Emilie Johnson

In 1912, Emory Johnson dropped out of college and embarked upon a career in the movie business, starting as an assistant camera operator at Essanay Studios.Jönsdotter's parents agreed to the arrangement, realizing the minister could provide educational opportunities they could never afford.In 1913, to more closely support their son's blossoming movie career, Emilie and her husband moved to one of the newly built Essanay bungalows in Niles, California.By June 1915, Kriterion had cash flow problems, went bankrupt, and left Liberty Film with a $40,000 debt.[10][11] At the beginning of 1916, Emory left Liberty and signed a contract with Universal Film Manufacturing Company.He would make seventeen movies in 1916, including six shorts and eleven feature-length dramas, the second-highest output of his career in a year.[15] That same year, Hobart Bosworth Productions picked up another Emilie Johnson project, The Sea Lion.[16] Emilie and her son had initially been contracted with Robertson-Cole to write, produce, and direct The Midnight Call.[17] In May, the Riverside Independent Enterprise published an article stating Emilie had written nineteen scenarios.Emory directed this Emilie Johnson story about a firefighter forced into retirement who triumphantly returns to save the day.It is about railroad engineer Bill Buckley, who narrowly avoids injuring the daughter of the company's president by stopping his speeding train just in the nick of time."[25] Emilie started the year by writing the story for her fifth FBO film, The Spirit of the USA, about World War I, released in May.[26][27][28] Emilie finished the year with her sixth film in this series,Life's Greatest Game, released in October.The rest of the film features crooks, illicit affairs, the spectacular sinking of the Titanic, romance, and a middle-aged father uniting with his long-lost son.[33][34] It tells the story of a sea captain who returns home from a long voyage and discovers that his wife and child have been kidnapped.[38] In September, Emilie "assisted" in the writing of The Lone Eagle, a World War I aviation film, according to the credits.The film is a police tale with elements of aviation drama, jewel thieves, and a love story.[41][42] After completing three moderately successful movies for Universal, the Johnson team jumped ship, reneged on their eight-picture contract, and signed with another company.This remake is a family drama about a young girl and her younger brother who are orphaned when their father is killed in a fire.[47] "Emory Johnson, engaged by Tiffany to direct "The Third Alarm" on the strength of his silent of the same title for FBO, has been off the picture since the first day's shooting.Martin Cohn, the editorial supervisor at Tiff, is finishing it, although direction credit will go to Johnson, beside a piece of the picture.In August 1932, Emory released his last film, Majestic Pictures' The Phantom Express, with Emilie receiving a story credit.This was the final curtain call for Emory's independent directing years and Emile's collaborative writing.[51] Emory became a portrait photographer in Los Angeles and eventually relocated to San Mateo, California.She had four grandchildren after her son married Ella Hall: Emilie Johnson wrote stories about law enforcement officers, firefighters, mail carriers, railroad engineers, patriots, baseball players, and newspaper press operators.Emory (Johnson) is always with me on these occasions, and we are in consultation daily regarding angles of the story that present themselves as a result of our observations.""To secure atmosphere for my railroad story, Westbound Limited, Emory and I have ridden in the engine cab, in the caboose, on the cowcatcher, and almost every place on the train that is an unusual one for a layman to occupy.""The greatest appeal in pictures is not in extravagant spectacles, historical pageants, or adaptations of fairy tales.