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UNPLEASANT SUBJECTS.
T" T may be highly dramatic to have | your hero dying of consumption by degrees while he hastens back to his home to tell the girl he has always loved that the man she believes untrue to her is reallv the man for her to marry, but — when you see something similar on the screen, you will remark that the man's death struggle is mighty unpleasant to look at, and that the author of the scenario should have selected a more agreeable theme.
That applies to all the other "questionable" dramatic situations which, when worked into a scenario, do not appeal to the artistic mind. The world is so full of subjects which thrill and grip the human heart that there is no need for making use of that which repels the finer senses. Now and then something of this variety may be used as a sharp contrast, or a play which deals with it entirely, such as some of the most noted Henry B. Walthall successes, may be used, but in the average photo play it is best to avoid it as much as possible.
The photo-playwright must always consider the women and children who will be among his audiences. To their minds, anything unpleasant is a poor screen subject, and they will avoid the
theater at which they saw the picture in the future. The exhibitor, therefore, will suffer, and the manufacturer will suffer through him. Therefore the scenario editor is usually opposed to subjects which are liable to offend any motion-picture-theater patron and on his black list, with a big check mark opposite it, is the unpleasant subject or any variation thereof.
ANOTHER SAMPLE SCENARIO.
In the next issue of this magazine, we will publish a sample scenario of the multiple-reel variety so that our readers who have studied our singlereel sample may become better acquainted with the difference existing between the two. There will be explanatory matter to accompany the scenario similar to that which was printed at the time the one-reel sample script appeared.
MR. WILLETS' VIEWS.
Gilson Willets, one of the foremost scenario writers in the country to-day, who is the author of most of the notable pictures put out by the Selig Polyscope Company, recently expressed his views on the art of writing for the motion-picture screen in a few wellwritten paragraphs. AYe reproduce