Motion Picture Magazine (Aug 1928-Jan 1929)

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/ / vV^hen Is a Story Stolen ? (Continued from page 113) So they register their intentions with the Hays office in Hollywood and make sure that no one else will make a similar picture. "We've been discussing a George Washington story for a long time," Montaigne admits ruefully. "Finally we thought to call up the Hays office and they told us that there were two companies ahead of us with a Washington film. Then we wanted to use the Ride of the Six Hundred, and someone else had spoken for that, too. We decided to do a picture dealing with the laying of the first Atlantic cable — and Metro had already filed intentions on that. A man is suing us now because in 'The Phantom of the Opera' we showed a flash of a stage scene from 'Faust.' He claims that he owns all stage and dramatic rights to 'Faust.' Of course, all he can own is some one unique treatment of the 'Faust' legend. "Two people often hit on the same idea at the same time. I was reading the Memoirs of Paul Blouet, the famous newspaper correspondent, some years ago, and ran across an incident which I thought would make a great picture. It was the ruse by which he got inside news of the doings of a very secret international conference. A delegate friend of his wore a hat exactly like Blouet's. At dinner time the reporter dined at the same restaurant as the heavily guarded delegates, and at the end of the meal took down his friend's hat instead of his own. Concealed in the lining was a finely written transcript of the entire proceedings of the conference. I made a scenario around this historical incident, and was about to sell it when I read a story by Richard Harding Davis, which had exactly the same plot. He and I had read the same Memoirs ! Again, I wrote last year a scenario called 'The Port of the Missing Women,' and we were about to make it into a picture when Irving Cummings came out with a photoplay of the same title, and with almost exactly the same plot! "When the cost of a production runs from three hundred thousand to a million, it is absurd to suppose that any studio would steal a plot when they could buy one for a thousand dollars. Besides, the scenario writers never see the scripts that are submitted. These are passed on by our readers who have nothing to do with the writing end." Anyone who submits a scenario to a studio may, for fifty cents, have the Screen Writers' Guild seal a duplicate of the story in an envelope, stamp it with the date, and lock it up in a safety deposit vault. Yet in spite of these things amateur writers continue to clamor that their brains are being burglarized. "My hero was a banker," they cry, "my heroine was his stenographer — and they fell in love just like that picture! They stole my plot !" These threats of plagiarism are destroying the market for original stories. Most of the studios are eager for new ideas. Universal itself advertises for original plots at great expense once a week in a great national magazine, but the cost of defending themselves against these silly and unjust lawsuits has already led Famous Players and De Mille to send out word that they will not examine any manuscripts submitted to them. The convicts with new life stories, the barbers and bakers and carpenters with different plots, the ranchers' wives with the most interesting story ever written are closing the doors of the motion picture studios to writers with real picture ideas. *T AGENTS WANTED AGENTS — We start you in business and help you succeed. No capital or experience needed. Spare or full time. You can earn $50-$100 weekly. Write Madison Products, 564 Broadway, New York. Our Superior Proposition will net you $100 a week, every week in the year. 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