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FROM "FADE-IN" TO "FADE-OUT"
Mabel Ballin in the wardrobe department.
And this conference is only the first of many. Its purpose is to determine the general handling of the story, what changes are to be made in it, the tone of its treatment, approximately how much money will be spent on it, etc. Later there will be other conferences to take up in great detail various phases of these things.
Rut with the general idea of what his company wants to do with the story in his mind, the continuity writer sets to work. Just how the continuity writer does his work we won't tell here. Every one has a different method. And, besides, we might infringe on the "scenario writing courses" that are sold for from $10 to $200 to the ambitious would-be scenarists.
Suffice it to say these things: Continuity is always written by an expert in writing continuity; even an author who is also a scenario writer has to turn his story over to someone else to whip into continuity. The continuity writer holds daily conferences with the scenario chief and the
director who is going to handle the picture.
Usually production actually starts on the picture before the continuity is finished. And usually when it's finished the first time, it isn't in the form in which the picture will finally be seen.
When the first continuity is completed, it is dated. This is for a very good reason. Before the picture is a quarter made, it is quite possible that radical structural changes may be made in it. It may be found to be running too long and have to be rewritten shorter. The star may object to her characterization, and it may be rewritten to suit her whim. And so on — dozens of reasons. Each new version is dated, and the final one comes the closest to the picture seen on the screen.
Cutting back to the continuity writer's first struggles with the story: Various other studio officials confer with the writer. The chief of the costume department has to
Casting Director Mclntyre on the job.
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