It’s a wonderful picture. Because of the reindeer incidents. But it couldn’t have been made in Hollywood. It combines fiction with fascinating touches of actual fact. About the time the reindeer picture was released in this country, a five-reel film that was made in Switzerland was shown at the big Capitol Theater in New York. It was made up of scenes of skiing, ski-jumps, and ski-races, in the Alps. Nothing else. But it furnished many thrills and real entertainment. Here we come back again to the crux of the whole matter, _entertainment_. A picture has to entertain us, whether we want to be instructed, or only amused. But between the two kinds of pictures that I have outlined in this chapter—the movies that merely tell a story and the pictures that show facts—there is this difference: Photoplays that are designed to be merely entertaining, to be good, have to _seem real_. But photoplays that actually _are_ real have to be genuinely _entertaining_. [Illustration: _Courtesy United Artists Corporation._ A DOUGLAS FAIRBANKS “SET” USED IN “THE THREE MUSKETEERS.” Note the wheelbarrow, the peddler’s box, and all the wealth of minute properties and detail necessary to properly costume and equip the actors and “dress” this elaborate set. (See next illustration).] [Illustration: _Courtesy Goldwyn Pictures Corporation._ HOW A MOVIE “SET” IS MADE. The scaffolding shows the flimsy construction of the movie buildings. Only the walls that will appear in the picture are constructed, propped up from behind by undressed scantlings. Note the reflectors set up to throw additional light on the scene that is being photographed.] CHAPTER IV INSIDE THE STUDIOS If you have never been inside a motion-picture studio, an interesting experience lies ahead of you. For what soon becomes an old story to any one working “on the lot,” is fascinating enough to any one who sees it for the first time. At Universal City, California, just across a range of hills outside Hollywood, lies a motion-picture plant that covers acres and acres. Administration and executive offices, big “light” and “daylight” stages, property rooms, costume department, garage, restaurant, power plant, carpenter shop, laboratory, great menagerie even, are all grouped along the base of rolling California hills that furnish countless easy “locations” for stories of the Kansas prairies or Western ranchos, or even the hills of old New England. In the heart of New York City, close beside the roaring trains of the Second Avenue “L” and within hooting distance of the tug-boats on the Harlem River, stands the old Harlem Casino—for years a well-known East-side dance-hall. In this building, now converted into a compact motion picture studio, the first big Cosmopolitan productions came into existence—“Humoresque,” “The Inside of the Cup,” and all the rest.