Picture Play Magazine (Sep 1921 - Feb 1922)

10 Chats with Screen Authors Continued from page 8 never express the more exalted or poignant moments of life ; in life crises words fail, where a glance or a gesture tells everything." I have before me It Can't ^ P^^^"* ^ young photo dra Hq Done matist who claims that the brain child of his fondest dreams has been warped out of all recognition by one of our best-known directors. I should like to sympathize with this young screen writer, who is a very likable and idealistic young chap, but I cannot. The condition he speaks of can no more be changed than the positions of the moon and stars — that is, by mere mortals. No screen author can ever expect to see his brain child exactly as he visualized it — in the ultimate photo play. No two humans see anything the same ; if a thousand painters read a masterful descriptive passage in a book, and then essayed to interpret the passage through the medium of the brush and easel, we should find a thousand widely variant depictions. Directors "^viii perfectly interpret photo dramatists when elephants roost in trees and the aurora borealis shakes hands with the procession of the equinoxes. Who Can The number of ■^^j^^g people actually writPhotn scenarios and submitting them to relays. the studios has been grossly exaggerated from many misinformed sources. A recent checking of the files of the representative West Coast studios revealed the fact that only slightly over ten thousand different names are on tap as having submitted original scenarios. The Thomas H. Ince studio, during the past two years, of intensive activity, has, for instance, received only 3,100 "originals." Of course, many of the people writing for the screen send their manuscripts to various studios; a story turned down by Ince may be sent to a studio that the photo dramatist believes is more sympathetic toward the type of story being submitted. Among the ten thousand screen writers are many who have written dozens or even hundreds of photo plays. How many of them are actually qualified to write for the cinema ? An institution which teaches the photo dramatist's art by correspondence has recently sent out a questionnaire, prepared by a former instructor in English composition and short-story writing in Northwestern University, and a noted photo-play author-producer. The purpose of the questionnaire is to determine the extent of the individual's dramatic insight and creative imagination. In this questionnaire, those aspiring to write photo plays were asked their age, favorite author and favorite books ; extent of schooling ; favorite subjects in school; average number of books read a month ; favorite current magazines. What is your vocation? What your avocation? Special hobbies, special ideals, ambitions? These and other pertinent questions were asked ; a condensed dramatic plot presented, and two incidents related — all to specifically test the aspirant's intellectual background, dramatic perception, and creative faculty. Of the first hundred questionnaires returned, ten were from boys and girls under eighteen who wrote in a spirit of curiosity ; thirty-two gave evidence of insufficient education; thirty-nine evidenced a moderate gift ; nine indicated an entire lack of earnest purpose, and ten passed with distinction. This test would indicate that ten per cent of the adult population of the United States possess the fundamental stuff out of which successful photo dramatists are made. It does not follow, however, that ten per cent of the population of America could become financially successful screen writers, any more than that any boy who can qualify for law school can make a successful laywer, or that any girl who can qualify to enter and graduate from a conservatory of music can attain success on the concert platform, or the operatic stage. The individual gift is the determining factor in the practical success of any one who achieves distinction in any of the arts. Those who have it are the ones who, feeling that they have it, study, work, and fight their way past all obstacles. Do Thev Inquiry among ^ twenty-eight scenaWant rio editors of the Originals? West Coast studios resulted in a landslide vote favoring original stories for filming, according to Jay Chapman of the Brunton studios, who conducted the investigation. The editors agreed that outside scenarios are in more demand than ever, while very few are coming in. In a recent number of the Los Angeles Times, Marshall Neilan says : For some time I have contended that the original scenario can be made into as big a box-office attraction as the story or play known to thousands. The mad scramble and foolish expenditure of fortunes for well-known books and plays has been entirely unnecessary. Had the producer shown more zeal in the pro duction of his picture and less energy in competing with his fellow producers in purchasing well-known works as screen material, the enormous prices now demanded for well-known works would not exist. Nocturnal Concentration A tyro recently wrote me that he found concentration difficult, inasmuch as he is constantly disturbed by visitors while attempting to conceive and pen photo plays. Alas, the life force is disturbing at times — at most times. In the process of chemicalization, there is oodles of confusion resultant from the interplay of various personalities — with their differing intellectual and emotional diffusions — upon any sensitive, thoughtful person. I believe the nocturnal hours spent alone in one's room at home are most productive of creative efforts. The quieter the home the better. When the babbling, scrambling, intense world has simmered down, and the hundred and one distractions of traffic, conversation, and general activity have subsided, then can one listen to the message of his own soul ; then, with the wide plateaus of the mind depopulated, the great white birds of thought will come swirling down from the far-away corners of consciousness, to be translated into lettered sounds at the will of the writer. v^iever saying the fact that Comedy an appealing title Titles ^^^^ ^^^P ^ story's chances with a scenario editor. The success of such stories written directly for the screen as "Don't Change Your Husband," "Whv Change Your Wife ?" "Charge It," "The Gilded Lily," and "The Turn in the Road" in attracting immediate audiences was due to the titles. Now the comedy companies are using such titles as "Robinson's Trousseau," "The Reckless Sex," and "Assault and Flattery." \x7"ii 4-u The writer of a ^® series of successful Song" popular songs must Writer Do? necessity be pretty well attuned to the public consciousness ; if he ttirn his attention to the art of writing photo plays, and succeeds in mastering the technique, he should come prett}^ close to piercing the bull's-eye — especially in the comedy field. On the above hypothesis, Harold Lloyd has signed Jean Havez as a staff scenario writer. Havez is the composer of over two thousand popular songs, notably the famous "Everybody Works But Father."