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The Ince Studios
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tion. He was one of the first directors to realize the importance of the scenario, and the plays he is
making to-day are doubtless better in this respect than those of the vast majority of producers. He has a high standard for his plays. They must be big in theme and point a moral. But they must always be dramatic. It is the one great demand of the picture business at present — big scenarios. C. Gardner Sullivan has been the salvation of this particular company, and is turning out fine, whacking plays at a wonderful rate of speed. But how long he can keep it up is a question. There are also seven other scenario writers constantly at work supplying the demand as rapidly and successfully as possible, but Mr. Sullivan seems the man at present best able to produce the goods. His staff of assistants in the scenario department include Richard V. Spencer, J. G. Hawks, Monte M. Katterjohn, Frank Tannehill, Lanier
Mr. Ince and Biilie Burke in front of the Scotch street which was one of the most realistic sets ever erected at these wonderful studios.
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ames Montomery, and D. F. Whitcomb. Each scenario is carefully scrutinized by Mr. Ince before it is given to a director for production.
About three-thirty in the afternoon, after I began to feel the effects of the busy day, I learned that the actual taking of pictures for the day was over because the light begins to get "yellow'' and makes the photography indistinct. It did not complete the work for the day, however, for here and there, in corners of the big studio, were groups of players gathered about their director, listening intently to him while he explained certain parts of the play they were working into them. Every one was made understand what was required of him in such a way that when he entered the scene set the next day he would require but little rehearsing before the camera started to grind. It is another one of the things Inceville is noted for — the utilizing of every odd moment.