How to Write Moving Picture Plays (1915)

18 HOW TO WRITE MOVING PICTURE PLAYS Mary; then back to the supper scene, showing Mary and John finishing their meal; this bridges the time it takes for them to eat. Another example would be where John is changing from his working clothes to his evening apparel. Do not embarrass John any farther than where he divests his coat, vest, collar, and tie. Flash another scene showing preparations at the ball-room where John is going, early guests arriving, etc.; then back to John, showing him now attired in his evening dress. (Scene 31 of sample play bridges the time between scenes 30 and 32, giving Nathan time to tell his story.) For example of breaking a scene with a Leader, John starts to change his clothes, we flash the Leader, “J°lm Has Misplaced His Hat;” then back to the scene showing John attired in evening clothes and searching the room for his hat. This leader bridges the time it takes for John to complete his toilet. (Also see scene 9 of sample play for another example.) It is better to use a leader preceding the scene rather than interrupting the action by inserting a leader during the scene. Both forms, however, are illustrated in sample play. It is also very convenient to use a leader at times to satisfy the Censorship Board. A murder is to be enacted : we show the villain point his revolver, then break the scene either with another scene or with a leader, then go back to original scene and show the victim on the floor and the villain standing above him with the smoking revolver in his hand; we have given the suggestion of murder without showing the actual deed. (Also see Section 8, Censorship, for other examples.) Use your leaders sparingly; make the action of your play tell the story. Never use a leader as a matter of convenience to get around some little difficulty until you have exhausted every means to see if by making some little change in the scene action, or perhaps inserting a short scene, you can portray the story more graphically and impressively by the pictures. We may often use a leader unnecessarily, where the action itself explains all that our leader told. One writer says, ‘‘Margaret Refuses Roy’s Offer of Marriage;” then, directly following this leader, shows in the scene action where Roy’s offer is spurned, making the leader entirely superfluous. Never use a long leader if it can be avoided. Leaders of fifteen and twenty words are too long. When we see a sub-title on the screen, it appears that the operator has stopped turning the crank and that the film is stationary. This is not true. The film is still running at rate of about one foot per second. Therefore, if the sub-title, or leader, consists of many words and must remain on screen for ten seconds in order for audience to read it, this means that ten feet of the film has been used for this reading alone, taking up that much of the valuable film instead of devoting it to the pictures. Then do not say, “John and Frank have been Friends Since Their Boyhood Days at School.” Shorten it by saying, “John and Frank, Chums Since Boyhood.” Try to avoid using a leader in front of the first scene, directly following the title. We often see this done; but it is more or less confusing to the audience, and is far better to show the title, run the first scene for a few moments, and then break the scene with your leader, if necessary. (See scene 1 of sample play.) A leader is ALWAYS used before producing the action it is to describe, and NEVER at the end of the scene or after the action has taken place. Words and sentences spoken by the characters may be used as leaders, such as: “She is My Wife,” “This is My Penalty,” “Go Your Way, I Go Mine,” “Do You Call this Revenge?” “Here is My Story,” “My Brother!” “I Thought You were My Friend,” etc. (also see scenes 15 and 34 of sample play.) Such a leader is often far more forcible than any other kind; sometimes, directly after showing a leader of “quoted words,” the audience can plainly follow the actor’s lips while speaking the words of the leader, giving the play more expression. Madge has been separated from her brother since childhood. A tramp knocks at the door. Through the years of hardship on his face she recognizes her brother. The leader, “My Brother!” is short, explains the whole situation, and is far more expressive than if we said, “Madge Recognizes the Tramp as Her Brother.” A wayward husband returns home to find his wife and baby gone, and a note from his wife stating that he will never see them again. Should it be at all necessary to use a leader, the quoted words, “This is My Penalty,” might have more force than would, “John is Remorseful.” Section 18.— LETTERS, CLIPPINGS, ETC. These are used for much the same purpose as leaders, and are to assist in explanation of your story. They are absolutely necessary at times, but should be used as sparingly as possible, if the audience is forced to read too many of these letters, notes, telegrams, newspaper clippings, etc., it detracts from the scene action. Your audience pays to see a “picture play,” and not to “read a magazine story.” These inserts should be as brief as possible, not exceeding thirty or forty words. The first few words of a letter or clipping can often be shown, giving just enough explanation to render your story clear; or oftentimes the closing lines of a letter with signature is sufficient, without giving the entire letter. When you want to show some such insert, merely state in margin, “Show Letter” (and then quote your letter), or “Show Telegram,” “Show Newspaper Clipping,” “Show Face of Watch,” “Show Pearl Necklace,” etc. Should you want to show a photograph in the back of a watch, the engraving on a jewel box, the printed title on the cover of a book, or some such article, at very close range, you can do so by using an insert as above the same as in showing a letter or telegram. Then say, “Back to scene,” and go on with story. Sample play gives examples. Such an insert does not constitute a separate scene, as there is no action, while a BUST view IS a separate scene. (See Section 19, What Constitutes a Scene.) If you use a newspaper clipping, do not say, “Show newspaper clipping telling of Helen’s marriage.” You must quote the article as you wish it to appear on screen. Producers are paying YOU to write the play. This does not mean that you should quote the entire article; you may use just the head lines or an extract from the printed article. (See scene 26 of sample play.) A telegram should show the address and the signature. For example: A. B. Wilson, 502 Walnut St., Cincinnati, Ohio. Come home at once. Must close deal tonight. R. J. Thomas. (Also see Scene 15 of sample play.) If you are showing a letter, make it sound plausible. If Walter is writing a letter to his sweetheart, do not make it read: