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censorship board. It therefore came as a revelation to him that the picture drew the admiration of the censors, who allowed it to go by without a single cut.
The most remarkable thing about Motion Pictures, in the opinion of Rex Beach, is that while an author has to use from one hundred thousand to two hundred and fifty thousand words in order to tell a long story, only from two hundred to three hundred words are necessary to explain what it is about on the film.
Tho satisfied with the production, he considered that he lost half of the pleasure of his work by not being present when it was filmed in California. So in future cases he will personally superintend his adaptations so that the director may gain a full appreciation of the local color and characters.
Conan Doyle, after his novel. “The House of Temperley,” had been
filmed, frankly admitted that the credit for the production should go to the director. The creator of “Sherlock Holmes” was surprised at the clever way in which his novel had been whipped into shape for the film, as he thought it was not at all suited to silent drama. Moreover, the film absolutely made the reputation of a new, but now leading. British film company.
Marie Corelli deplores the sensational character of many photoplays. To this end she intends entrusting some of her simple love stories to a producer who will make the most of the dramatic side. It is her opinion that emotional incidents can be made much stronger than sensational situations.
James Oliver Curwood is one of the few authors who now writes almost exclusively for Motion Pictures. He attributes his success in this sphere to introducing as much plot into a photo
play as he does for a story intended for one of the leading magazines. He believes in strong, heart-interest stories with plenty of plot, and still more significant is his statement that not even the best fiction author is competent enough to write above the high standard demanded in modern photodrama.
Louis Joseph Vance complained that the first adaptations of his novels were badly produced and poorly acted, while the plots were ruthlessly altered. This made them the most “mellow” of melodramas.
In studying the photoplays prepared by staff writers attached to the film companies, he was convinced that they failed to put sufficient sympathetic treatment into them. They introduced just the “bare bones,” with no attention to characterization, atmosphere, motives and the finer details which go to make a harmonious whole.
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