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avalanche of costume drama is on!

D. W. Griffith's next production will be a big spectacular drama of the American Revolution.

Richard Barthelmess is going to do a big special in the Spring. It will present the tragic story of Nathan Hale.

Marion Davies is now well into her new costume picture, "Yolanda," at her New York studios.

And there are dozens of others in preparation.

goes to press there seems to be some doubt in Paris to whether or not Irene Castle is divorced. Cable reports indicated that divorce proceedings had been started in Paris but, upon her return from France, Irene declared that there was nothing to it! So there you are!

However, Elsie Ferguson did get a Paris divorce. That's that.



is at its height in that portion of the motion picture industry located on the West Coast. Best sellers are being bought for the screen; plays dickered for, and even—oh, unprecedented!—here and there an original story is being filmed.

It is really surprising how leary the astute producer is of the innocent, unassuming little original story. "Has it ever been published?" asks the high and mighty one of the trembling author. "N-no, s-sir," gasps the intimidated one. "Well, I can't look at it until it is. Any magazine will do, just as long as it's in print."

The bewildered wretch stumbles off, not knowing the whereof of which. But by and by he learns the reason. It's because the chooser of motion picture stories does not trust his own judgment—he must first have the product stamped with the approval of another brain.

An interesting example of this is the story which Marshall Neilan has just finished filming. It is called The Rendezvous and was written by Madeline Ruthven, a Texas girl. She came to Los Angeles from a Dallas newspaper, intent upon gaining a foothold in some lucrative scenario department.

To make a long story short, after months of effort, she took a stenographic job in the Lasky scenario department. Here she learned every bit of knowledge there was to know about the actual construction of photoplays. By and by—but not nearly so easily as that—she evolved The Rendezvous which in due course of time was returned from practically every studio in the business. Then Marshall Neilan saw it, and Marshall Neilan does not need any one else to tell him when a thing is good.

And here's the sequel—Mrs. Ruthven kept right on at her secretarial job at Lasky's for some months. Promises were made her, but nothing materialized until about ten days ago, when she was made an assistant editor.

Yes, dears, it's a hard, uphill pull, this movie business. Don't let