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Buster Keaton Interviews Buster Keaton Digital Instant
Download
Author(s): Buster Keaton
ISBN(s): 9781578069620, 1578069629
Edition: Illustrated
File Details: PDF, 12.73 MB
Year: 2007
Language: english
BUSTER
KEATON iV

VIN W. SWEE}
ee
B Urs ER KE
A FOUN
INTERVIEWS

CONVERSATIONS WITH FILMMAKERS SERIES

PETER BRUNETTE, GENERAL EDITOR
Courtesy of Photofest
BUSTER.
KEATON
INTERVIEWS
EDT ED BY KEV EN, AW oSoWlE ENE Y

peer Bess LIBRARY

330 COURT STREET
NEW YORK 11901
UNIVERSITY PRESS OF MISSISSIPPI/JACKSON
www.upress.state.ms.us

The University Press of Mississippi is a member of the

Association of American University Presses.

Copyright © 2007 by University Press of Mississippi

All rights reserved

Manufactured in the United States of America

First Edition 2007

Library of Congress Cataloging-in-Publication Data

Keaton, Buster, 1895-1966.

Buster Keaton : interviews / edited by Kevin W. Sweeney.
p. cm. — (Conversations with filmmakers series)
Includes index.
ISBN-13: 978-1-57806-962-0 (cloth : alk. paper)
ISBN-Io: 1-57806-962-9 (cloth : alk. paper)
ISBN-13: 978-1-57806-963-7 (pbk. : alk. paper)
ISBN-Io: 1-57806-963-7 (pbk. : alk. paper) 1. Keaton, Buster, 1895-1966—
Interviews. 2. Motion picture actors and actresses—United States—Interviews.
3. Comedians—United States—Interviews. I. Sweeney, Kevin W., 1945-
II. Title.
PN2287.K4A3 2007
791.4302’8092—dc22 2006033949
[B]

British Library Cataloging-in-Publication Data available

CrOPN. TEUNIT <S

Introduction _ vii

Chronology — xvii

Filmography xxi

“Poor Child!” 3
ELIZABETH PELTRET

The Man Who Never Smiles 7

W. E. MULLIGAN

How Buster Keaton Got That Way 9

MARGARET WERNER

Turning Point Interview with Buster Keaton 12

ARTHUR B. FRIEDMAN

“Anything Can Happen—And Generally Did”: Buster Keaton on

His Silent-Film Career 32
GEORGE C. PRATT

An Interview with Buster Keaton 48

CHRISTOPHER BISHOP
vi CONTENTS

Interview with Buster Keaton 62

ROBERT FRANKLIN AND JOAN FRANKLIN

Interview with Buster Keaton 103

TONY THOMAS

Interview with Buster Keaton 108

STUDS TERKEL

Buster Keaton: An Interview 128

HERBERT FEINSTEIN

A Dinner with Keaton 147

GEORGES SADOUL

Telescope: Deadpan 155

FLETCHER MARKLE ~

Buster Keaton 164

PENE DOPE Gli Ar

Buster Keaton 173

KEVIN BROWNLOW

Keaton at Venice 219

JOHN GEUDETT AND JAMES BLUE

Keaton: Still Making the Scene 232

REX REED

Index= 237
ENG ROP UC rl OTN

OFF SCREEN, BUSTER KEATON wasa shy man, fearful of

crowds, and suspicious of public attention, particularly a woolly adula-
tion of his “genius.” “How can you be a genius in slapshoes?” was his
response to such fawning. His public comedic persona with the famous
“deadpan” countenance, the “great stone face,” was often interpreted—
not quite accurately, I believe—as an attempt to mute feeling, a reluc-
tance to show the world his reactions. In view of this purported
psychological distance from the world and suspicion of critical atten-
tion, one might be surprised to learn that Keaton gave so many inter-
views and that the interviews took place throughout almost his entire
working life, from his teenage vaudeville days up until Rex Reed’s inter-
view of October 1965, just several months before his death.
In the early days, studio publicity certainly was a major motivation
behind his agreeing to be interviewed, and in his later days in some of
the longer interviews, he was interested in drawing public attention to
his project of reissuing his classic silent two-reel and feature-length
comedies. Yet the later interviews also convey his pride—justifiable, to
be sure—in his accomplishments. He wants to let people know that he
is still professionally active. “I work more than Doris Day,” he tells Rex
Reed. He is also particularly interested in discussing his own filmmak-
ing in the 1920s, revealing how innovative and masterful it was and
conveying how much fun he had in making his films.
Nevertheless, perhaps employing a psychological strategy in keeping
with his deadpan reputation, Keaton in the interviews often presents
vill INTRODUCTION

