Motion Picture News (Oct 1913 - Jan 1914)

THE MOTION PICTURE NEWS 23 THE HALL OF FAME Recently we guessed whom the Answers Editor of the Motion Picture Story Magazine might be. Editor Brewster informs us that our .guess that appeared here was wrong. We .guess no more. Captain Peacocke and "Pop" Hoadley, both of the Universal staff, are collaborating on some comedies and dramas. Bet they are away above the average. Harold McGrath, noted novelist, threatens to write photoplays for Selig. He may write a series of stories under the general caption of The Adventures of Kathlyn. There will be no question about his name appearing on film and poster. Henry W. Mattoni, actor and dark-room critic, has been putting over some thespian stunts recently and his many friends will readily recognize his good acting in certain Famous Players films. It is rumored that Director George L. Tucker will go with the London Film Co. It is said his first picture will be with Sir Herbert Beerbohm Tree in the cast. Tucker, be it recalled, gained his start as a script writer and deserves all the good things he receives. Walter MacNamara, Universal, is a versatile chap and is adding to his sources of income by writing tabloid musical reviews. He is making a hit with the work. Mrs. MacNamara, known in the theatrical world as Annie Purcell, was for eight years prima donna at Gayety theatre, London, England. PERTINENT POINTERS Write photoplays in the present tense. Manuscript covers save the script but add to postal expense. Do not send scripts to editors with a request for criticism. Script editors are complaining that even the experienced writers are neglecting to enclose return postage with scripts. A good leader or sub-title is a work of art. Endeavor to have them blend as much as possible with story atmosphere. Sub-titles can be condensed and strengthened by painstaking revision. Many envelopes enclosed with scripts sent to the studios are not large enough to accommodate the scripts when a rejection is deemed necessary. This action is pure carelessness. The address of Editor Hopp Hadley, Reliance Company, is now 537 Riverside Avenue, Vonkers, N. Y. Scripts for Reliance should lie sent there. James Dayton is Pacific Coast editor for Universal. Western address is Universal Studios, Hollywood, Cal. He has given much encouragement to "outside" writers. An editor writes that in his opinion there is going to be a great demand in the near future for four-reel subjects and writers with strong plots, that will bear being enlarged upon, will do well to work them out to the required length. When one scene dissolves into another it is termed a fade. However, this fade and trick stuff frequently mitigates the sale of a story. Trick effects mean a lot of work. Visions are also annoying to handle and the writers who persist in submitting the "dream stuff" soon become unpopular in many studios. Effects will never save a weak idea or pull up the necessary threads of a story that should have been woven in at the beginning of the plot. The plot is .he foundation of the story. Without an original and unusual idea all the technique in the world will not sell your work. You must learn to evolve an original and log'cal plot before you can hope to succeed. Practice makes perfect. Keep your scripts on the jump. We have abandoned our "morgue." Of course many a rejected story will bear revision but revise and keep it on its travels. You may have a good plot and if it is permitted to lay in the "morgue" too long the other fellow may think it up and beat you to market. Many seem confused by the cut-back. When not overdone it is a detail that increases suspense by the art of strong contrast. A flash back to some action frequently tends to intensify and hold up the plot. The number of cut-backs in a story cannot be determined. It all depends on the story. Biograph is particularly strong on the cut-back and many pictures released by that company show them. Properly used they stand for realism and the art of suspense. John is about to take poison believing he has lost the packet of money with which he was intrusted. He pulls the cork from the vial r>nd a flash back shows the money found and the messenger speeding to John. Now a Director George Terwilliger, formerly of the Lubin Manufacturing Company editorial staff, is now directing pictures for that concern. That George will make good goes without saying, as he is an exceptionally bright fellow. Use Simple Names When writing a cast of characters for a photoplay script use simple names. Jack, John and Ned are better than the Laura Jean Libbey style of cognoman. Also it makes matters easier for the producer, and the publicity man is frequently grateful. BIOGRAPHICAL SKETCH OF ALEC B. FRANCIS The principal of this little biographical sketch, Mr. Alec B. Francis, possesses without doubt one of the most likable and pleasing screen personalities of any artist engaged in the work of motion pictures to-day. Finely proportioned physically, with a handsome face and most charming manner, Francis is at his best when playing the leading role in society and domestic dramas. His ability as an artist is unquestioned, as he has to his credit a long period of work in legitimate, comic opera and vaudeville, both on this side of the water and in England — the latter place being his home. He was a huge favorite over there in leading productions for years, and it was indeed a fortunate stroke for the exhibitor and photoplay patrons that he abandoned his first love for the silent drama, as his personality and clever work have endeared him to countless thousands throughout the United States and Canada, who nightly watch anxiously for the appearance of their favorite star in an American Eclair production. With the versatility of the true artist, Mr. Francis is equally at home in drama and comedy, and has done some exceptionally laughable characters of the light comedy type for the Eclair Company, although his forte is straight dramatic roles. He is happily married, takes great interest and pride in his home, which is a beautiful cottage situated near the Fort Lee studios of the Eclair Company, and his chief diversions are the purchasing of clothes of the latest mode and the running of his trim roadster, with which he travels the hills and beautiful country roads of Fort Lee daily, going to and from his work. His admirers and friends are numberless, as he possesses a most lovable disposition, and is always the man, both off and on the screen. NICHOLAS POWER EXHIBIT AT THE ELECTRICAL SHOW To the mind of the writer, after careful investigation, it seems a bit of bad business on the part of the manufacturers of motion picture sundries not to advertise in a more progressive manner than they do. When such a splendid chance as the electrical show offered itself, only one of the many companies bought space. Nicholas Power, with commendable forethought, put in a five-machine exhibit, and electrical experts from the world over, who have come to the city for the sole purpose of seeing the show, saw Mr. Power's production and marveled thereat, some of them being so good as to leave an order. One man in particular (name on application), who was opening a theatre in New York, had two machines. They were old ones, and when he saw the Power's exhibit he had them replace two of their new machines for his two old ones. That's business ability! The sales department has reason to be jubilant over the success of the experiment. David Munstuk, active head of the M. & F. Feature Film Co., of Chicago, has contracted for the entire output of the Film Releases of America for Northern Illinois, operative with "The Voice of the Wild." ALEC B. FRANCIS