Motion Picture News (Jul-Aug 1916)

1128 ACCESSORY NEWS SECTION \'ol. 14. Nt). 7 r" — : ] .ijjt^ J ■■ -.4 ■ ■ ".■ 1 Music and the Picture Edited by Ernst Luz This department is maintained for the exhibitor's assistance with a view of suggesting proper musical illustrations for current photo plays. MOTION PICTURE NEWS will be pleased to help solve any difficulties the exhibitors may have with their musical programs. All communications should be addressed to the Music and the Picture Department. " Music Plots So-Called, and the Music Publisher A Musical Number That Takes About Fifteen Seconds to Get Well Started, Certainly Cannot Be Stopped Short in a Still Shorter Period of Time Without Inharmonious Breaks — Dollars and Cents Should IN'ot Be the Paramount Point at Issue moving pictures, and in particular, what j-ou and others have to say about the so-called "Musical plots" issued by some firms, in connection with their releases. I often have tried to use these plots, either the suggestions as to the style of number the plots give, or the actual numbers they mention. To claim any success with either of the foregoing would be an untruth. I have a library which compared to those of most musical directors for moving pictures, is a very large one. When I tell you that I have over twenty thousand numbers, each one of which is classified in my catalogue, and which I can place my hands on at any time, you will see that I am somewhat prepared for mostly any kind of program and picture. To refer back to the "plots" in question, I would like to suggest to the manufacturers of films that are sending these printed slips out. that while their intentions may be of the best, both for the uplift of music in picture houses, and also for the better accompaniment of their films, that they enquire of the men they have compiling these plots, whether they are giving them a musical plot that zvill better the picture or whether they are trying to advertise certain music publishers, free of charge, and at the same time trying to " bunk " the man who tries to use these plots. The latter seems to be the only explanation to me. Sometimes Numbers Suggested Are All from One Firm I have used plots or rather tried to use them, where I have found that with the exception of perhaps two numbers mentioned, ALL the numbers suggested are the publications of one firm and one firm only. I can at any time, furnish you with plots that I have on file, on which nothing but Schirmer publications appear, others devoted to Carl Fischer publications. Then again, while that may be why the plots are distributed broadcast (just to advertise certain publishers) how^ on earth can a man that is handed one of these plots, find out what kind of a number he needs for the scene in question, unless he knows that number mentioned, or has it in his library. Being possessed of twenty years experience in all branches of the musical profession, both in Europe and this countrj-, I am fairly familiar with most of the numbers in general use. But imagine my dismay when I take up one of these plots and find a number I don't know, or do not possess. At such times I have to guess at the scene, and the chances are that when I come to that identical spot, it isn't that kind of a number at all. Another thing, what is the use of making notations of time periods ranging from 15 seconds to seven or more minutes. I imagine the " plotters " run a thousand foot reel in fifteen minutes. Then you can imagine what a n'onderful help it must be to find 15 seconds are to be taken up by one scene, when your operator is running at amlhing from a twehe minute to a sixteen minute speed for the same reel. Personally I would like to meet the director of an orchestra tliat could get am music from his men, if he had to start and stop a number in fifteen seconds. From my past experience it would be practicallj impossible, for tlie major(Contiiiued on page 1134) Editor's Note : More communications such as the following sent to this department and to the film manufacturers in question will do much to eradicate the evils spoken of by Mr. Lovett. We should, however, not forget that picture music is as yet in its infancy. Only a few days ago in speaking to a former colleague in editorial work, who was a great advocator of " Music and the Picture," we were discussing the advance that had been made by " Music and the Picture." My friend remarked " Great strides have surely been made in picture music, yet it is not nearly what it should be." Always feeling myself that all and any efforts made, whether good or bad, would be for the eventual betterment of picture music, I have restrained myself from making severe criticism, feeling that the industry at large is not as yet intellectually capable of accepting an authority. Dollars and cents and other financial manipulation seems to be the only paramount point at issue. It is true nevertheless that plots which upon their very face stamp themselves as being impossible must necessarily retard the enthusiasm and ambition of the playing musician or leader. It has been even a greater hardship to the musician when film concerns are able to influence the theatre manager or exhibitor that he is giving them the right thing, when in reality he doesn't know the first thing about it and he has at no time made an effort to acquaint himself with the actual facts. Air. Lovett speaks correctly when he says that a number is only well started in fifteen seconds and certainlj' cannot be stopped without an enharmonious break in so short a period. I have often issued warnings to manufacturers of film regarding the exploiting of the picture industry by music publishers. There seems to be an erroneous idea regarding competitive means now in vogue by some of the publishers. These publishers are surely following the wrong track, for as Mr. Lovett says, any capable leader can set for himself and the men under him better musical programs than can be set by others who are entirely ignorant of the condition under which the leader is working. This has been one very important reason for the lack of success met by the music score. Musical plots which do not describe the character of music necessary, but instead give the names of musical compositions which are very often unknown -will also never have any value in picture playing. Consequently I cannot see what publishers can hope to gain eventuallj-. It would certainly be more profitable to them were their publications in each photoplay house with the proper temperamental classification. I am more than convinced that when the musical end of film production will be in the hands of picture musicians of known musical abihty and picture knowledge that music publishers, film manufacturers and picture musicians will all be benefited a thousandfold and I unite with Mr. Lovett in the further hope that the realization of this is not far off. Post Office Box 1356, Richmond, Va., . July 30, 1916. Dear Sir : In past issues I hav€ noted your remarks concerning music for