The Bioscope (May-Jun 1915)

THE Broscope, JUNE 17, 1915. ag a a as 1159 ON MATTERS NEAR TO OUR HEARTS. By WILLIAM J. ELLIOTT. I am holding over my technical article this week on account of two exclusive pieces of infor mation which have just reached me, both, curiously enough, having a bearing on the same subject—the co-operation of the author with the producer in the production of the former's work. We have all of us found how extremely difficult it 1s to convey accurately to another person— possibly of a totally different temperament 1o ourselves—all that we “see”? when wniting our scenarios. In othcr werds, we visualise the scenes as we write them, and the producer visualises them as he reads them—but, alas, how seldom is it that thos2 visualisations tally! The consequence is, almost invariably, that something is lost in the finished production, which, both from the producer’s and the author’s point of view—and also that of the general public —is a pity. Since every author cannot be a producer, there is obviously only one way out of the difficulty— co-operation in production between author and producer. In the production of stage-plays the author is almost always present at rehearsals, and has a considerable say in the interpretation of his work—why, then, should not the photo playwright enjoy the same privilege? More especially since, proverbially, two heads are better than one, and the benetits if an improved production would be shared by all concerned—producer, actors, exhibitor and gencral public. This brings me to my first piece of information, which is that a serious and organised attempt 1s about to be made by a very large body of representative authors, having at their head some of the most famous British writers, to secure for the photoplay author his right to co-operate in the manner I have mentioned above. ‘This is all I am at liberty to state at present, but I shall hope to give more details in these columns at a later date. The second piece of information concerns Mr. Langford Reed, some details of whose career appear below. Mr. Reed is at present co-operating in the production of an original four-recl subject, of which he has written the scenario, while Mr. George Rex Wilson (producer to the Cherry Kearton Film Company) is acting (as I have said, in collaboration wtih Mr. Reed) as producer. A well-known member of the Trade 1s putting up the money for the production, although he has never been financially interested in film production before, so convinced is he that it will not only prove a financial success ‘but also an artistic one. Google Mr. Reed is also having a two-rcel comedy produced on the same lines, featuring a famous comedy actress. Now the proof of the pudding is in the eating, and so we will just keep an eye on these productions, which J, personally, have not the shghtest doubt will go further than a century of argument to convince the most sceptical of the advisability of allowing the photo playwright to have a hand in the production of his work. I will conclude witha statement with which Iam sure you will all agree—that Mr. Langford Reed is deserving of the most sincere thanks from all Brethren of the Script fur his devotion and hard work on behalf of the rights of photo playwrights. 3 BRIEF BIOCRAPHIES. No. 1: Mr. Langford Reed. Irom boyhood he was always fond of writing. Discharged from the London office of Lloyd’s Register of Shipping for writing plays in a penny exercise book concealed in his ledger, he went on the stage, and remained there for five years, writing stories and articles in his spare time—which’ were invariably returned. Then, acting for the pictures resulted in a determination to become a photo playwright. In the first year. he sold 5 scenarios, in the second 17, and in the third 37. Then a fifty-two weeks engagement to write exciusively for the Clarendon Company, and to act and assist in production. Three years on the staff of the Daily Jail; press adviser to the Kinemacolor Company; contributor of articles on cinematography to most ofthe leadiny newspapers; refused the assistant newseditorship of the Daily Citizen. Author of several music-hall sketches and stage plays— and ninety-four accepted photo-plays, including “Saved by the Telegraph Code,” ‘‘ Thomas a Becket,’ “‘If Women Were Policemen’’ (prophetic title!) and that famous Gaumont star feature: ‘“‘ The Tragedy of a Strike,’’ of which Mr. Arthur Bourchier afterwards produced a stage version. Such a record, attained by grit, perseverance, and talent is, indeed, one to be proud of. I may say that Mr. Reed has the interests of his profession very deeply at heart, and his name is screened as author on every photoplay of his presented. Bravo! Mr. Reed. Where to Send Your Scripts. In future a full list will be published on the first Thursday in each month. Latest reports as they come to hand. D