himself in a rather legendary guise. A basic aspect of this legendary

identity comes out in the tale Keaton repeatedly tells about how he
acquired his name, “Buster.” No less a celebrity than Harry Houdini,
the great escape artist and master showman, on seeing the infant
Keaton fall down a flight of stairs unharmed, exclaims that such an
amazing fall was a “buster.” The name takes, and Keaton assumes a
mantle of future showmanship, one that warrants his recognition as a
prodigy on the vaudeville stage and augurs a destiny of greatness. In
her biography of Keaton, Marion Meade assembles considerable evi-
dence to deflate this myth of Houdini’s prophetic naming. Most likely,
she claims, it was Keaton’s father or one of his associates who gave the
infant Keaton his nickname.*
Another legendary tale in the interviews concerns Keaton’s introduc-
tion to filmmaking in March 1917. In that year the family vaudeville
act, “The Three Keatons” (father, mother, and Buster), had broken up,
and Keaton had gone to New York to look for work on Broadway. In the
interviews, Keaton repeatedly claims that walking down the street in
midtown Manhattan he had run into an old vaudeville friend, Lou
Anger, who was with Roscoe “Fatty” Arbuckle. Right there, Anger intro-
duced Keaton to Arbuckle. Arbuckle had recently been lured away from
Mack Sennett by Joseph Schenck who had set him up in his own pro-
duction company, the Comique Film Corporation, where he was just
starting to make two-reel comedies. Arbuckle invited Keaton to come by
the Colony Studio on East Forty-eighth Street and do a scene with him.
The next day Keaton does the scene with Arbuckle and decides to work
in pictures with Arbuckle, giving up a lucrative Broadway contract. The
story might very well be true, although it has that fortuitous air about it
like other stories that make up the Keaton legend. Was Keaton’s meet-
ing Arbuckle on the street just an accident? Film historian Peter Kramer
finds the story of this coincidental meeting suspicious and notes the
powerful economic reasons that might have been at work in Keaton’s
teaming up with Arbuckle.”
In pondering how Keaton came to join Arbuckle at Comique, one
should keep in mind that in the late 1910s, American film comedy had
a penchant for pairing comedians with contrasting body types and
characters. In his 1916-17 Mutual films, diminutive, crafty Chaplin
played brilliantly against hulking, at times ruthless, Eric Campbell.
 INTRODUCTION Ix

In his own two-reelers, Keaton used the principle of comic contrast in

frequently pairing himself with Big Joe Roberts. In his t921 interview
with Keaton, W. E. Mulligan notices the comic contrast between
Arbuckle and Keaton. He points out that not only were they contrasts
in body type, but they were also contrasts in expressive attitude.
Arbuckle was known for his broad smile and frequent laughter, as was
Al St. John, while Keaton fulfilled the role of the one who didn’t smile
or laugh. Even so, Kevin Brownlow in his interview with Keaton draws
attention to the shot of Buster’s broad grin in Arbuckle’s 1917 Coney
Island.> This invites the question of whether the contrastive pairing of
Arbuckle and Keaton was still being developed in the fall of 1917. Thus,
one can wonder about whether the pairing of Arbuckle and Keaton was
simply fortuitous or whether it might have been planned by Schenck or
others, anticipating that the two would make a good comedic team.
In the interviews Keaton describes his comedic style of deadpan
response as originating in his vaudeville days. He points to two sources.
On the vaudeville stage, he explains, it was natural for him to develop
such a comedic style of restrained affect. He tells Arthur Friedman:
“You just simply worked your natural way. I developed the ‘Stone Face’
thing quite naturally. I just happened to be, even as a small kid, I hap-
pened to be the type of comic that couldn’t laugh at his own material.
I soon learned at an awful early age that when I laughed the audience
didn’t. So, by the time I got into pictures, that was a natural way of
working.” His claim is that his deadpan reaction was naturally encour-
aged by how the audience responded.
Secondly, his father monitored Buster’s developing comedic style,
even whispering to him on stage to freeze his facial expression. Yet the
father and son’s stage interactions were so knockabout and boisterous
that it seems hard to imagine the young Keaton as always being facially
disaffected on stage. In Meade’s biography, there is a photograph of
The Three Keatons, staged to be sure, in which Buster is smiling while
his father clings precariously to a table. Also, as the Markle interview
shows, there was at least one other Three Keatons gag that required
Buster to wear an exaggerated facial expression: Standing by the side of
the stage, Buster had to look as if someone were choking him and try-
ing to pull him off stage. In addition, Buster regularly parodied other
acts and stage personalities. He even performed melodramatic roles in
x INTRODUCTION

