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88 C&e CSeatte
ure, yet who has also some knowledge of the motionpicture art and its influence to prevent or even to create criminal tendencies, approached William J. Burns, the celebrated detective. I had considerable difficulty to impress this gentleman with the idea that he might express himself beneficially. Mr. Burns has, himself, appeared in moving pictures and is fairly familiar with the technical side of film making, and I thought that because of this fact he must have some decided views on the power for good or evil — or both — possessed by the authors, directors, players and producers individually and collectively. Said Mr. Burns :
"I would say the motion-pictures' possibilities for good are unlimited. The mental attitude of the average spectator at a photoplay house is receptive in seeking what maght be called a deviation from mental or physical strain. The brain craves for 'something different,' but the action must divert the mind to new thoughts.
"I am sorry to say," Mr. Burns continued, "that in many instances the motion-picture people accept and produce narratives and plots which are so transparent in character, void of possibility or actual occurrence, that they really detract from the good that is seemingly sought to accomplish. This I have noticed when the film is one depicting the commission of crime. The ease and alacrity with which the crime is apparently committed requires so little effort that a person with criminal tendencies would drink in the situation v/ith such a ravenous appetite, owing to the receptive condition of the mind, that the desire to simulate the star character could not be resisted, and almost before he would be aware of it, would have embarked upon a career of crime."