“There’s nothing funny about a clown in the moonlight.” — Lon Chaney
The Penalty (1920)
The Hunchback of Notre Dame (1923). With Patsy Ruth Miller, Norman Kerry, Kate Lester, Tully Marshall, Brandon Hurst, Winifred Bryson, Raymond Hatton, Nigel De Brullier, Gladys Brockwell, Eulalie Jensen and Ernest Torrence.
“The history of Lon Chaney is the history of unrequited loves. He brings that part of you out into the open, because you fear that you are not loved, you fear that you never will be loved, you fear there is some part of you that’s grotesque, that the world will turn away from.” — Ray Bradbury
Photo: He Who Gets Slapped (1924)
The Phantom of the Opera (1925). With Mary Philbin and Norman Kerry.
“He was the hardest working person in the studio. There wasn’t a thing he wouldn’t turn a hand to. He’d help move props, lights or even make-up the extras. It was the trouper’s spirit of him. “ — Tod Browning (left) with Lon Chaney on The Road To Mandalay (1926).
The Unknown (1927). With Joan Crawford.
“My whole career has been devoted to keeping people from knowing me.” — Lon Chaney
“I loathe curiosity seekers. The people who are so darn anxious to get a look at what is behind the scenes. What does it mean to them? Nothing, except possible disillusionment.” — Lon Chaney
Source: Elza Shallert (1927)
“For Chinese makeup, use bits of library mending tissue to draw back the corners of the eyes, thus giving a slant to them. Cover with ‘ground’ color and then paint the eyebrows with an upward tilt. A number of light black lines downward from the inner corners of the eyes and upward from the outer corners accentuate the slant.” — Lon Chaney
Photo: Mr. Wu (1927)
“I wanted to remind people that the lowest types of humanity may have within them the capacity for supreme self-sacrifice. The dwarfed, misshapen beggar of the streets may have the noblest ideals….These are the stories which I wish to do.” – Lon Chaney
“The chief thing for any actor to remember is that it wasn’t his brains that got him to stardom. It was only his acting ability. He isn’t paid to think about production plans and when he starts he usually sinks his whole career.” – Lon Chaney
Photographer: Clarence Sinclair Bull
“Phantom of the Opera.” 2000. Artist: Maila Nurmi, aka “Vampira.” 9″ x 11″ pencil and watercolor sketch.