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INTRODUCTION
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that supports him. Recognizing this, the authors of this book have made no attempt to indicate a superior and novel viewpoint on talking pictures just for the sake of being “different.” They have apparently said to themselves, “Here are certain problems that have to be conquered in dialogue films. What’s the answer?” The result has been a practical handbook with some very stimulating ideas and carefully collected information.
The close analysis by the authors of the psychology of writing for the screen is very interesting. Messrs. Pitkin and Marston are of course well qualified for such analysis by their study of the human mind gained in teaching at Columbia University and by similar work in other fields. But their psychology is not that of the laboratory. Here again they base their conclusions on practical everyday conditions.
Their suggestions for ways of combining the action of the old silent screen with the dialogue of talking pictures challenge attention. This is not to say that their ideas for keeping the talking picture moving quickly are necessarily the best solutions.
Dialogue films are still too young for even the boldest to say what is the proper procedure in almost any case. But at this stage of their development any recommendations, carefully weighed, are helpful. And the ideas of the authors should stir thought.
Another point that stands out in this book is its proper understanding of the promising and almost unlimited possibilities of talking pictures. That is the most inspiring characteristic of the new screen form. Talking pictures have awakened the producers as nothing has done since the invention of films themselves. Those of us who may have felt that we were getting into a rut in making silent pictures now find ourselves put upon our mettle. We must