“I like to direct, because I believe a woman, more or less intuitively, brings out many of the emotions that are rarely expressed on the screen. I may miss what some of the men get, but I will get other effects that they never thought of.” — Lois Weber
Source: L.H. Johnson (1915)
“You see, while I may sit at this desk, I never really work at it. I can’t. I just get a pile of yellow paper, a stub pencil that continually flies into my mouth – and I write on my knee! I have to. I’ve always written that way. If I should suffer an amputation at the hip I’d be done; I’d never have another inspiration as long as I lived!” — Lois Weber
Photo: with her husband Phillips Smalley.
“I first became interested in pictures through writing – and selling! – scenarios. My husband, who had a great deal of faith in me, left a splendid position on the dramatic stage to act in them. That was in the old Rex company. We worked very, very hard. My field began to enlarge. First I was asked for advice concerning other people’s work, and so, quite naturally, I eventually became a director.” — Lois Weber
Photo: with Phillips Smalley.
“I think there is no particular theme or treatment in a good play which does not appeal with equal force to both sexes.” — Lois Weber
Photo: Lois Weber (left), Anna Pavlova, seated at table, and Phillips Smalley (right) on the set of The Dumb Girl of Portici (1916).
“Psychology has been of help to me in my work, but the thing which has helped me the most has been an intangible something that I cannot define. I can only explain it by saying that I often know when there is something wrong with a set without knowing what the trouble is. There are times when everything has to be moved over and over before it looks satisfactory. A layman might thing that any pair of old curtains would have a bedraggled appearance but we tried two dozen pairs before we got the ones we wanted for this scene. It is the same with the pictures I am going to produce. I judge the public a good deal by my own feelings. For instance, there is no one I like to read so well as Epictetus. And yet, when I am tired or worried, which is the time I need Epictetus, I go home and read a Nick Carter detective story. So it is when a man as a jumping toothache. If he goes to the theatre and sees something bright, ‘frothy and entertaining he is likely to forget all about his pain. But if the play is a heavy one, requiring concentration and thought, he finds it impossible to keep his attention off his tooth. The war is the world’s jumping toothache and I want to help the world forget about it for awhile.” — Lois Weber
Source: Elizabeth Peltret (1917)
“I believe that when, in this life, a child shows some extraordinary aptitude it is because the child remembers something learned before. That must have been the case with my music. I believe that I just took up a broken thread and followed it to the end. I was touring the South as a pianist under the direction of Valentine Apt, and a large crowd greeted me in a music-loving town. The size of the audience made me very nervous and anxious to do my best. Just as I started to play, a black key came off in my hand. I kept forgetting that the key was not there, and reaching for it. The incident broke my nerve. I could not finish and I never appeared on the concert stage again. It is my belief that when that key came off in my hand, a certain phase of my development came to an end.” — Lois Weber
Source: Elizabeth Peltret (1917)