Motion Picture News (Nov-Dec 1920)

3982 (Equipment Service) Motion Picture News How to Judge Music Cue Sheets (Continued from page 3901) would know his own limitations and he would know his audience. Some cue sheets offer music which is "over the heads" of certain audiences and cheap stuff to others. Do you supDose that the Rialto, New York, would dare to offer the claptrap numbers which can be gotten over in neighborhood houses appealing to a different class. Dr. Reisenfeld, I would say, knows best how fo build his own cue sheets. But the cue sheets he made would be ridiculous in a ■little theatre. How would the little theatre get the effects which the big Rialto Orchestra with its complete library can use ? I am told that John Barrymore in "Dr. Jekyl and Mr. Hyde" was Dr. Riesenf eld's biggest financial success and that he is going to bring it back for a two weeks' run again — a return engagement. I am told that the success in a large measure was due to Riesenfeld's extraordinary cue sheet. Out in the country, that cue sheet was as good as nothing. What we are driving at is this: Don't just t ike the cue sheet for gospel— consider your audience, its taste and development, consider your library and consider your musicians. After you have decided upon the accuracy of the cue sheet compiler's judgment, then you can begin to adapt his suggestions. If you haven't the umpty ump symphony which is mentioned but you have the blankety blank sonata on hand, and your judgment tells you that the situation will be well illuminated by the substitute bit, use it. Now all along, I have spoken against cue sheets which are made to sell music. But now I wish to talk in the other direction. The musical director or his manager would be absolutely short-sighted who would -not buy the music which is essential to the success of the picture. If a musical library is not stocked up, don't be niggardly. Buy the music which is going to be useful always. Be sparing of the fly-by-night music purchases, the music which is dead by tomorrow, but be generous in the buying of music which will be as good ten years from now as today. You can always go back to the good music. You don't want, to be sure, to give your hearers the same old tunes night after night. Rotate— keep your musical scores for the picture always fresh. . . Yet I would not be misunderstood; there are certain songs of the moment which are just right for a situation, and which nothing else would replace. A situation where the dance hall or the vaudeville stage is depicted should have the last minute ragtime sensation. In judging a cue sheet, these are some of the ideas which can be remembered. After the score has demonstrated its right character, its " aidability " to the picture, then you have the privilege of adapting, changing, fitting the numbers to suit your library, your instruments, your public. Buy whatever is needed, for today and for all time; don't just buy music which is suggested, because it is down on the cue sheet and is intended to make you a " sucker." More on the Prologue Two weeks ago I wrote some ideas on the prologue, its advantages and possible variations ; many letters were received asking certain questions. The best way to answer the queries is to print the following additional thoughts. Particularly is the attention of the reader called to the last paragraph below, namely, " Only one suggestion further," and to the end o fthe squib. It can be used to sketch influences which were at work before the start of the story. Thus in a picture of Katherine MacDonald's " The Notorious Mrs. Lisle " the prologue could have suggested a woman being flayed and thrust aside— ppssibly a reminiscent bit of the Magdalene, etc. In the case of Mary Pickford's " Suds " a prologue might have shown some poor man and woman (living figures), coming out with an infant, and leaving it a foundling before the door of a rich house — a policeman comes along, picks it up and takes it to the station house. It can be . used to create a bizarre effect or a state of curiosity or anxiety .or restlessness— without any particular reference to the -tory proper. This in a mystery play, a prologue could be created with a series of figures moving across the stage for no apparent reason and doing something which the audience cannot understand. Curiosity only. It can be used to tie up a current bit of news to the picture where there is a connection. A flash of the newsprint on the screen, or a bit out of a news reel— and then into the picture. It can be used to show how the film was taken. Thus, in the case of certain different subjects, the hardships that the actors and directors or the author went through establish the mind of the audiences upon the wonder of the scenes which have been filmed. It can be used to show how the author became famous, or what his great forte has been, or what his past successes have been, or anything of that sort. Thus in a picture of Rex Beach, the man is almost more interesting than his pictures — a scenic of him and a few title suggestions of his life, introduces his pictures well. This is only a brief summary of some of the possibilities of the Prologue. Anything which will serve to start the feature picture with a Bang ! And with a Running Start ! And with the minds of the Audiences Focussed ! And in the Proper Tune ! — that anything is good prologue work. Only one suggestion further — Rather no prologue at all than one which lags, or limps. If v it doesn't excite and arouse, it's no good. A prologue must be packed full of stuff. It must be one thing or another, not a lot of things mixed up. If it's going to be northern atmosphere pack it full of that and nothing else — and use every known device you can lay your hands on to squeeze the few moments of the Prologue with that spirit. If it's to be tragedy and forlorn hopelessness, don't leave anything out of the Prologue which can be utilized to create that dejected state of feeling. Weep yourself and get all your ushers weeping if it'll help. The Prologue must be fast, tight and Unified ! Savoyw Syracuse Opens with New Organ The beautiful Savoy theatre of the T. G. Thompson Company, Syracuse, N. Y., was opened on Wednesday, October 20, after having been closed for several weeks. Pauline Fredericks in " Madame X " was the attraction and was beautifully presented. The musical program was very effective and there were many words of praise for the new Marr and Colton organ. The instrument has a wonderful quality of tone and a carefully selected range of stops. There was an overflow attendance at all performances, which indicates that this popular house has not lost any of its prestige during the weeks it has been closed. I The New Music Forum | Queries and Opinions Tell us of your musical references, difficulties, discoveries, etc. Here is where the motion picture fraternity meets for music discussions. Music Editor: " I have been following your musical department in the Motion Picture News, and think this is a move which nicely fills a want in this direction, and trust you may keep up the good work. " I would thank you to have the Casino theatre, Halifax, Nova Scotia, listed in this department. " This is a union city, the musicians' union being recognized by theatres here a short time ago. At the present time we require a director (violin) and cellist, and would thank you for your kind attention." — D. Sullivan, Casino thca it Ire, Halifax, N. S. Music Editor : " Just a line to mention the fact that in connection with the Robertson-Cole production with Otis Skinner in ' Kismet ' there is a number called 'Kismet' that has been accepted as a theme for the picture — published by Will Rossiter, ' The Chicago Publisher.' This number, I might mention, was written by a young man who is very well known to the patrons of the better-class vaudeville theatres — Mr. Hershal Henlere." — Jitnmie Brown, New York Manager, Will Rossiter, " The Chicago Publisher." Music Editor: " I am looking for location as organist in the South or West. Am employed at present by the Western Circuit Amusement Company, and until four months ago was employed by the largest G. Schirmer's Photoplay Series For Orchestra /n 4 Vols. A Loose Leaf Collection of Dramatic i and Descriptive Compositions Especially Written for the Screen. Prepared by Such Well Known Experts as Otto Langey, Hugo Riesenfeld, Irenee Berge, Gaston Borch and others. Per Vol.. S. 0. $4; F. O. J5.50; Piano Pt.. 65c Order from Your Local Dealer or From G. SCHIRMER, 3 E. 43rd St.. New York