Moving Picture News (Jul-Oct 1913)

THE MOVING PICTURE NEWS 21 the screen is sufficient to give you ideas and suggestions and will also afford you technical instruction. Study the way each scene is shown and each character introduced. When you get what you believe to be an original, an unusual plot, study it carefully, dissect it, try and ligure which angle is best in order to obtain its full possibilities. Do not rush off in a flush of enthusiasm and work up the plot. Study it first, foster it, turn it around and examine it from every side. Then, beginning with the first scene, picture clearly to yourself, in fact see each scene and action of each scene as it should appear on the screen, picturing in your mind each move, act and motion, each and every character and even to the required environments. Maybe you will be able to adjust that which is wrong and save the editor from doing it. Editorial Etchings Maibelle Heikes Justice wrote Essanay's two-reel feature "The Final Judgment," which has created such interest. Editor C. B. Hoadley's trusty old typewriter burned up in a fire that recently destroyed the Hoadley home. Hoadley has tried a dozen different makes since, witti none satisfactory. Manager J. V. Ritchey, of Reliance, has interested Frederick Isham, the author, in moving pictures. Isham has promised to write a story especially for screen production. * Reliance has purchased the rights of Forest Halsey's magazine stories for production. Ilalsey liked the plan so well that he has been a regular contributor to Reliance dramas ever since. ', E. T. Lowe, Jr., is with Essanay and has a job known as "Reconstructor of Scenarios." His real work is to put available ideas in proper form for the directors Augustus Thomas advises playwrights to test every line with the question: "Would I, in that same situation or condition, do that?" What Is the Use? What is the use of handing out advice one week and have somebody write in the next asking the same questions? No, film companies will not accept material unless it is presented in proper script form. You can learn the proper form in our textbook or by "sample scenarios'" published by every trade journal and magazine in the moving picture field. A Few Skirmishes A correspondent, evidently a beginner, placidly informs us that he is writing a script for a feature iilm company and "proposes to bring into spectacular action, large armies of supers." His plot deals with the Civil War and "contains a battle and a few skirmishes. Shall I describe the battle and skirmishes minutely, or would the following do: Scene 42 — Battlefield. Confederate army in confusion, Rapidly retreating, closely pursued by Union army." Unconsciously our friend has, in Scene 42, adequately described his "battle and a few skirmishes." A minute description of a battle and some skirmishes" in the Civil War would require a bound volume. But tell us, why is it that the beginner takes a try at feature stuff? Why not start out on the single-reel stuff containing a simi)le story? There's too many battles and skirmishes on the screen as it is without newcomers in authorship dipi)ing their pens in gore. Nothing Doing! We have been approached for our views on the subject of a proposed organization of "The American Pictureplaywrights' Association." Name sounds impressive but — nothing doing! We are not in favor of any association of American script writers. A majority of the writers need only proctection from themselves. Our admonition to our friends is, stay out of any "association" and keep the money that would be necessary for "membership fees" to pay postage on your scripts. We rather favor the idea of occasional gatherings of coiigenial authors in various cities for social and other welfare, but "protective associations," never. The Greek! The Greek! Beware the Greek bearing gifts, and beware the film concern that advertises in trade journals and elsewhere offering $1,000 for a feature script. Also, steer clear of the ostensible "industrial" film concerns that advertise for scripts. Good industrial film companies are few and far between. The reputable concerns do not have to advertise offering "$1,000 for feature scenarios." They have their own staffs of script writers, and when industrial scripts are wished an assignment is made. One concern, a newcomer in the industrial field, has been tempting a number of first-rate script writers to develop their best stories around industrials, for which they receive nothing, then the most suitable of these scripts are being peddled around to the heads of big industrial concerns. If the "film company" in question gets a contract, charging for it two or three thousand dollars, the writer of the play is offered $25 primarily, and the price is raised to $50 is necessary. Earnest writers are flooding the office of one or more new concerns with their work, and it means fruitless toil and disappointment for nine out of ten of them, and little or no pay for the few fortunate. Steer clear of unknown "industrial" concerns. We have written a good many industrial scripts in our career, in fact we were a pioneer in this field, and we want those script writers who should know better, to take warning and not be tempted by misleading advertisements. The unusual part of the entire situation is that successful script writers, in a position to demand a contract before submitting industrial work, have fallen for the $1,000 bait and are affording a grand opportunity for the gentlemanly speculators to get the cream of the work to peddle and then buy, if necessary at $25 to $50 per script. A Safe and Sane Fourth " 'Saved in the Nick of Time' would be a good title of a story about myself, as I was considering the notion of writing a 'holiday' plot for the Fourth of July when your caution came," writes a Chicago scribe. He is going to use the plot for another script that will stand a chance of selling any day in the year. Holiday plots should not be submitted thirty days before time for release anyhow. They should be in the editors' hands at least 90 days previous to the particular time for which they are designed. Why write Memorial Day, Christmas, and Fourth of July plots? You stand a slim chance of marketing at the best. Spend the time on safe and sane stuff. WM. LORD WRIGHT. LEAGUE MEMBERSHIP SLIDE Members of the Exhibitors' League should lose no opportunity to acquaint their patrons with the fact that a membership in the Exhibitors' League of America is synonymous with projecting the very best pictures obtainable. There is no lietter means of informing your audience, — none so direct and effective — as by means of a slide on your curtain. The accompanying illustration is a reproduction of a beautifully colored lantern slide that the Novelty Slide Company of New York (exhibiting at Space No. 32 at the Exposition) have prepared for tliis very purpose. This slide has met with the iiearty approval of exhil^itors and liundreds of these sldies are being disposed of at the special rate of 25 cents eacli. postage paid. Locals can ol)tain a lower rate by purchasing in quantities. Every member should secure one of these slides and exhibit it regularly; the public will tlicn be enabled to discriminate in attending picture houses. WE ARE PLEASED TO INFORM THE PUBLIC WE ARE MEMBERS OF THE EXHIBITOHS' LEAGUE OF AMERICA. \'rTrzr 1 The Leagues Object — ««« Best Pictures