Motion Picture News (Oct 1913 - Jan 1914)

FOR THOSE WHO WORRY O'ER PLOTS AND PLAYS By William Lord Wright To Qualify for Edison THERE is no use handing posies to the Edison output. There isn't a script writer in the land who doesn't become ''chesty" when he receives a check from the Edison concern. The Edison Film Company, in Moving Pictureland, is what Harper's or Scribner's is in Magazineville — the height of ambition to the literary worker. Horace G. Plimpton, manager of negative production, kinetograph department, Edison Film Company, has, in no small measure, contributed to making Edison films what they are. Keen, discriminating and intelligent, he is certainly without a peer in his line of work. Recently we requested Mr. Plimpton to answer a few questions which we deem interesting to script writers. We asked him if there were noticeable improvement in contributions the past year; what form was desired in preparing multiple reel scripts; his opinion on the question as to whether in the near future the writer would not be permitted more latitude in the technical 'form of script, etc. Mr. Plimpton is as anxious as we are to aid deserving authors and he readily replied as follows: "There is a noticeable improvement in the quality of scenarios submitted. Not so much because of the 'free lances,' but because people of more ability are going into the business. There are vast numbers of impossible scenarios still submitted and I presume this condition will always continue, but there is a noticeable increase in the number of plots by people who are qualified to write scenarios and in this way the average quality is improving. "The Edison studio is open for strong two-reel subjects. I can suggest no difference in preparation of these from single reels. The main thing is the plot. We not only favor crediting authors on screen and poster, but have done so for a long time. This has been an Edison policy for about two years, I think, and I believe we were the first to do it. As scenario writing becomes more of an art, I imagine the authors will go more into detail from an understanding of the screen possibilities. "It is certainly most essential that the producing man should realize what the scenario writer is driving at. I have known cases where a really good plot was not done justice to be cause the author had not made his central idea perfectly clear. As to your question of 'directors directing and editors editing,' I take it that you mean to suggest there should be some co-operation between the author and the producer. This would be an ideal condition and is, in fact, sometimes done by the company; that is to say, we have had scenario writers who were near at hand and who wrote extensively for us, who have discussed the plots beforehand with the producing men to the advantage of the picture. "Of course, this depends a great deal upon the personality of the writer and the producer, and in most cases is not feasible owing to the distance. Naturally, upon buying a plot, we want to make the best we can of it in our own judgment, and we do not hesitate to change it either much or little, as we think best. Were the author at hand it is quite possible that a discussion with him might be of mutual benefit." It is encouraging that Mr. Plimpton finds a noticeable improvement in quality of scripts submitted the past year, and perhaps this will silence the more pessimistic critics. It is a pity that author and producer cannot more frequently consult, either by mail, or personally. Recently an author's script was turned down after long consideration. The director had misgivings. That author made a trip to the studio, explained his ideas as to the production of the story to the director, who in this case was fortunately open to argument. The author's detailed ideas as to artistic touches, which could not be embodied in the present form of script with its 300-word synopsis, resulted in the filming of a picture play that promises to make 'em all sit up and take notice. The Ohio Censors It may be wise for the photoplaywright to remember that he now must write to please two censorship boards instead of one. M. A. Neff, president of the Exhibitors' League of America, lives in Cincinnati, O. He was instrumental, during the last session of the Ohio Legislature, in having passed a law requiring a state board to censor motion pictures. The board was recently appointed, and consists of Mrs. Maude Murray Miller, a welfare worker and a former member of the Springfield News staff, a newspaper owned by the governor; T. W. Maddox, of Columbus, a Republ'can and former theatrical man, "FATHER JOHN, A RAG-PICKER OF PARIS" World Special Films Corporation.