Movie Pictorial (September 19, 1914)

10 THE MOVIE PICTORIAL ember 19, 1911+ weekly, the motion picture director must be allowed to do his work unhampered, and as he sees fit, allowing of course, that due atten- tion has been given the scenario prior to its being turned over to the director. X believe the scenario writer should be taken into con- sulation in a measure by the director before the picture is produced, and at the Edison studio I try to assimilate the position of the scenario writer. It is impossible for us to have the author of a script on the grounds, since we buy scenarios from all over the country.” The Edison Company can justly claim to have begun the adaptation of copyrighted works, by well known authors, to motion picture form. Immediately after taking affairs in hand at the Edison studio in 1909 Mr. Plimpton bought from Mark Twain the right to produce “The Prince and the Pauper” and it was brought out as a feature picture for those days, in one reel. This was followed quickly by the works of such authors as Rex Beach, Richard Harding Davis, E. W. Townsend, Carolyn Wells and Roy Norton. Quite an imposing galaxy then, but now not sufficient to attract a mo- ment’s attention. “It seems strange,” Mr. Plimpton states, “that it has taken almost five years for the producers generally to realize the value of utilizing prominent current fiction for motion pictures.” For two or three years after Mr. Plimpton inaugurated this idea of using current fiction stories by well known authors, the Edison Com- pany had this field almost to itself. Of late, however, the demands have come with a rush, and today there is hardly an author or a dra- matist of prominence whose works have not been bought for the screen, and some at very high prices. In this connection it is to be noted that it was Mr. Plimpton who first begun the issuance of serial films by the appear- ance of the “What Happened to Mary” pictures. The published serial and the pic- tures appeared simultaneously, a popular wo- man’s publication doing an unheard of thing by building its circulation to above the million mark through the publishing of the story of the film. This was followed by the “Who Will Marry Mary?” pictures, and which was con- ducted in the same way. “The Chronicles of Cleek,” and “The Adventures of Octavius,” are more recent Edison serials. The weekly output of the Edison studio is six different subjects each week, five of them being single reel subjects. It is Mr. Plimp- ton’s belief that the single reel photo-drama is the keystone of the motion picture industry, and that picture patrons desire their program as diversified as possible. This belief accounts for the fact that the Edison Company has never tried to outdo their competitors by offering more than one multiple reel subject a week. At the Edison studio a rather peculiar policy is pursued in the handling of scenarios. A staff of three synopses writers is maintained. All submitted scenarios are read by the mem- bers of this staff, and those which seem fitted to the company needs are held back. The im- possible stories are immediately rejected. Syn- opses of not more than 250 words are made by the staff, and these are submitted to the various directors, Mr. Plimpton inclusive. The directors read the synopses and on a slip of paper at- tached for the purpose, marks his decision with one of the four words “Accept, Reject, Read or Discuss.” If marked “To Read,” then the original scenario as submitted by the author is given to that director to read. Should all votes on the synopsis of a particular story be “Reject,” the scenario is automatically sent back. If however, it is held out even by one person marking it, “To Discuss” it then comes up for a full discussion. This discussion is held every Wednesday night, at which time there is a conference of the entire producing force, and all matters connected with future work is gone over. After accepting a scenario the producing director takes it and makes his own working scenario, making such changes as he thinks best. This working scenario is submitted to Mr. Plimpton before the picture is started, and any further changes thought desirable are made after consultation. The working scenario is, of course, used as a basis for the stage manager in regard to scenery, sets and properties, as well as by the principal actors. Copies of the scenario are made and given the heads of the different departments as well as to the actors and actresses, and before a production is started, all concerned are made thoroughly familiar with its requirements. Though Mr. Plimpton does not wear the regalia of a scenario editor, he is virtually the Edison editor in that it is his mind that weighs and decides all scenario problems. His is the guiding hand which prevents Edison dramas from possessing that taint of impurity which marks the production of many of his competi- tors. He believes there are comedy ideas that do not depend for success on the risque and the illicit. Therefore, Edison pictures are clean. If there were only Edison pictures there would be no societies to keep an eye on the movies, and no board of censors. Since 1909 the Edison studios and laboratories have grown to five times their original size, and as this is being written preparations are under way for a bigger and newer studio, and which will occupy the site of the present studio. This new studio will be equal to the best in the world. Should the lay-man visit even the present studio he would find himself in a new world, and bewildered by