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- Actress
- Writer
Often compared in looks and ability to Mabel Normand, lively, dark-haired comedienne Fay Tincher began as a vaudeville and musical comedy actress. Though she had operatic aspirations at the outset, Fay settled on an acting career. She first appeared on the Chicago stage while still finishing her studies. In 1913, she moved to the West Coast where she was discovered for film by D.W. Griffith. After a few short films she was cast as a vamp in The Battle of the Sexes (1914). However, it was soon realised that comedy, not drama, was her forte. No romantic or vixenish leads for this gal. Fay just wanted to make people laugh. She made sure that her appearance gave her a head start. Already rather short (at 5 feet 2 inches), she adopted as her trademark a purposefully unglamorous look: wearing essentially no makeup, she styled her hair with a distinctive big curl plastered to her forehead and dressed either in masculine clothes or in a black and white striped outfit which would not have looked out of place in a barber's shop.
At Reliance-Mutual, Fay was featured in the 'Komic Comedies' (1914-15), and successfully created her own regular character, a feisty stenographer named 'Ethel'. Publicity at the time touted her as 'the female Chaplin'. She gained further public notice by winning a bathing suit contest at Venice, California which led to further job offers. Between 1916 and 1919, Fay starred in two-reelers for Arts-Triangle, Keystone and Al Christie. She even briefly, and unsuccessfully, fronted her own production company. In 1923, she settled at Universal, adopting the character 'Min Gump' in the long-running 'Andy Gump' series, based on the comic strip. The coming of sound, coinciding with the end of the series in 1928, prompted Fay's sudden and permanent departure from the screen.- Editor
- Editorial Department
- Additional Crew
American motion picture editor, who, in 1977, was voted by 100 of his peers as the best his profession had ever produced. Hornbeck began his distinguished career in the industry, aged fourteen, as a film winder with the New York Motion Picture Company on 42nd Street and Broadway. In 1916, he joined Mack Sennett's Keystone Film Company and worked for twelve years as chief editor on numerous two-reel comedies. In 1934, Hornbeck went to England and became supervising editor for Alexander Korda's London Films, where he worked on such classics as The Scarlet Pimpernel (1934), Things to Come (1936) and The Thief of Bagdad (1940). He was known to be a meticulous craftsman, always wearing white gloves on both hands when handling celluloid.
In 1941, Hornbeck returned to America to collaborate with Frank Capra on the 'Why We Fight' series of documentaries in the Army Signal Corps Photographic Unit. After the war, he edited Capra's classic It's a Wonderful Life (1946) and MGM's State of the Union (1948). From 1949 to 1953, he was under contract to Paramount and won an Academy Award in for A Place in the Sun (1951). His other outstanding contributions during this decade include Shane (1953), The Barefoot Contessa (1954) and Giant (1956), in which his editing effectively disguised James Dean's untimely demise prior to completion of the picture.
After briefly free-lancing, Hornbeck joined Universal as supervising editor in 1960 and remained in that capacity until his retirement in 1976.- Maxwell Foster was born on 3 August 1899 in Ashbourne, Derbyshire, England, UK. He was an actor, known for Mary Barton (1964), The End of the Line (1957) and The Woman Eater (1958). He died on 11 October 1983 in Horsham, West Sussex, England, UK.