We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
FROM "FADE4N" TO "FADE-OUT"
Before the opening fade-in and after the final fade-out of a finished film many interesting phases of the silent drama occur.
Starting uith the film as it leaves the factory and following it through its mechanical, technical and artistic career is far more enthralling than seeing the finished silent drama on the screen.
THE STORY
i VERY story that is brought
into the studio — whether
it's a published book, a short story in a magazine, or an original submitted by either a professional or an amateur writer — goes through much the same process.
This process is similar to that used in a walnut packing-house, where the nuts go through a series of sieves, in each of which the holes are a little smaller. The first coarse-holed sieve lets all but the very largest and finest nuts sift through. The mediumholed one retains the medium sizes and lets the others drop through, and so on. It's a process of mechanical selection. But in the studio scenario department, instead of selection, the process is elimination.
The coarsegrained sieve is the reader. He or she is the lowest unit in the scenario system. Each day the reader is handed
a book Or a Betty Blythe has not quite de
, , . cided whether she likes the
Stack OI Ong story or not.
Clarence Badger, U'illard Mack and A. H. Sawyer exchange ideas.
inal MSS. The absolutely hopeless stories are to be eliminated.
If it is a published book or a complete novel in a magazine, the reader is usually told to write a short synopsis — to tell the plot in from 500 to 2000 words.
With the originals it generally suffices for the reader to check on a printed form whether it is "Good," "Has interesting theme," "Novel situation" or "Unsuitable." In addition, the reader pencils a few words of comment.
The stories with their attached synopses or reports go back to the reader's boss in the scenario department — the chief reader. This personage looks over the comments and if any interest her (sometimes it's "him"), she also reads the story. If she concurs with her reader's opinion, she calls it to the attention of the director she thinks
326