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THE BUYER’S PROBLEMS
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awing them, let us look at concrete cases arising inside the studios.
Consider first the stars and other players under contract to the company for which the story is to be written. A scenario may be judged excellent by a scenario department. But the chances are heavily against its purchase, unless its theme and characterizations fit the contract players on the lot. Usually, the sales office of the producing company makes out a program for the coming year, which calls for so many pictures from each of the stars. The minor players can be fitted in as expediency dictates. But the stars must be given unique stories to bring out and enhance their peculiar personal characteristics.
Clara Bow, for example, is known everywhere as a “wild party girl.” So her program calls for many pictures of this type. Yet, a story for her should not be too close an imitation of the leading character in The Wild Party. It should carry out the theme and general characteristics of the Bow personality in some original fashion.
In The Wild Party, Miss Bow appeared as a wild college girl who finally succeeded in making her professor fall in love with her, against his will. Now, another story placing Miss Bow in college and having her fall in love with a professor would not be acceptable, in all probability. Place the leading character, therefore, in some other situation. Have a wild young society girl, whose auto breaks down in the country. Have her picked up, perhaps, by a handsome young farmer. Have him resist the girl’s charms, until finally, by various “wild girl” stunts, she compels him to fall in love with and marry her.