Business screen magazine (1967)

Some Criteria for the I)) John MOST Industrial Screen VVritfrs are asked sometime during their careers, "When is the film writer at his best?" My first inclination is to answer that question with another. "By what, or by whose, criteria?" First of all, we must assume that the question refers to the creation of a "good" script, from which, subsequently, a "good" film is produced. For theatrical screen writers, a good film is one that either generates good box office or wins an Oscar or some equally-renowned accolade. Sometimes, happily, the plaudits of both are achieved. The business screen writer, however, usually has even more audiences to please — or to appease. Quite often, he must try to write for the producer's salesman, the producer's production personnel, the sponsor's production supervisor, the sponsor's top management and the sponsor's intended audience — to say nothing of the judges at innumerable "film festivals". Very often also, each of these "audiences" has a different criteria for judging the quality of the script and the resultant film. For some, visual continuity is of no consequence. For others, the visuals are merely to attract the eye while the narration attempts the whole job of communication. Grammarians forget that the spoken word and the printed word must often be different in form in order to achieve equal effectiveness. In filmstrips, one sponsor will condone 20 to 30 second frames, whereas long ago the Navy standards insisted upon visual changes at least every 6 seconds. And, in general, there is a dearth of feedback which could help establish workable, realistic standards. Certainly, a sponsor is delighted when tangible results are achieved from the showings of his film. But he has no way of knowing how much better they might have been with a better film. And he is quick to condemn a film which does not get the desired results — regardless of how much warping of the script may have occured since its inception. Of course, every writer has some standards by which he works. And almost every writer will compromise those standards — simply because he has to make a living. Also, every writer is different. As only one writer, I can only offer SiKcessfiil Film Script iSancrol't the conditions which permit me to do what in my opinion is my best job. First, I must have a thorough umlersumclini; oj the message to be communicated — along with the reason for its communication. Second, I need to know to whom the message will be directed. I need to know as much as I can about the audience so that, in theory, I can become "one of them". In this sense, writers ought to be actors, as well. Finally, 1 would like the freedom to structure the communication of the particidar message to the particular audieitces via the film medium by using the best of my accumulated knowledge of both the medium and the basics of communication. I want the script to have a high degree of assurance that . . . 1. The audience is "tuned in". 2. That they are receptive. 3. That they are motivated. 4. That they understand. 5. That they are convinced. 6. That they will act. Of course, anyone who can guarantee those objectives is on his way to being a millionaire in a very short time. I want the visuals in my script to reinforce the narration — and vice versa. I want them sufficiently strong so that when the film is run silently after a sound showing, the message will be effectively recalled. (Maybe all of us screen writers should be required to write at least one silent film a year! ) Few writers, in my opinion, rarely have complete freedom to follow the dictates of their experience and particular criteria. Sup a new source for superior motion picture services: HAANHAHAN EFFECTS, INC. ■ optical effects for motion pictures and TV commercials ■ motion picture titling ■ motion picture animation and filmographs ■ blowups and reductions for all size film formats ■ Cinemascope and Techniscope unsqueezing SERVING YOU WITH quality control standards unmatched in the industry, plus carefully-selected trained personnel and extensive facilities for truly professional results. New ideas — for startling new visual effects — are a way of life at MEI Write or call Berrie Barnell lor price list MANHATTAN EFFECTS, INC. 321 West 54th Street, New York, New York (212) 765-0930 pose, however, that some general, basic criteria could be formulated and accepted by all concerned. And suppose that writers were permitted to do their best according to this standard. Then I would suppose that we would have much better writers and much better films. Then writers would have to measure up or fall by the wayside. And sponsors would have to conform to something other than their own opinions. • FILMS TO HELP OUR CITIE.S (CONTINUED FROM PAGE 1 10) — Who should sponsor the series? No single corporation perhaps could justify it. But could not a major bank sponsor the finance films? The American Bar Association ... the legal films? A major materials and/or electrical apparatus manufacturer . . . the code revision series. An architectural association ... the zoning films? And so forth I admit that assembling such a patch quilt sponsorship would be a backbreaker. Why not the U. S. government? Because it's too short a step from consulting to directing. The government itself probably recognizes this and refrains. There is one other way. Certain industries have on occasion each had the opportunity to advance the nation by a major tour de force: railroads opening the West; merchant shipping transporting America across both oceans in World War II; automotive giving us a vigorous economy; aerospace industry . . . coming from behind to leadership in space. Expediting the sweeping rebuilding of Downtown U.S.A. would be the equal of these. And what that needs right now ... is our industry . . . the movie makers. Could our twenty major U. S. film producers . . . and our twenty most experienced script writers . . . each pick up five percent of the job . . . just for the privilege of being in business in U.S.A.? Could a film distributor furnish centrally located screening rooms as the 'Urban Renewal Resource Film Center"? Could Editor Ott Coelln, who gave us writers this platform, see that "The Center" was fully publicized to all city governments? If our industry did dramatically expedite a sweeping national downtown renewal, would it receive awards and thanks? No. Just bigger jobs. • 20« BUSINESS SCREEN • 1967