The theatre of science; a volume of progress and achievement in the motion picture industry (1914)

0 f ^ c i e n c e 315 table film production, and with this welcome movement will also come an end to the mutilation of the scenario in the studios by editors and directors alike, for the producer will not grant royalties to an author whose work requires revision. The advent of the feature film and the coming into filmdom of the majority of the best-known players of the speaking stage has induced the producers to establish publicity departments, with a result that is best described by the statement of a well-known theatrical manager, who, in the effort to secure a competent advance agent capable of preparing acceptable "copy," remarked that he would pay $10,000 a year for any one of a half-dozen gentlemen whom he named. "But they are all holding long-time contracts with the big film concerns," he insisted. The vogue of moving pictures has been a blessing, indeed, for the men, and not a few women, who have been identified with the business department of the theatre and where a year ago this class of workers was in Ittle demand, to-day the "Rialto" has been emptied of clever advance and press agents. I can hardly name a recognized publicity man who is not now firmly entrenched in commodious and elaborately appointed offices attached to the studios. The publicity offices of the Vitagraph Company, presided over by the veteran, Sam Spedon, are a sight to behold. One would imagine that these offices were nothing less than a clearing-house for the entire film industry. When I think of the "hole in the wall" that is granted to the press departments even in the largest of our theatrical institutions, the environment of Spedon's activities is all the more impressive. In the Mecca Building, Willard Holcomb has offices