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COMPOSITION IN MOTION PICTURES
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so let us by way of illustration briefly trace the course of a story from the pen of the author to the screen of the theatre, and point out the influence cinematographic composition can have upon its success or failure.
In the beginning, the author has an idea which his experience tells him is the germ of a good story. He proceeds to transfer it to paper, and to develop it as his experience tells him a successful novel or play should be developed.
The producer reads the story, or sees the play, and his judgment
HARMON*
Fig. 1
tells him that it will make a good picture from a commercial as well as an audience standpoint. Accordingly, he buys the story.
In his turn, then, the producer passes the story on, together with his ideas upon its treatment, to the scenarist, who prepares the script of the photoplay, injecting into it his own thoughts and ability as a* writer of screen plays, along with the original ideas of the writer and producer. This accumulation of thought he passes to the director.
The director then adds the benefits of his experience to the preparation of the script, which will ultimately be a picture — or, in fact, a series of thousands of successive pictures which, as far as the audience is concerned, will merge into one living picture called a photoplay. Thereafter the director, with the aid of his assistants, proceeds to choose a cast and to have sets designed which, in his estimation, are the most perfect representations of the characters and settings as conceived by the author, producer, and scenarist.
During this period, the chief actors are studying their parts, and preparing to add their conceptions of the parts to this rapidly mounting accumulation of thought and work. But, up to this time the photoplay is only a mental conception. It consists of the author's description of his mental picture of the story; the producer's thoughts of its entertainment value; the scenarist's described visualization of