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definite technique of the photodrama, works of a more enduring worth will be produced. But writers must first be trained in this new technique. Only about one per cent, of all the material coming into the studios can possibly be used. Picturemaking firms are searching everywhere for material to keep their cameras clicking. Many scenario contests have been inaugurated. The studios of this big industry — grown to be the fourth largest in the United States — are in the predicament in which the cotton mills would find themselves if the cotton crop failed and they were left without raw material for their machinery.
In the early days anything that was a moving picture pleased the public. It was a new toy. But that time has long gone by. Audiences are becoming more and more critical. The moving-picture has grown out of its toy stage and has taken on the dignity of an art. More is expected and more is demanded of it.
AN ART APART
The producers have bought published novels, magazine stories, and stage plays, for screen adaptation. Some have proven successes. Many have not. Millions have been wasted in the effort to fit this material to the screen. So the day of the screen writer is here. In an interview Mr. Frank E. Woods, Supervising Director of the Famous Players-Lasky Corporation, said:
"Writing photoplays is emphatically an art apart. It is just as distinct as the art of the stage dramatist is from that of the novelist and short story author. In fact, the relationship of the novel and the spoken play is closer than that of the book and the screen drama. This is true for the reason that dialogue is as essential in the stage play as a plot. Whereas, action and expression are the outstanding characteristics of the screen play."
This, coming from the supervising director of a corporation that has largely produced stories adapted from published novels and stage plays, indicates that the future of the industry is dependent upon those who learn to write for the screen.
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