Motion Picture News (Oct 1913 - Jan 1914)

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FOR THOSE WHO WORRY O'ER PLOTS AND PLAYS William Lord Wright The Unusual Thing THE usual thing in photoplays is to be avoided and the unusual thing is devoutly to be wished. The usual thing usually reads well in script; it seems to stand for a whole lot. The usual thing has much technic and an ancient idea; the unusual thing sometimes appears quite '"skimpy" in script, but cleverly develops the unusual idea. The copy of the successful fiction-writer frequently does not "stand up well" in manuscript, and the same rule is applicable to other forms of literary endeavor. But the skilled writer's stuff that does not make the immense hit in script, frequently proves mighty successful in cold type or on the screen. Edison's "One Hundred-Dollar Elopement" is a case in point. In script form the plot would appear very transparent to the inexperienced editor, but the story struck Edison's readers and producers right between the eyes. It contained the unusual thing. The story is not so impressive. A giddy maiden is placed by her father in a girls' seminary. A worthless young man starts a flirtation with her. The head of the seminary discovers the elopement plans. She notifies the girl's father. He hands the young man $100 to sign a paper giving up the girl, and then he takes the young man's place and meets his daughter and returns her to school. It is the character work and the fine shadings in the action that make this story the unusual thing. Several notes figure in the action. But one is flashed, the rest are put over by suggestion and are plainly understood. The text of a note flashed on the screen about every one hundred feet detracts from the atmosphere. Edison producers understand this fact. The first letter sent to the girl is read, but its text is not flashed at all. Every-day sort of people are shown in action and they perform every-day sort of business without the aid of firearms, ball-rooms, death-bed scenes or automobile chases. The unusual thing comes right along to the end of the picture. The father and the preceptress of the seminary are mutually attracted. In the last scene the girl whispers to her father and looks at the preceptress. The father smiles bashfully. This is all. However, suggestion was skillfully put over; everybody understood what was sure to happen sooner or later; and the ending played upon the imagina tion of the spectators in a psychological way. The picture was the most popular in the evening's program of four playlets. It is a good example of the quiet, convincing story of every-day life, and it took the audience into the confidence and spirit of the play. It is the kind of story that would-be photoplay wrights should study. The Needs of Eclair Mrs. F. Marion Brandon, versatile editor of the Eclair Film Co., writes the following interesting communication: "The Eclair is very decidedly in the market for free-lance work, but it discourages correspondence school 'students' and unknown authors from submitting their scripts, as the Eclair standard is of the highest, and it has seldom, if ever, been able to use scripts other than those by already established photoplay-writers. I shall be glad to receive split-reel comedies of the first order. Also two and threereel scripts of unusual dramatic value. We wish no Mexican, Western nor mining scripts. We might consider one and two-reel comedies occasionally. Only the work of recognized authors, as I said before, is desired. Scripts are to be type-written and stamps covering their return are to be enclosed. I think two-reel scripts will become the unit in photoplay releases. One can't do justice to a strong story in less than two reels. The exhibitors are not keen for three-reel stories ordinarily. The theatrical magnates are now plowing into the photoplay field with gigantic productions like 'Quo Vadis,' 'Arizona' and 'Tess of the d'Urbervilles.' I think the public will find its happiest medium of enjoyment in the two-reel films, while split-reels and one-reels will simply be used as 'fillers.' To get back to the discussion of Eclair's wants, I might say that we pay market prices for a script submitted where the action is worked out in such a way that we can turn it over to a director without the expense of revision. When, however, only his idea is acceptable to us, we make the author an offer for it which he can accept or not — as he pleases. As to crediting the authors of photoplays on screens and posters, I am strongly in favor of this movement. There seems to me to be no reason for the authors remaining in obscurity, since every other form of literary and dramatic work gives him full meed of recogni tion. I really think it makes for better results, since a man who knows his work will be tagged with his name is more apt to exert himself conscientiously." We are glad to note that Eclair joins the leaders favoring credit for authors. We do not incline to the argument of some writers that film and poster credit will banish plagiarism, but we believe it will have a tendency to check it. If credit on both poster and film is granted deserving writers it will do away with the habit of some few exhibitors of falsely advertising themselves or their friends as authors of photoplays that are shown. This action has occurred in a number of instances. It does the real author an injustice, and gains money and reputation for others by false pretenses. Perhaps it is because so many correspondence school scripts are descending upon the defenseless heads of Eclair readers that the bars have been put up against the unknown author. Now, we have a warm spot in our heart for the beginner in the field. We do not wish to see him the victim of discrimination. Every writer was unknown at some day and date. Booth Tarkington was strictly unknown when he submitted the manuscript of "The Gentleman from Indiana" to McClure's Magazine years ago. We remember to this day the announcement by McClure's that "We believe we have discovered another unknown writer who is a master of plot and action." The work of every unknown writer should be carefully read and considered. Frequently a veritable nugget of gold is uncovered. Photoplay Titles Titles for photoplays are important. Titles have shown great improvement during the past six months, but there is room for further betterment. Avoid the long title. "The Adventures of Mortimer Fitzgerald" may sound good for a Bertha M. Clay yarn, but is not aoropos for a film playlet. Try and conceive a striking title, an all-embracing title, a title that is catchy and yet tells something. Any old title will not do. Titles require thought and study. Endeavor to name your play so excellently well that the editor will not change it. Market Growing "There ought to be markets for all kinds of scripts for a new film concern