Motion Picture News (Oct 1913 - Jan 1914)

FOR THOSE WHO WORRY O'ER PLOTS AND PLAYS WILLIAM LORD WRIGHT Likes Detailed Scripts CA L D E R J O H N ( STONE, editor in-chief of the Universal Film Company manuscript department, was a newspaper man and a writer of stirring fiction before he assumed his present responsible position. Mr. Johnstone has brought the Universal script department to an enviable standard, and, together with his assistants, C. B. Hoadley and Captain L. T. Peacocke, has accomplished much for the struggling writers. Mr. Johnstone's advice to writers is to leave "correspondence schools" alone. He writes us as follows: "The Universal Film Manufacturing Company is the first firm to take the initiative in giving the photoplay author credit for his work on all poster advertisements as well as upon the film itself. This suggestion was originally made by Captain Peacocke, it being his opinion that once an author has established a reputation for doing good work, like an actor, he has a certain drawing power with the public. This, when his name appears in front of the theatre as the author of any good play, should have a tendency to help increase the patronage. It has long since proven so in connection with the legitimate stage, and there is no reason why it should not prove equally valuable to the motion picture art. It will also stimulate the ambition of the amateur author. "The question has been asked as to whether the present form of script will ultimately be changed in order to give the writer a wider scope for detailed characterization, action, suggestion as to atmosphere, etc. The Universal desires all such suggestions, and the more detailed the script, providing it is not verbose nor inconsistent, the more chance the script has of being accepted. As an instance, a script was recently purchased from a Mr. Lewis A. Blodgett, of Schoharie. N. Y., mainly because he took the trouble to enclose photographs showing desired scenery in his locality where the picture could be taken. He also took the trouble to go into minute details not only as to the de velopment of the story, but also as to local conditions, thereby aiding the director when the picture was made. "It is difficult to give an honest opinion as to whether the average script is better to-day than a year age, for the simple reason that so many thousands of new amateur writers are entering the field day by day. Considerably less than one per cent of scripts received are worth anything. The so-called schools for the instruction of photoplaywriters unquestionably do more harm than good. They stimulate an ambition not merely to write, but more particularly to earn some 'easy money' on the part of hundreds of individuals who never could write were they to live a thousand years. The gift of writing can be developed, but the initial impulse must be one of individual originality, else the writer can never get out of the rut of common clay. "The average script received comes from persons who are so-called 'picture fans,' and who derive their ideas from what they see on the screen, rather than from what comes from any original thought. It is a strange fact, on the other hand, that^ the trained magazine-writer does not seem to make the best scenariowriter. An entirely new school has been developed, and the best scripts submitted and produced are those coming from authors who have developed their talents solely along this particular line. Undoubtedly, the best scripts are those written by trained scenario-writers directly connected with the motion picture concerns. There is no question regarding the vast improvement in the Universal program, and the majority of scripts produced by the Universal have been written by staff authors. In the Eastern department only $200 worth of scripts have been bought during the past five months. Hundreds of passably good stories have been submitted during this time, but of all these passably good stories, few were really worth purchasing. Most of them contained the same old plots, situations and ideas that have been used again and again. Originality must, therefore, be the watchword of any author seeking success in the photoplay field. "Regarding the present tendency of increasing the product of the multiple reel, there seems to be little doubt but that its development is showing a tendency of being overdone. A onereel story stretched out to a tworeel length never makes a good picture. The photoplay is different from a drama if for no other reason than for its lack of dialogue to carry the plot. A play, therefore, that has been a remarkable success in three or four acts will not necessarily make a successful photoplay in three or four reels. There is a big question as to whether the movement for the production of famous plays will be as successful as many seem to think. Some have already fallen by the wayside. "As a parting advice to the amateur writer, one maxim may well be followed: leave so-called schools for the instruction of photoplay writing alone, they do not teach originality. If the author feels that he has original ideas, develop them along original lines. The technique or form of writing scenarios will be furnished by any company purchasing scripts of the outside market. The author should never attempt a two-reel story until he has succeeded in selling a one-reel story." A Few Comments We believe that a gradual change is taking place in the form of scripts. As stated previously in this department, the wiser editors are permitting more latitude in detail, and welcome consistent and helpful suggestion or detailed action when written in the script. As Mr. Johnstone points out, form is not everything; it's the original idea that counts. The technique can be attended to by the purchasing company. Nevertheless, it is a fact that unless the author's technique is well-nigh perfect the market price will be cut for him. Two years ago Giles R. Warren, then writing the scripts which made Florence Lawrence famous, told us that he preferred scripts written out fully, with all helpful business and suggestions. Scripts we have furnished Mr. Warren were written very completely, some of them containing several thousand words. One reason the present form of outline is so strictly demanded is that, should it be otherwise ruled, an avalanche of essays and short stories might be inflicted upon the scenarioreaders. A script written out fully does not mean a verbose script nor one containing fine writing.