Film technique has developed to such an extraordinary degree in rela-tom to stage technique that it is per-Imisaable to regard examples of shat ght ordinarily be called pique Aifectation na necessary" forms" of human adaptation to. the new demands made upon actors and ec-Gesses by the mechanical process of "Shooting" films. 'The difference between the {wo techniques is vast. 'The actor on the legitimate stage has an audience' before him upon whose mations he plays, and he is able to reglaler the success of his perform: tance by the continuous reaction of that sea of eyes and faces focussed on hia, "The cinema actor ip in another Wworid, "He faces cameras, lights_and other mechanical apparatus. and host of people, prosaically absorbed tin their Various tasks and represent-Ing a colourless and feelingless party onlookers who, at any, time, can burst Into his actions and cut them short peremptorily.. As many Starg-tave confessed, the only cure for this emptiness of reaction is complete detachment from everything Gharies Laughton is an oulstending fee of an actor who is able to mask AIT his consciousness to the task fore him, but often having got used to other members of the cast. he is Hable to stampede at the entry anew face on the sel. Robert Donat, the young English actor who is destin: fed for great things and, In his. own!
imation, a new Hamlet, confesses to a similar: weakness Ws hard enough 10 get any contunulty"of acting Into picture ang= how when Sou have to work up each Inalvldvar "toorie from "scratch, but but every. time a new face comes the set I have to adjust myself all Many people will appreciate exact ly: how he feels having experienced the: dismay, In the regular. monthly inundation of chits, that chit which had been entirely forgotten and which completely reverses the scheme: of things.
Text read from the printed page and cleaned; old type leaves the occasional error.