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THE ART OF SOUND PICTURES
pictures. It is already apparent that the mere addition of talk to the picture has made the author vastly more important to the producer. Story writers and dialogue writers are commanding prices in Hollywood which only a few lucky leaders could have hoped for five years ago. The rumor runs the rounds that, ere long, the men and women who succeed brilliantly in fiction suited to sound will force companies to pay them royalties in addition to salaries.
Why should this be so? Simply because the story is by all odds the hardest ingredient to create. To master the intricacies of human nature, to depict these intricacies in visible motions and audible sounds which convey them clearly to hundreds of millions of people all over the world — there is a task calling for superb sensitivities, lively imagination, and persistent study. It goes far beyond story writing for magazines and books.
The literary story is hard enough, heaven knows. It calls for a thorough understanding of the kinds of people you set out to depict. It cannot be of high quality unless the author can plot well. And, of course, it must be cast in distinctive style. The picture of the silent screen does not demand literary abilities, but it does require insight into character as well as drama; furthermore, it is founded upon a high order of visual imagination. The stage play, in a certain sense, calls for all the chief abilities of literary stories and silent pictures; and, in addition, it must be managed with dialogue, which is something very different from literary language. But the sound picture goes beyond all of these other art forms. To invent a good one, you must grasp character, drama, / settings, and dialogue. But you must go beyond these.