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 "FADE-TN" TO "FADE-OUT"
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The thrills are in the story. Here Blanche Sweet is doing her bit.
might be interested — maybe to a star, if those creatures are still in power at whatever studio it is. This is the medium-holed sieve, and a story that reaches that point must be unusually suited for picture purposes, indeed.
When some director, star or, maybe, an important scenario writer becomes "sold" on the story, it has sifted through another sieve, and victory may be reasonably anticipated.
The officials of the company must be seen by the reader, the head of the scenario department, and the particular director, star or writer who has expressed a desire to "do" the story. These persons read or tell the story idea to the officials, who usually wire the film company's agent to secure screen rights.
This is a matter of shopping (if the company is lucky) or of bargaining (if the owner of the story is shrewd and knows he has something worth while to sell) or even of spirited bidding (when several companies are after one story).
And, of course, prices range all the way from $50 to $100 for a comedy idea to $50,000 to $100,000 for screen rights to a well-known novel or play.
After the story is purchased, there is still much to do before a camera can start blinkingly transcribing it to celluloid film.
About the first thing is a conference of everyone concerned — the scenario chief, the continuity writer assigned to translate the story into working form, the director who will make it, the production manager, the studio officials.
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