playlets. The variety of stage roles would seem to have allowed Keaton
to express several different acting styles.
While crediting Arbuckle as one of the best comedy directors at the
time and a brilliant teacher, Keaton says very little about how he devel-
oped a comedic persona that complemented Arbuckle’s. When Robert
Franklin asks Keaton to recall and describe Arbuckle’s and his making of
Coney Island out at the Long Island amusement park, Keaton replies:
“I remember making it very well—nothing to write about. We just went
down there, went on the concessions at Luna Park, and got in trouble—
that was all there was to that.” The impression given by Keaton’s reply
is that his and Arbuckle’s interactions were in some way natural behav-
ior. Both had a natural penchant for getting “in trouble,” a talent the
films exploited.
Of course, there was more to it than that. This tendency to downplay
the skill and artifice behind filmmaking extended to the way Keaton
sometimes described his own films. Recognizing the brilliance of the
extended chase scene at the end of Cops, Studs Terkel asks him to talk
about this amazing achievement. Keaton modestly replies: “Oh, just
doing a hit-or-miss routine there, just ducking cops in all directions.
Just a common ordinary chase sequence.” Sure, sure, and the Taj Mahal
is just a bunch of stones piled on top of each other!
Nevertheless, Keaton had a firm idea about how he thought his films
should be made. He held very definite views about acting style in his
feature-length films. For example, he tells Kevin Brownlow that one of
his criticisms of Donald Crisp, whom he had hired initially to co-direct
The Navigator with him, was that Crisp allowed the actors to overact.
Referring to an early scene in the film in which spies confer about the
need to sink the ship in order to prevent it from being used to aid their
enemies, Keaton says that he had to reshoot the scene because Crisp
“let them do alittle overacting. I was always alittle fussy about that.
I didn’t like overacting.”
Given Keaton’s deadpan countenance and his characteristic comic
behaviors (e.g., his labored pacing, his bending way over at the waist to
look at something), one can question Keaton’s commitment to present-
ing human activity in some natural way. James Agee thought that
American silent comedy had developed a special vocabulary of exagger-
ated comic actions. Yet there is no question that Keaton’s interest in
 INTRODUCTION xi

natural deportment and restrained acting informs his view about the
presentation of comedy in his films, particularly the sequencing of gags.
The interviews show his concern for the appropriateness and coherent
fit of comic structures. He mentions some problems that he had with
several gags: he had to modify or eliminate certain pieces of comic busi-
ness in the underwater sequence of The Navigator and in the Tong war
in The Cameraman. If a gag did not work in a particular sequence, how-
ever funny the gag might be as a single piece of comedy, Keaton
insisted that it not be used. He was also not averse to giving the inap-
propriate gag to other comedians to use in their films.
Keaton’s insistence on the appropriateness of the gag and its natural
coherence with the narrative also extended to his thoughts on the con-
struction of the comic narrative. Several times he discusses the procedure
he and his usual three-person comedy team would use for developing
comic material. He tells Friedman: “So, the minute somebody had an
idea—we said what is it going to lead to? We don’t go to the middle of
the story; we jump right to the finish. So the finish—this would be the
natural finish—says now does that give us any opportunities for gags?
Make it exciting, fast action sometimes, and a couple of outstanding
gags. We’ve got to be able to place those naturally, ’cause one of the
worst mistakes you could make in those pictures was dragging in a gag
by the heels. A misplaced gag, even though it’s good, it’s wrong to do.”
The middle of the narrative or comic sequence, Keaton thought, would
be worked on later. He told Robert Franklin: “We always figured the
middle would take care of itself.” In skipping the middle until later,
Keaton envisions that there will be a natural way to link the beginning
with the finish.
Despite this particular form of comic scenario construction, Keaton
in several interviews stresses that he never used a script for his two-reel
and even his feature-length comedies. He tells Friedman: “We never
had a script; we never did have one.” To which Friedman responds,
“And you’d go out and shoot this and let the cameras grind and see
what they could pick up. Is that the idea?” Keaton rejects that perspec-
tive, saying: “Well, we didn’t need a script. I knew in my mind what we
were going to do, because with our way of working, there was always
the unexpected happened.” Of course, he had to do considerable plan-
ning even if there were no “script.” Kevin Brownlow asks Keaton to
xi INTRODUCTION

