森内特的工作室被称为“好莱坞欢乐工厂之王”(the King of Hollywood's Fun Factory),[10]其制作的搞笑喜剧中的经典场景包括:汽车追逐中将头发吹起,以及蛋奶派(英语:Custard pie)大战,尤其是在《基斯通警察》系列中。尽管表演得不错,但这些公式化喜剧场景都是基于幽默的情景设计,而非喜剧演员的个人特征。森内特剧团成员经常怪诞地扮演各种社会类型,足以在很大程度上呈现“可互换的经典”:“留着有趣的小胡子,斗鸡眼,或者额外的两百磅体重,都是所需的个性化。”[8][注 4][9]
森内特的第一位女喜剧演员是梅布尔·诺曼德,诺曼德在他的指导下成为了一位大明星,而且他俩开始了一段动荡的浪漫关系。森内特还创作了《儿童喜剧》(Kid Comedies),这是《我们一伙(英语:Our Gang)》系列电影的前身。在很短的时间内,他的名字就成了当时被称为“忽悠”(flickers)的银幕喜剧的代名词。1915年,森内特与D·W·格里菲斯和托马斯·因斯两位电影界实力人物联手,使基斯通工作室成为雄心勃勃的三角电影公司(英语:Triangle Film Corporation)一个独立制作单位。[11]
森内特在1920年代初期的许多电影都被华纳兄弟所继承。华纳兄弟与最初的发行商第一国民影业(英语:First National Pictures)合并,并为其中几个短片添加了音乐和解说。不幸的是,由于储存条件不足,这一时期的许多影片发生物理恶化而毁坏。结果,森内特最富有成就和创造力时期的许多电影已经失传。[6]
^原文:His gift was in providing a haven or school for ambitious young talents.[他的天赋是为雄心勃勃的年轻人才提供学校,或者说天堂。]
^原文:In its pre-1920s heyday [Sennett's Fun Factory] created a vigorous new style of motion picture comedy founded on speed, insolence and destruction, which won them the undying affection of the French Dadaists…
^原文:Fatty's persona as the "jolly fat man" constrained him from being something more than that. The more conventionally good-looking Chaplin and Keaton could eventually aspire to roles that were more promising, leading to their ultimate transcendence of slapstick.[“快乐胖子”的形象限制了胖子的身份。传统上更好看的卓别林和基顿最终可能会渴望扮演更有前途的角色,从而最终超越搞笑。]以及:I have felt that Charles Chaplin and Buster Keaton rose to the heights of screen comedy by distancing themselves from their Sennett/Normand/Arbuckle roots.[我觉得查尔斯·卓别林和巴斯特·基顿,通过远离森内特/诺曼德/阿巴克尔的根源,而上升到银幕喜剧的高度。]
^原文:While Mack Sennett has a secure and valued place in the history of screen comedy, it is surely not as a developer of individual talents...Chaplin, Langdon and Lloyd were all on the lot at one point or another, but developed their styles only in spite of Sennett, and grew to their artistic peaks only away from his influence...screen comedy followed Chaplin's lead and began to focus more on personality than situation.
^原文:Sennett is [incorrectly] credited with developing most of the great comic talent of the silent film.[森内特被[错误地]认为是无声电影中大部分伟大喜剧天赋的开发者。]
^原文:It is an axiom of screen comedy that a Shetland pony must never be put in an undignified position. People don't like it...immunity of pretty girls doesn't go as far as the immunity of the Shetland pony...you can have her fall into mud puddles. They will laugh at that. But the spectacle of a girl dripping with pie is unpleasing...movie fans don't like to see pretty girls smeared up with pastry. Shetland ponies and pretty girls are immune.
^迈克尔·辛诺特. Mack Sennett: Canadian-American director and producer [马克·森内特:加拿大裔美国导演和制片人]. 大英百科全书. 1999 [2020-10-03]. (原始内容存档于2023-02-20) (英语). Sennett trained a coterie of clowns and comediennes that made the Keystone trademark world famous: Mabel Normand, Marie Dressler, Gloria Swanson, Fatty Arbuckle, Harry Langdon, Ben Turpin, Charlie Chaplin, Harold Lloyd, and W.C. Fields among them. Such important directors as Frank Capra, Malcolm St. Clair, and George Stevens also received experience under Sennett’s tutelage.[森内特培养了一群小丑和喜剧演员,使基斯通品牌闻名于世:其中有梅布尔·诺曼德、玛丽·德雷斯勒、格洛丽亚·斯旺森、胖子阿巴克尔、哈利·兰登、本·特平、查理·卓别林、哈罗德·劳埃德和W·C·菲尔兹。弗兰克·卡普拉、马尔科姆·圣克莱尔、乔治·史蒂文斯等重要导演也在森内特的指导下取得了经验。] (页面存档备份,存于互联网档案馆)
^Walker, Brent. Mack Sennett's fun factory: a history and filmography of his studio and his Keystone and Mack Sennett comedies, with biographies of players and personnel [马克·森内特的欢乐工厂:其工作室、其基斯通和马克·森内特喜剧的历史和电影年表,含演员和人员的传记]. 杰斐逊 (北卡罗来纳州)(英语:Jefferson, North Carolina): 麦克法兰公司. 2010: 7. ISBN 0786457074(英语).
^Thomas, Bob. Sennett Takes Sentimental Journey in Past at Reunion [森尼特在留尼汪岛踏上过去的感伤之旅]. Panama City News. 1954-03-12 (英语).来自:Looking for Mabel Normand [寻找梅布尔·诺曼德]. [2012-02-03]. (原始内容存档于2012-11-01) (英语). (页面存档备份,存于互联网档案馆)