles. That discerning gaze finally took in two young fellows who were hoping to get along; in them Mr. Terriss saw the qualities he wanted and they were given the parts. They were Ben Lyon and Buster Collier [William Collier Jr.]. Then he found the girl whom he felt confident would make good. She was in the Follies and he took her from there and his confidence was not misplaced. Jacqueline Logan. It was the first picture in which any of them had appeared. And where they are today proves that the Chief was not mistaken in the qualities he had seen in each of them.

During the same year Vitagraph filmed “Trumpet Island” and Mr. Terriss wielded the megaphone. He needed a girl for the production, and he chose one who had been doing “extra” work and bits but had never succeeded in getting a good part. However the “destiny” eye and the “helping hand” characteristic prompted him to give this girl her first real part and, as usual, Marguerite de la Motte made good as Mr. Terriss anticipated.

The year before, in 1919, the Chief made two selections from Unknowns. He was filming “Captain Swift” with Earle Williams, and the same need arose — that of a girl for the important part. Into the crowd of extras” this time went the “destiny” eye and his selection fell upon Alice Calhoun. Ever since then her rise has been steady.

His other choice that year was a man to play in “The Lion and the Mouse” in which Alice Joyce was being starred. The young fellow had never been in pictures, and Mr. Terriss met with opposition when he told whom he had selected. It was a very big part to entrust to an Un known but contrary to the advice of others the Chief felt that he couldn’t be mistaken and that the fellow would be able to do it. So he was engaged and I leave it to you if he made good. Conrad Nagel.

There are two other names that must be added to the credit of this Destiny Director, one a man and one a woman. In 1918 the Chief was directing Alice Joyce in another of her pictures, “The Vengeance of Durand,” and again a man was needed. This time the fortunate one was Percy Marmont, absolutely Unknown and his first appearance on the screen.

The girl received the grasp of Terriss’ helping hand in 1917 in the filming of “A Woman Between Friends.” She had been doing “extra” work and bits hoping for that time when she would have a real part. I’m afraid I’ll have to admit in this case that her personality had something to do with the Chief’s choice because she certainly has it, but he knew that that personality was one which would “get over” on the screen. So he gave her the part, and recognition of her personality and ability was immediate. Her name in electric lights is a sure drawing card now. Agnes Ayres.

While the Chief was fortunate in being born with decided talent for all things theatrical, being one of the members of the famous Terriss family and son of one of England’s most famous actors, and consequently not placed in that position of having to be helped and developed, still he is a very firm believer in helping the other fellow to get his start. New players and stars have to come from somewhere; and where is the most likely spot for them to be found if not among the crowd of growing enthusiasts who are ambitious to get into the movies and who are willing to work hard to make good? And newly “discovered” stars, having made good, are immediately placed under contract for fear that they may be the only ones of their kind — but not by Mr. Terriss. He has no such thought of scarcity, and there are plenty of others who will offer them contracts. And besides, he is too busy making new “discoveries” and giving them a start.

All this ran through my mind as we sat smoking and talking, and I thought it might be interesting if I told it to you folks. Hope so.

Just before leaving him to go home and start that well earned rest he had advised, I said to Mr. Terriss, “Well, Chief, who do you think you’ll pick this time with that ‘destiny’ eye of yours?”

But he just smiled and said, “I don’t knew — yet, Rod.” From the way he said it I guess he must have been thinking of one. or maybe two Unknowns. He will most likely pick some one because while he will continue to be a first class director, I know he won’t relinquish the title I’ve given him of “First Class Director of Screen Destinies” — especially of mine, I hope.

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Tom Terriss and some of the successful players he has brought out.

• Alice Calhoun’s a Terriss discovery.
• William Collier, Jr., was picked for a part in “The Heart of Maryland.”
• Mr. Terriss found Percy Marmont for the screen.
• Rita Rossi started on her way in “The Bandolero”
• Conrad Nagel and his daughter.
• Ben Lyon got his start with Buster Collier, above.
• Agnes Ayres’ personality as an “extra” convinced the director.

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Esther Ralston and William Otis in “The Goose Hangs High.”

Collection: Screenland Magazine, April 1925