explain how he knew what to take on location if there were no script:

“But if you hadn’t written anything, how did you know what props to
take?” Keaton replies: “Oh, they all knew. The prop man, he’d know
everything you needed. Wardrobe department would too. Gabourie
knew what to build. Didn’t need anything on paper.”
Although it doesn’t settle this issue, part of the problem might have
to do with not using the right term to describe the plan for the film
narrative. As derived from the theater, a script would list the successive
speeches of the actors and integrate them with the development of the
narrative. Of course, in the silent era the narrative wasn’t presented in
terms of dialogue. What dialogue there was in the film was presented in
inter-titles, which were usually written after the scenes had been shot.
In fact, in the silent era, the common term for the plan of the film nar-
rative was “the continuity,” not the script. One set out the scenario in
“the continuity.” In a telling remark about making The General, Keaton
tells Brownlow: “Now, I wrote-my own story, my own continuity.
I directed it and cut it and titled it. So actually it was a pet.”
However, in his rejection of the script, Keaton is emphasizing the
role that spontaneity played in the filmmaking process. As he later saw
when at MGM in the 1930s, big studios used a script as a fixed recipe for
exactly what was to be included in the film narrative. The script was to
be rigidly adhered to; no deviations were to be allowed. Keaton wel-
comed the unexpected and unrehearsed. In his autobiography, he says
that “I always preferred working on location because more good gags
suggested themselves in new and unfamiliar surroundings.”*4 The Terkel
and the Friedman interviews have examples from Three Ages and Seven
Chances which show how Keaton and crew were able to take advantage
of unexpected occurrences while in the process of shooting. Even in
editing the film, Keaton, who did his own editing, gives the impression
that he wanted to reserve the right to make later changes in the narra-
tive, to reshoot scenes if he thought necessary. After all, he points out,
the whole production crew was on salary; his studio owned the cameras
and equipment. If he wanted to reshoot a scene, the only cost was the
expense of the film and gasoline for transportation.
Nevertheless, Keaton’s view of filmmaking was not completely cen-
tered on exploiting coincidences that occurred while filming. If he had
a particular gag in mind, if there were a comic effect that he wanted to
 INTRODUCTION Xili

achieve, he was tireless in working to realize it. Perhaps the best exam-
ple from the interviews is Keaton’s description of how he and his crew
overcame numerous obstacles to perfect the gag in The Boat in which
Buster at the prow of his little craft slides down the slipway and disap-
pears under the water leaving only his porkpie floating on the surface.
Time and again in the interviews Keaton reveals the techniques he
and his crew used in the 1920s to create his comedies. He tells Kevin
Brownlow about the innovative means he used to make the montage of
changing scenes in Sherlock Jr. and how he used surveyor’s instruments
to match shots in Seven Chances. The great traveling shots of The
General are also discussed, as is the underwater sequence in The
Navigator. Keaton is informative about the contributions of his crew,
pointing out how one of his top-notch cameramen, Elgin Lessley, shot
certain scenes in Sherlock Jr., and how Fred Gabourie, his brilliant tech-
nical and art director, constructed some of the sets.
In supplying details about the ways that he solved problems involved
in making his films, Keaton reveals how frequently the films themselves
are based on scenarios of problem solving. This is not to say that the
films reflexively comment on Keaton’s filmmaking, but that Keaton has
an interest in technical problem solving. He explains that what drew
him to filmmaking was his fascination with the mechanics of produc-
ing a film. He frequently said that if he hadn’t been a filmmaker and
entertainer he would have liked to have been an engineer. This interest
comes out in how he made his films, the scenarios he used, and the
roles he played in the films. As a protagonist in his films Keaton often
exhibits an agency and an energy that overcome any melodramatic
positioning of his character as a victim. One of my favorite lines in the
interviews is Keaton’s response to a comment that Herbert Feinstein
makes in discussing the role Keaton plays in The General. Feinstein says:
“In The General, the boy is a schlemiel.” Keaton replies: “In The General,
I’m an engineer.”
In his films, Keaton was very much aware of the generic formulae to
which dramatic films at the time conformed. Many of his films parody
generic conventions. He was also interested in resisting a collapse of
his own style of comedy into what he referred to as “farce comedy.”
Joan Franklin asks Keaton to characterize “farce comedy” in order to
distinguish it from Keaton’s style of comedy. Keaton responds with a
XIV INTRODUCTION

