Picture Play Magazine (Oct-Nov 1915)

PICTURE-PLAY WEEKLY 31 Lxpect them to command theatrical fs. One of the strongest arguments in :.<l oort of my contention that the f eaproduction is but in its infancy that it rapidly is progressing to a J tion that will surpass our greatest itimate' productions is the fact that most illustrious stars are recognizee importance of the films. True, y are expensive, but I have stated t money must be spent, and pay rolls stitute a part of the expenditures. For years and years the public has n paying handsome admission prices see this or that notable actor or ress on the stage. The world has { tually admitted that the possibilities the camera — of the studio— are vastly eater than the stage. Then why Duld the world hesitate about offering e same amount of money to see the '-it ' ne stars on the screen ? r'l am a firm believer in the magtism — the commercial value — of a eminent actor or actress in motion :tures. I am so stanch a believer in at doctrine that every one of the ctures I am making now and intend make will have a celebrated artist If the head of its cast. And I do not | elieve that a star only has a commeral value. He has an artistic value to ctures as well. For, what of his rtistry found no medium of manifestaon on the stage is bound to find it : the studio. The limitless powers of ne camera will seek out and give exression to his pantomimic abilities and hus will the drama, on the screen, be levated to heights that have never ieen attained by that on the stage. "In producing 'The Alien,' adapted rom 'The Sign of the Rose,' in which 'Mr. George Beban worked under my direction, I found these things to be :rue. I had long been an admirer of Mr. Beban's character delineations on the speaking stage. And yet, until I jsaw and observed the very lines in his face, as his emotions dictated their formation — when I saw them on the screen — I never had accorded him the credit that was due. "This, I contend, is applicable also to other wonderful artists of the drama and time will show if I am correct. "In conclusion, I might sum up my brief remarks by again emphasizing my prediction that the feature photo drama is only just coming into its own; that another year will see it packing theaters with people who will think nothing of paying heretofore unheard-of prices ; that achievements now almost unbelievable will have been accomplished, and that instead of having but a few masterpieces a year, we'll have one every few weeks. "The motion-picture industry knows no bounds. That is a statement frequently made, but it cannot be too sincerely repeated. It is not in its infancy, but it is still going to school, and it will not have reached its maturity until my prophecies have been borne out." THINKING IN PICTURES. Every person who aspires to become a photo-playwright should learn to think in pictures. That may sound peculiar, but it is a fact. The most successful men in the motion-picture game to-day are men who never made any great headway in other walks of life, but who taught themselves to think in pictures. It is true with all the departments of the game, but especially so with the scenario end. A wonderfully clever plot is a valuable asset, but it is of no value unless it can be made appealing on the screen. An example of that was brought to light recently when a series was started which revolved about one of the bestknown characters in fiction and whose author was one of the "six-best-sellers" class. In print the author had made the character one that was instantaneously popular and had written the stories in such a way that every one of them was vitally interesting. On the screen, however, the character appeared sadly overdrawn and the action bored all who saw it. Two pictures of the series were made, and then the author was told that the company had decided to drop it. The author herself was broadminded enough to realize that the pictures were a failure, and, as she had written the scenarios for them herself, she attributed the failure to the fact that, she had not learned to "think in pictures." The secret of thinking in pictures is to have at all times before you a clear vision of how all that you write will appear on the screen. Thus any action that is not appealing can be eliminated. It is an art by itself, this thinking in pictures, but one that is closely allied with the art of successful scenario writing. Answers to Readers. J. N. Zeckhauser. — By watching our "Live-wire Market Hints" you will be able to find out which companies are in the market for comedies. The term "cut back" means that a scene has been divided and that its action is separated by another scene. When the other scene has been completed we "cut back" to the interrupted scene. It is best to work out a full script for the director. G. G. Gowman. — All film companies desire scenarios written out as our model one was, but almost any of them will buy very, very exceptional ideas in synopsis form. In no case should they be written as the Actionized stories in PicturePlay Weekly are. By studying the screen a writer should be able to tell just about how much action is needed per reel for the various styles of scripts. It is then quite a simple matter to write his or her own scripts accordingly. The chief thing a scenarioist must strive for is ideas. E. A. Forsyth. — Scripts should be addressed to the scenario department of the company. Inclose a stamped, addressed envelope for return. A letter is not necessary. Leaders should be written in wherever they are appropriate to make the story clear. This is the author's duty, not the director's. A telegram may be written right into the scene as an "insert," and the director will get the meaning. Live-wire Market Hints. The Vitagraph Company, Fifteenth and Locust, Brooklyn, New York, are putting out four three-reelers every month, as well as numerous two and one-reelers. These are made both in the East and West, but the writer who submits anything along Vita's style to the Brooklyn office will receive a careful reading for both ends. ( Typewriter prices smashed. Un-L derwooda, Kemingtona, Royals, 1 L. C. Smiths, Fox, etc. — yourl choice of any standard factory I rebuilt machine at a bargain. I Every one perfect and guaran f teed for 3 years — including all repairs. ' My Free circular tells how to save 40 per cent to 60 per Cent on each machine. Write for it. C. E.GAEKTE, President. DEARBORN TYPEWRITER EXCHANGE Dept. 828 Chicago, Illinois Chauffeur or Repair Man. Enormous demand for Trained men. Send for FREE BOOK on our up to date simplified course. FREE MODELS TO STUDENTS. WE ASSIST TO POSITIONS. PRACTICAL AUTO SCHOOL, 70-Z BEAVER STREET, NEW YORK.