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152 HOW TO WRITE PHOTO PLAYS
scenario writing. Study all the angles of both, and put into practice all that is learned. Remember that it is a game of brains, and that brains must be used froaft the time the first idea comes into the mind until after the sale has been completed — and you will note the selecting of markets comes in this period.
CONVERSATION IN SCENES.
We know of several films, some of which were big multiple-reel features, which had to be "killed" — thrown away — because scene after scene had too much conversation in it to ever hope to "get over" the meaning clearly. In every case the director was let out, and the writer who prepared the scenario received a "black eye" with the company.
We do not doubt but what many of our readers have seen pictures on the screen which had scenes in them showing two characters engaged in a conversation for several seconds — perhaps a minute, if the clipping department could not spare the footage. While this conversation might have been vitally interesting during the taking of the picture, and might easily have furnished a big "punch" to a play on the speaking stage, it failed utterly to accomplish any purpose on the screen other than to bore the audience. Such scenes are fatal, and the beginner must avoid them.
One must be able to realize just how a scenario will look on the screen in order to eliminate this and other features which are sure to ruin a motion-picture production. The ability to sense how the action would look