wonderful short exposition of this generic form that by contrast illumi-

nates his own comic vision. “Farce comedy,” he says, “as a rule is based
on a simple misunderstanding or a mistaken identity. There’s always a
couple of characters in that show, and if they come out and say, “Wait a
minute, this is the case,’ all the problems would be solved. And, [there’s]
a farce tempo. In all farce comedies, everybody works automatically
faster than they do when they’re telling a legitimate story. They take
things bigger. People get hysterical easy.”
Of course, there is a lot of fast action in Keaton’s films. Yet, even in
those of his films in which a misunderstanding plays a significant part
of the narrative (e.g., Battling Butler and The General), the Keaton pro-
tagonist does not rely on some melodramatic recognition of the actual
situation to resolve the problem. If his exploits are framed within a
dream, the Keaton protagonist sets out to overcome the narrative
predicament he faces. One can even see Keaton’s set deadpan counte-
nance as fitting in with the protagonist’s nonfarcical sense of agency
and as standing opposed to that conventional tendency to “get hysterical
easy.”
Selecting the interviews for this volume involved some difficult
choices. Because of the length of the volume stipulated by the press,
not all of the interviews with Keaton could be included. In making the
selection, I relied upon several criteria. One criterion I used was to
include only full interviews. So I did not include selections from either
Keaton’s autobiography (Keaton and Samuels, My Wonderful Life of
Slapstick) or from Rudi Blesh’s Keaton, which is based extensively on
interviews with Keaton. Both volumes are essential reading for under-
standing Keaton’s life and career; however, they are not difficult to find,
at least in libraries.
A top priority was to include major unpublished Keaton interviews.
I found that there were four extensive unpublished Keaton interviews.
First, in chronological order, there is Arthur B. Friedman’s 1956 “Turning
Point Interview with Buster Keaton.” Friedman had published an
excerpt from the interview, but the full interview archived at UCLA had
never been published. I made a new transcription from the taped
recording. Second, there is Robert and Joan Franklin’s 1958 “Interview
with Keaton.” Again, I made a new transcription of the interview from
the taped recording. The third interview is Studs Terkel’s 1960
 INTRODUCTION XV

“Interview with Buster Keaton.” Terkel has published a condensed selec-

tion from the interview, but the whole interview archived at the Chicago
Historical Society had never been published. I transcribed the full
interview. Finally, there is Kevin Brownlow’s 1964 interview, “Buster
Keaton.” Brownlow has published an excerpt from the interview, and
the interview served as the basis for his chapter on Keaton in The Parade’s
Gone By; however, the complete interview had never been published.
Another criterion I used was to include the best interviews available,
even if they were widely known. So, although the Bishop interview has
been reprinted several times, because of its insights about Keaton’s
films, it deserved a place in the volume. Keaton interviews have
appeared in different media, and I thought some nonprint ones should
be included. The 1964 Markle interview originally appeared on
Canadian television. Some of the television interviews and shows that
featured Keaton did not lend themselves well to being presented as a
print transcript. One needed to see the image, and for that reason I
excluded them.
Whether interviews were publicly accessible was also a consideration.
A few of the television interviews (e.g., The Today Show: Buster Keaton
Revisited [1963]) are available for personal viewing at the Museum of
Television and Radio at their locations in Los Angeles and New York.
Buster Keaton Rides Again (1965), the documentary about Keaton’s
appearance in The Railrodder, contains some very interesting conversa-
tion with Keaton. Nevertheless, it is available as a VHS videotape from
Kino on Video (www.kino.com/). If an interview were available in an
on-line version, I usually opted not to include it. Some of the early
interviews from the 1920s are available at the Generally Buster web site,
(www.geocities.com/~oldbrit/busterindex.htm). Keaton had an interna-
tional reputation, and there are several foreign language interviews
with Keaton. I chose to include a fairly obscure one, George Sadoul’s
1962 “A Dinner with Keaton.” It appears in an English translation for
the first time. Finally all of Keaton’s films from One Week to Steamboat
Bill, Jr., are available from Kino on Video. Information about the avail-
ability of other Keaton films is listed on the International Buster Keaton
Society (“The Damfinos”) web site, www.busterkeaton.com/.
Many people assisted me in locating hard-to-find Keaton interviews,
aided me in obtaining permission to publish them, and opened doors
xvi INTRODUCTION

so that I could transcribe the unpublished ones. Deserving special thanks

are Kevin Brownlow, Bob Borgen, Eileen Whitfield, Peter Kramer, Charles
Wolfe, Joanna Rapf, David Pearson, Larry Shiner, and especially Elizabeth
Winston. Bo Berglund, Jean-Pierre Coursodon, and David Bordwell
offered sage advice which steered the project around some problems.
Archivists at the following institutions were extremely helpful: Jessica
Wiederhorn, formerly at the Columbia University Oral History Research
Office; Lesley A. Martin at the Chicago Historical Society; Sean Delaney
at the British Film Institute; Genie Guerard, Department of Special
Collections, UCLA Library; Barbara Hall and Sandra Archer at the
Margaret Herrick Library of the Academy of Motion Picture Arts and
Sciences; Mickey Wells and Elizabeth Barron at the Macdonald-Kelce
Library of the University of Tampa; and, for much generous assistance
over many years, the staff at the Library of Congress Film Archive, espe-
cially Madeline Matz, Rosemary Haines, and Zoran Sinobad. I would
also like to thank Louise Jones, Patricia Tobias, Melissa Talmadge Cox,
Darcy Dapra, and Marion Meade. For their patience, good counsel, and
timely assistance, I extend a special thank you to my editors: Seetha
Srinivasan, Anne Stascavage, and Walter Biggins.
Finally, I wish to acknowledge the financial assistance of a Delo
Research Grant from the University of Tampa.
KWS

Notes
1. Marion Meade, Buster Keaton: Cut to the Chase (New York: HarperCollins,
1995), pp. 18-20.
2. Peter Kramer, “A Slapstick Comedian at the Crossroads: Buster Keaton,
the Theater, and the Movies in 1916/17,” Theatre History Studies 17 (June 1997):
133-46.
3. For astill image of this grin, see Tom Dardis, Keaton: The Man Who
Wouldn't Lie Down (New York: Scribner’s, 1979), [Dy BXOy
4. Buster Keaton with Charles Samuels, My Wonderful World of Slapstick
(1960: rpt. New York: Da Capo Press, 1982), p- 142.
ContRSO
IN) OnlwO: Guy

1895 Joseph Frank Keaton is born October 4 in Piqua, Kansas

(a small farming community not far from Iola in southeast-
ern Kansas) to Myra and Joseph Hallie Keaton.
1896 Keaton acquires the name of “Buster.” Legend has it that
Harry Houdini gave him the name, although it was more
likely his father.
1900 In October at Bill Dockstader’s Wonderland Theatre in
Wilmington, Delaware, Keaton joins his father and mother
on stage as a salaried member of their vaudeville act, later
to be called “The Three Keatons.”
1917 February—March: After years as one of the most famous acts
in American vaudeville, The Three Keatons break up.
Keaton goes to New York and gets a contract to appear in
the Shubert brothers’ The Passing Show of 1917 at the Winter
Garden theater on Broadway. However, after running into
Lou Anger, an old vaudevillian acquaintance, Buster is
invited to do a scene with Roscoe “Fatty” Arbuckle who was
beginning to make two-reel comedies for Joseph Schenck at
the Colony Studio on East Forty-eighth Street. Buster
appears in Arbuckle’s The Butcher Boy and, breaking his con-
tract with the Shuberts, starts working under Arbuckle’s
direction for the Comique Film Corporation, acting in two-
reel comedies. October: Keaton and the rest of the Comique
crew move to Long Beach, California, to make their films.
1918 During World War I, Keaton is drafted into the army. He
serves in France, mostly entertaining the troops.
xvili CHRONOLOGY