the rapid coming and going of many people, the sinister glare of strange lights, the sharp ringing of an unseen gong followed by a sudden hush, another clang of the gong, followed by renewed activity, curt commands in a strange jargon; all this is per- plexing—the first impression is confusing. This impression is soon dispelled. The com- ings and goings have a definite purpose and produce immediate results. The lights and bells have their ordered place in the general scheme. There is no confusion, in reality, for the Edison studio is a place where things are done, and done well and quickly by men who know how to do them. Imagine a vast hall, with a stretch of floor space, that would delight the heart of an old Viking, who liked to sit at meat with all his people at one great table. He would have no trouble here. There would be room for some outsiders. Overhead is a network of steel beams, over- hung by a glass ceiling. Every inch of this vast floor space is utilized for the production of the interior scenes. The sets are arranged side by side, a beautiful Fifth Avenue hotel sociably rubbing elbows with a sweat shop; a drawing room next to a kitchen; an Italian palace next to a room in a dingy hovel. A company of players works in each one of these sets. Nothing is too great or too small for the Edison studio to do well. The compass of its achievement ranges from the microscopic to the gigantic, and though the past achievements of the Edisonites rang to the fore, it is the hope of still greater achievements which has brought about the need of a new and larger studio. It is the keynote of those who com- prise the large Edison staff to do the very best, and their output is measured in excel- lences instead of numbers. Quality, not quan- tity, is the goal. Every man, woman and child in the studio seems animated with the desire to excel. Listed on the roster of Edison players are the names of many who have achieved big success on the legitimate stage. Some of the chief Edison players are Mabel Trunelle, Charles Sutton, Richard Tucker, William Wadsworth, Alice Washburn, William West, Cora Williams, Miriam Nesbitt, Edward O’Connor, Barry O’Moore, Augustus Phillips, Herbert Prior, Julian Reed, Jessie Stevens, John Sturgeon, Elsie Mac Leod, Duncan Mc- Rae, Frank McGlyn, Richard Neil, Bliss Mil- ford, Dan Mason, Marc MacDermont, Gertrude McCoy, Bessie Learn, Carlton King, Harry Linson, Gladys Hulette, Arthur Housman, Edna Hamel, Harry Grip, Nellie Grant, Robert Brower, Bigelow Cooper, Sallie Crute, Andrew Clark, Edwin Clark, Helen Coughlin, Kathleen Cough- lin, Harry Eytinge, May Abbey, Matliilde Bar- ing, Harry Beaumont, Yale Benner, Gertrude Braun, Edward Boulden, William Bechtel, Yale Boss, Viola Dana and Joyce Fair. It is Mr. Plimpton’s belief that it is impos- sible to obtain better acting in the motion pic- ture drama than is shown today. “If the motion picture play holds its popular- ity in its present form, the development will be in the line of better plots,” he says. “We cannot improve the acting for we have ob- tained the very best. Present day photography cannot be improved upon. But we can have better stories. Of course, in the five years I have been connected with the motion picture business I have seen a great many changes, and I wouldn’t dare go on record as saying the motion picture play has reached its zenith. Rather, I prefer to believe that the future holds a great many changes. I am not certain about the permanency of the present picture, and perhaps something may happen to rev- olutionize the art—perhaps the talking picture will come next. Who knows?” In the next five or ten years it may be possible to give an evening’s entertainment with the talking pictures, presenting in five or six reels, some well known play. Mr. Plimpton hesitates to speak of himself, and of his ideas, but briefly recites the story of his entire life as follows: “I was born in South Brooklyn. My father was one of the original residents of that part of the city, which at that time, was considered a very desirable dwelling place. I lived there until twenty-four, at which time I moved to Bay Ridge where I met the present Mrs. Plimp- ton. Our home, since 1900, has been in Mont- clair, N. J. My first and only business ex- perience before connecting myself with the Edison Company was with the Bigelow Carpet Company of Brooklyn, where I went as a boy, and with whom I remained until 1909. ” Mary Filler Battles with a Snail© S OMETHING is always “happening to Mary.” The latest thrill to be added to this girl’s life is a battle with a snake in which said snake met his Waterloo. Mary Fuller, with director, Walter Edwin and a company of some thirty-five players, was up in Blue Ridge moun- tains, Shohola, Pike County, Pa., putting on a three-reel Universal feature, “The Heart of the Night Winds.” The hotel people affirmed there hadn’t been a snake in the “Crick,” which comes down from the big falls at Shohola, for twenty years. But when Mary pulled off her white stockings and little black shoes and began to “sozzle” her pink toes around in the water, a big water moccasin lifted its head from the moss across the stream and admiring beauty from afar, slipped into the water and swam quickly over to pay his respects to “our movie heroine.” No Mary didn’t shriek or run, but grasped a hickory stick and waited. “I’ll spank you, naughty snake,” she warned. But with blood in his eye he darted at her leg. After a series of terrific “whacks,” the big nettled black lay still, and Mary was safe to go wading.