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accessible to a representation when they are asked to take part in it. I had conceived the plot of an old classic fable adapted to our epoch, and I selected the protagonists from amateurs, friends of mine, and picked out the « supernumeraries » from among the inhabitants of the place where I was, whom I knew one by one, as if I were their mayor. It was the people of Anticoli Corrado, the people of « models ».
This experiment has never been shown in public, and it is not such as can affront the general public. The means at our disposal were limited although our operator was unquestionably able and uncommonly intelligent: he is now engaged in the same capacity by one of the leading film-producing companies in England.
The opinion of those intelligent people was examined, the production was that never before had reality and fiction been amalgamated so completely in one single vision. The buildings were suitably chosen amid those monuments and the « supernumeraries » to whom I had explained the plot, grasped it thoroughly and acted convincingly in their own homes and in the streets of their own village and afterwards in the buildings, imbued as they were with the event and the eloquence of the places where I had asked them to act. The sun shining upon us all completed the show.
I came then to the conclusion that it is necessary to create a literature for the screen, because the adaptation of dramas and celebrated novels to the cinema is an absurdity and an aberration. It compels the scenario-writers to make an exaggerated use of sub-titles, which is at once tiresome and inadequate, and obliges the artists to have recourse to those unbearable and monstrous colossal grimaces.
A proof of the possibility of creating a plot and of developing it through a series of images was affored by Gabriele d'Annunzio; Cabiria is undeniably a harmonious succession of enticing scenes. It proves that no art can evoke the extraordinary and cause the transfiguration of the actors in the fabulous reality — which is precisely the characteristic virtue of the cinema. In the hands of
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