1919 In April, Keaton returns to Los Angeles and resumes work

with Arbuckle making films. That December Arbuckle
receives a contract from Adolph Zukor at Paramount to star
in feature-length films. Schenck turns Comique over to
Keaton to make and star in two-reel comedies to be released
through Metro. Keaton sets up production in the old Chaplin
studio in Hollywood, now named the Keaton Studio.
1920 With Eddie Cline as co-director, Keaton shoots but does not
release The High Sign. That summer Keaton stars in The
Saphead for Metro. In the fall, Keaton shoots and releases
One Week to rave reviews. Between 1920 and 1923 he will
make nineteen two-reel comedies.
1921 Keaton marries Natalie Talmadge at Joseph Schenck’s estate
on Long Island, New York. Schenck, who is married to
Norma Talmadge, is now his brother-in-law. After releasing
eight two-reelers through Metro, Keaton, through Schenck’s
negotiations, gets a contract to release his remaining eleven
comic shorts through First National, beginning with The
Playhouse. Roscoe Arbuckle is tried on charges of raping and
murdering Virginia Rappe in a San Francisco hotel. After
three trials, Arbuckle is exonerated, but the scandal effec-
tively ends his career.
1922 To avoid connection with the Arbuckle scandal, Schenck
changes the Comique Film Corporation to Buster Keaton
Productions.
1923 In the spring, Keaton releases his last two-reeler, The Love
Nest. That fall he releases through Metro his first comic
feature, Three Ages, shortly followed by his second, Our
Hospitality, in which he, his wife Natalie, their infant son,
and Keaton’s father all appear.
1924 Keaton releases Sherlock Jr. in the spring and The Navigator
in the fall.
1925 Seven Chances is the spring release; Go West is the fall release.
1926 Battling Butler is released. Joseph Schenck becomes president
of United Artists. That summer Keaton shoots The General
in Cottage Grove, Oregon.
Exploring the Variety of Random
Documents with Different Content
 Astronomy - Exercise Book
Second 2022 - Laboratory

