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Hands of Hollywood
While knowledge of, and experience in, the writing of stage dialog, is an asset in writing for the Talkers, it is not essential. Some of our stage-trained writers might turn, with considerable profit to themselves and immense benefit to audiences, to the title writers for guidance. Skilful title writers had this advantage: they crammed the meat of an idea into a few words and they used conversation (writ' ten) to heighten dramatic or comedy effect, to emphasize the salients of a situation, rather than as a substitution for plot.
Many stage plays are "too talky," so are many talking pictures, nor will this difficulty be eliminated until all the scenario editors realize that dialog in itself is not the Aladdin's Lamp of this new art.
The most beautiful love speech means nothing without a trc mendous love motif behind it; a brilliantly written denunciation is mere bombast without a strong situation impelling its declaration.
Talkers of the future will use dialog to increase dramatic inten' sity rather than merely to carry the story along. This does not mean that Talkers will contain part dialog and part written titles, but that they will contain wordless action, which in itself is drama, and employ dialog as the complement rather than as the essence of the picture.
For example, a scene of a man tramping along a lonely country road, on his way to some tremendous emotional climax, has a dramatic value far transcending mere lines of dialog, such as: "I have tramped the roads for miles, all alone — remembering our old love — realizing your infidelity, and now I am going to kill you."
Pictorial beauty hovers at the elbow of the scenarist; pantomime brushes his experimenting fingers, and soon he will find these two blending with his present technique.
Then we shall have motion pictures with dialog and not merely dialog synchronized with picture frames.
The Fox Studios have led the way in blending dialog with the fundamental technique of the motion picture in "IN OLD ARIZONA."
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