Exhibitors Herald (1927)

STUDIO SECTION OF December 31, 1927 42 A Playwright in Movieland The Cutter Is the Surgeon and His Decisions Determine the Life of the Film Giving It the Exhibitor Test “No Comedy Leaves Until It Passes Muster and It Must Prove Its Box Office Value By Philip Bartholomae ONE of the unsung' heroes of the industry and by far one of the most important, is the cutter. To one coming from the outside world into filmdom many things that are taken for granted by the industry are more apt to loom in their real significance. The layman to this day is almost in complete ignorance of his very existence and only in late years have the film executives fully appreciated his value. The term cutter really only represents the physical action and the newer and more recent name of “film editor” is far more descriptive. After the director has shot his scenes, patiently day by day, often far into the night, he pieces this mosaic together, for like mosaic, each shot should fit perfectly on all sides. The cutter’s chief work is elimination but various other tasks confront him. Cuts Entire Scenes When the title writer is called in, he often wants to interpret a speech, where there originally is none. Then out of miraculous cans comes a closeup of Miss X or Mr. Y who can speak this title. Sometimes an entire scene is out then, it is up to the cutter to arrange it so the gap left by this elimination is bridged over and runs smoothly. A director gives the order: “Take Miss X out of this scene and let the two men play it alone,” and, as an eraser takes words out of a sentence so the scissors perform this vanishing act. It is when a “bad baby” comes along that the cutter often has to come to the rescue. It is he, who knows best what scenes have been shot and from what angle. From his tin boxes, duly labeled, he can often produce a few feet here — a few feet there that will change defeat into a possible victory. Scissors Make Battle Personal In a big historical film some years ago three large battle scenes had been shot, but unfortunately — from an impersonal angle. There were, however, closeups of leading generals and so forth. Though these pertained to other scenes, when the film left the cutting room, there was one dramatic battle (a composite of the three) and these individual scenes were so arranged that the main characters were in full command and the battle was their personal triumph or defeat. Some years ago, a well known newspaper man, interested in films, had an American subject, directed by a foreign director. The result, though the cost had been nearly a quarter of a million, was so appalling to him, that he washed his hands of the entire affair and refused to have his name connected with it. Though dollars did not matter so much to him, they did to the film company in question. It was agreed to spend an additional 75,000 for retakes, when one of the far-sighted executives decided to call in their best cutter. After viewing this 10-reel effusion, he requested a title writer assigned to him and three weeks of unmolested time for he thought he saw light ahead. The front pages of the dailies, at that time, were filled with divorce proceedings and divorce was the general breakfast conversation across the country. The story contained two sisters and their aunt who was the heavy and villainess. This aunt was completely cut out of the picture, the second sister made into the heavy and, by transposition of scenes, retitling — after two weeks, a seven reeler, now a divorce story without one additional foot of film having been shot, left the laboratory — was released by an independent company and in five months time cleaned up the entire cost. The moral being that instead of the thousands of dollars outlay planned — a pair of scissors cut the cost down to the salaries of the cutter and the title-writer. A rather humorous By Jack White in its infancy” is a phrase used too often in connection with the motion picture industry. It is a trite expression that gives the impression that producers are groping through a maze of experiments and hazy attempts at an indefinite goal. There is only one goal for the producer— and that is entertainment for the public. Pictures built along any other line are bound to fall by the wayside. This is more true in the. production of comedy than in any other line of endeavor in the motion picture industry, and particularly so in the production of two reel comedies. These fast two reelers are concentrated amusement and entertainment — and they are the product of experience, built along the lines of what the public and the exhibitor wants. Regardless of how strongly a certain idea may appeal to star or director, or to any individual at the Educational studios, every comedy produced must pass the critical catechism of exhibitor and audience appeal. No director, star or anyone else is allowed to produce, or cause to be produced, a comedy solely because he thinks it is funny. It must measure up to the standard of entertainment value which has been ascertianed by years of studying the public and exhiibtors’ requirements in comedy entertainment. Experiments are tried — but only after they have been carefully considered by all the available authorities in the studio, and these authorities have gained their knowledge by first hand contact with the exhibitor and theatregoing public. Before any experiment is tried, it must answer satisfactorily the question, “Will it be good entertainment?” and unless the answer is in the affirmative, the experiment is abandoned. Entertainment is the commodity the exhibitor is selling to his patrons, and unless the pictures we produce are entertainment we are the ultimate sufferers. “Built for the box office” has long been a slogan at Educational studios. We have proved its value repeatedly. WALLACE SCORES Richard Wallace has qualified as an expert marksman this year, having scored four big successive hits, ending with “A Texas Steer,” Will Rogers’ starring vehicle. The young directorial genius is about to start on his fifth megaphone task, “Lady Be Good,” the popular musical comedy which First National will produce. GIBSON PLANS NEW DEPARTURE “Hoot” Gibson, Western ace who recently turned author after forming his own producing company, is preparing to launch an entirely new feature in cowboy drama. His forthcoming starring vehicle will be issued by Universal. incident came out of this release. The heroine of the picture, in real life, was in the throes of getting a divorce. By adroit manipulation the judge in question was led to view this picture a few days before he gave his final decision. When granting the divorce, he quoted this film. A final word, however, on the reverse side: The danger of cutting. An inefficient cutter can sometimes ruin a picture if given free reign. Speed and tempo, both so important to a film, are almost entirely in his hands — a foot cut here, two feet there, often work wonders or disaster. . . . Which only goes to show the premise of my statement — the importance of the cutter — nay pardon me, film editor! JACK WHITE ( Educational)