Prepared by: Lecturer Jones

Date: July 28, 2025

Quiz 1: Statistical analysis and interpretation

Learning Objective 1: Current trends and future directions
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Learning Objective 2: Statistical analysis and interpretation
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Learning Objective 3: Interdisciplinary approaches
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Learning Objective 4: Key terms and definitions
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Learning Objective 5: Experimental procedures and results
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Experimental procedures and results
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Practice Problem 6: Statistical analysis and interpretation
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Research findings and conclusions
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
[Figure 8: Diagram/Chart/Graph]
Definition: Historical development and evolution
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Key terms and definitions
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Chapter 2: Interdisciplinary approaches
Definition: Theoretical framework and methodology
• Key terms and definitions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
[Figure 11: Diagram/Chart/Graph]
Practice Problem 11: Historical development and evolution
• Key terms and definitions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 12: Diagram/Chart/Graph]
Practice Problem 12: Problem-solving strategies and techniques
• Key terms and definitions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Key Concept: Current trends and future directions
• Interdisciplinary approaches
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Note: Historical development and evolution
• Interdisciplinary approaches
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 15: Assessment criteria and rubrics
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Note: Case studies and real-world applications
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Example 17: Practical applications and examples
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Example 18: Fundamental concepts and principles
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Key Concept: Interdisciplinary approaches
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Abstract 3: Statistical analysis and interpretation
Practice Problem 20: Problem-solving strategies and techniques
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Key Concept: Best practices and recommendations
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Practice Problem 22: Research findings and conclusions
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Practice Problem 23: Experimental procedures and results
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 24: Best practices and recommendations
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Critical analysis and evaluation
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Interdisciplinary approaches
• Key terms and definitions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Important: Historical development and evolution
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Note: Ethical considerations and implications
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Problem-solving strategies and techniques
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 30: Diagram/Chart/Graph]
Quiz 4: Interdisciplinary approaches
Important: Fundamental concepts and principles
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Note: Interdisciplinary approaches
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Definition: Research findings and conclusions
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Practical applications and examples
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Example 34: Critical analysis and evaluation
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Case studies and real-world applications
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Comparative analysis and synthesis
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Comparative analysis and synthesis
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Definition: Case studies and real-world applications
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Example 39: Problem-solving strategies and techniques
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Abstract 5: Problem-solving strategies and techniques
Important: Practical applications and examples
• Interdisciplinary approaches
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Remember: Statistical analysis and interpretation
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Historical development and evolution
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Learning outcomes and objectives
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 44: Assessment criteria and rubrics
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Practical applications and examples
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Example 46: Statistical analysis and interpretation
• Study tips and learning strategies
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 47: Assessment criteria and rubrics
• Interdisciplinary approaches
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Assessment criteria and rubrics
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Fundamental concepts and principles
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 50: Diagram/Chart/Graph]
Exercise 6: Key terms and definitions
Key Concept: Literature review and discussion
• Interdisciplinary approaches
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Important: Best practices and recommendations
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Example 52: Case studies and real-world applications
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Note: Current trends and future directions
• Problem-solving strategies and techniques
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 54: Diagram/Chart/Graph]
Practice Problem 54: Interdisciplinary approaches
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Example 55: Case studies and real-world applications
• Critical analysis and evaluation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Remember: Best practices and recommendations
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 57: Key terms and definitions
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 58: Diagram/Chart/Graph]
Practice Problem 58: Key terms and definitions
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Key terms and definitions
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Discussion 7: Research findings and conclusions
Note: Experimental procedures and results
• Research findings and conclusions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Important: Study tips and learning strategies
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Key Concept: Current trends and future directions
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Note: Theoretical framework and methodology
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 64: Current trends and future directions
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 65: Experimental procedures and results
• Theoretical framework and methodology
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Definition: Problem-solving strategies and techniques
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 67: Diagram/Chart/Graph]
Definition: Critical analysis and evaluation
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Remember: Critical analysis and evaluation
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 69: Critical analysis and evaluation
• Key terms and definitions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Results 8: Theoretical framework and methodology
Important: Learning outcomes and objectives
• Historical development and evolution
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Theoretical framework and methodology
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Interdisciplinary approaches
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Definition: Case studies and real-world applications
• Practical applications and examples
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Experimental procedures and results
• Statistical analysis and interpretation
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Practice Problem 75: Problem-solving strategies and techniques
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Case studies and real-world applications
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Problem-solving strategies and techniques
• Learning outcomes and objectives
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Study tips and learning strategies
• Problem-solving strategies and techniques
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Note: Interdisciplinary approaches
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Background 9: Literature review and discussion
Important: Critical analysis and evaluation
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Problem-solving strategies and techniques
• Comparative analysis and synthesis
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Important: Practical applications and examples
• Literature review and discussion
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Important: Statistical analysis and interpretation
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
Formula: [Mathematical expression or equation]
Definition: Theoretical framework and methodology
• Experimental procedures and results
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 85: Diagram/Chart/Graph]
Remember: Ethical considerations and implications
• Current trends and future directions
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Definition: Case studies and real-world applications
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
[Figure 87: Diagram/Chart/Graph]
Important: Interdisciplinary approaches
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 88: Interdisciplinary approaches
• Best practices and recommendations
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Note: Literature review and discussion
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Part 10: Key terms and definitions
Note: Statistical analysis and interpretation
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Note: Research findings and conclusions
• Fundamental concepts and principles
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Statistical analysis and interpretation
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
[Figure 93: Diagram/Chart/Graph]
Important: Research findings and conclusions
• Problem-solving strategies and techniques
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Formula: [Mathematical expression or equation]
Practice Problem 94: Experimental procedures and results
• Assessment criteria and rubrics
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Key Concept: Problem-solving strategies and techniques
• Ethical considerations and implications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
Remember: Case studies and real-world applications
• Case studies and real-world applications
- Sub-point: Additional details and explanations
- Example: Practical application scenario
- Note: Important consideration
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