Hands of Hollywood (1929)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

The Story CONTINUITY WRITERS Continuity writers are the most skilled and most highly paid members of the screenwriting profession. Sometimes they are called scenario'writers, but this name is applied rather loosely to any individual engaged in any branch of screenwriting. Similarly, the term scenario is applied sometimes to the original story, sometimes to a synopsis or adaptation, and sometimes to the continuity itself. Continuity writers are those "who draw pictures with words.'" They make what we call "the blueprint,, of the story. They take the original story, the synopsis or adaptation and change it into continuity. Frequently they first write what is called "a continuity synopsis.1' This differs from an ordinary synopsis in this respect — it contains more detailed action and it is written in "sequences." A simple illustration will make clear the meaning of the term, sequence. Let us suppose that the story concerns a young girl, working in a department store. She is being courted by an undesirable character who, instead of being "poor but honest" is poor and dishonest. The girl meets the son of the owner of the department store, by flirting with him in a dance hall. They fall in love. The rich boy's father opposes the match because the girl is poor, thinking that all poor working girls are gold-diggers without virtue. The poor girl's father opposes the match because the boy is rich, thinking that all rich boys are gold-spenders, out to buy the virtue of girls. Complications ensue but, finally, after much footage, the boy and girl marry and every' body is happy. The action of the first part of the story, which takes place in the girl's home, may be called "the home sequence;" the action in the dance hall, "the dance hall sequence;" etc. These sequences are arranged in the order of time in which they are supposed to occur. (If the reader recognizes the above illustration as the synopsis of a certain recent picture, he or she is not to conclude that this is a good example of what the studios want for picture stories. It is "just one of those things.") [29]