Diana “Baby Peggy” Cary, age 5, in Darling of New York (1923, dir. King Baggot) (via) And today’s child stars think they have it rough: “[While filming a fire sequence for Darling of New York], King Baggot and my father walked me through the set and showed me how the crew had lined the windows & the only door with sawdust soaked in kerosene, which would be set afire for the scene. I was warned it would only be “one take” as the set would be completely burned. I was shown the two different windows in the kitchen which would be ablaze when the camera rolled. I was to look at them but turn away and run to the door. It would not be torched by the crew, Baggot said, and I was to escape immediately through that door.  But when filming began and I reached the door I found the crew had mistakenly set it ablaze. The door knob was already too hot to touch. But the camera, Baggot, and my father, shooting from a distance through the window above the kitchen sink, could not see the flames. I knew I could not spoil the scene by explaining the situation to them. So while they kept shouting at me to “GO OUT THE DOOR!” I ran back to the sink & the window above it, which was not burning as fiercely as was the door. Moving fast I clambered through the burning open window and gave the camera an unexpected close up of me escaping through the flames! …Surprising as it seems, I worked with fire even as a toddler, and in other dangerous situations often over the years. I learned that my guides did not always see the dangers I saw up close. I realized early on that it was up to me to take care of myself and do whatever it took to get through a scene safely without ruining the film.” -excerpted from Diana Cary’s piece on the good old days before child labor legislation at Starts Tuesday

Diana “Baby Peggy” Cary, age 5, in Darling of New York (1923, dir. King Baggot) (via)

And today’s child stars think they have it rough:

“[While filming a fire sequence for Darling of New York], King Baggot and my father walked me through the set and showed me how the crew had lined the windows & the only door with sawdust soaked in kerosene, which would be set afire for the scene. I was warned it would only be “one take” as the set would be completely burned. I was shown the two different windows in the kitchen which would be ablaze when the camera rolled. I was to look at them but turn away and run to the door. It would not be torched by the crew, Baggot said, and I was to escape immediately through that door. 

But when filming began and I reached the door I found the crew had mistakenly set it ablaze. The door knob was already too hot to touch. But the camera, Baggot, and my father, shooting from a distance through the window above the kitchen sink, could not see the flames. I knew I could not spoil the scene by explaining the situation to them. So while they kept shouting at me to “GO OUT THE DOOR!” I ran back to the sink & the window above it, which was not burning as fiercely as was the door. Moving fast I clambered through the burning open window and gave the camera an unexpected close up of me escaping through the flames!

…Surprising as it seems, I worked with fire even as a toddler, and in other dangerous situations often over the years. I learned that my guides did not always see the dangers I saw up close. I realized early on that it was up to me to take care of myself and do whatever it took to get through a scene safely without ruining the film.”

-excerpted from Diana Cary’s piece on the good old days before child labor legislation at Starts Tuesday