Movie Weekly (1922)

Move WeekhY 8 to Scenario'VX^i 1 ■ Scenario Note : Our readers are invited to write and ask us questions they may have in mind on screen writing. Please enclose stamped and addressed envelope. THE CHOICE OF SUBJECT ^ I ^HE first question which presents itself to I the mind of the amateur photodramatist is : 'What material shall I choose for my photoplay ?" The selection of material is the first, and perhaps the most vital consideration in this field of work. A studio expert recently divided into three classes the stories which are always desirable and for which there is an extensive and constant marWet : First, five-reel comedy-drama, brilliant, clever situations that are also intense, humorous and convincing, following one another in rapid succession until the action reaches an interesting climax, full of surprise and "laughs." Second, heart interest stories, dealing with those emotions which are simple, fundamental and universal ; having human, appealing characters ; a blending of humor and pathos ; and interesting action which points up a big, compelling theme, without being didactic. Third, vivid, intense melodrama, with incidents that are exciting and thrilling, but not exaggerated or implausible ; new and surpising "twists" in the action ; a plot which swings up to climax, with breath-taking rapidity. No producer, as the trained screen writer knows, is interested in a comedy so slight that there is only one situation and the action could easily be condensed into one reel. The one and two reel comedies are built in the studios by the directors, actors, and staff writers in collaboration, and there is practically no demand for such stories on the market. For this reason the inexperienced screen writer should direct his efforts along more profitable lines and construct the full five and six reel stories. It is difficult often for the amateur photoplaywright to gauge accurately the amount of material required for the screen play. A good way to judge one's work in this respect is to determine the number of crises your story contains. A "crisis" is a dramatic "situation," higher in interest and intensity than the several preceding situations that have led up to it. The five reel, or standard, picture requires three major crises, and, leading up to each of these, several minor crises, graded in importance, and adding gradually, but continually, to the suspense. A NOVEL TREATMENT The more novel the treatment of the situations in a photoplay, the more valuable the script will be. Producers and e.xhibitors like to point to a picture and say, "There is something new in that." As there is nothing really new — as what they mean is that fundamental dramatic situations are presented in a new •/ui.'ie. -combined in a new way or cmbellish'd in an unusual manner, the writer can readily sec that there is nothing more important than this very subject of novelty of treatment, provided his fundamental theme is really worth while. It is in a fine appreciation of the value of novelty that the trained screen dramatist is set apart from the amateur. Take a typical situation, one that has been used in one form or another as a basic situation for fiction and drama since the earliest days of story telling, that of the hard, (^rasping money -making father of the beautiful young daughter who is in love with the poor hut worthy young hero. This situation, old as it is, is of groat dramatic value if it is handled in a new and effective manner, that is, if there is a strong dramatic "triad." An audience is not likely to take such keen interest in a play where the entire con flict is the fight for property rights as when the object of strife and the consequent struggle appeals to the emotions. That is the reason that very few plays have been successful that did not have plenty of "heart interest." r 2)uestions and Answers (Q.) I am making an earnest study of photoplay writing. Do you think it would be a good idea for me to visit the studios and witness the production of a picture ? — W. M. (A.) I believe you would derive but little benefit from visiting studios. For practical reasons it is impossible to allow visitors to witness more than one or two scenes while the picture is being "shot." Consequently the' impression received is fragmentary and frequently confusing. Efficiency experts have figured that each visitor at a studio costs the company approximately fifty dollars, because of the' time lost by the actors an dactresses through the commotion caused, and the annoyance to those who are working on the set. For this re'ason, it is also very hard to gain admittance to any studio. (Q.) Is there a good demand for reincarnation stories at the present time ? — C. B. (A.) I must advise you that there' is little market at this time for a story based on the theme of reincarnation. Such material is really not good screen material, because it is so psychological and subtle. Moreover, a good many stories of this type have been produced recently, and there is no longed any big demand for them. (Q.) I have a story in mind which is based on the ■ theme oi father love. Do you think this would be attractive — L. S. (A.) The theme of father love should have a greater demand ..i present than the theme of mother love inasmuch as the latter has been used so much recently. Producers are always interested in something different. If you can build a strong, dramatic story based on the theme of father love, I see no reason why. you should not turn out a very appe^ing photoplay. (Q.) Will you please tell me what a character actor is I thought that all actors were character actors. (A.) The term "character actor" is generally applied to those actors who do not play leads or heavies. The hero, heroine and heavy are usually called straight parts ; that is, nothing out of the ordinary in the way of make-up is required of them. (Q.) Do you think there is any advantage in using an agent to dispose' of your stories ? Do not scripts submitted in the regular -way receive the same attention as those submitted by an age'nt? (A.) Conditions constantly change in the big studios. A story that has been turned down one week by an editor will be the very thing he wants the next week. A live wire agent keps in constant touch with the needs of these editors and usually presents a story at the psychological moment. (Q). How many characters need be included in the cast of characters ? (A.) It is hardly optional with the author. Sometimes only the leads and the heavy are given credit on thd screen. It is safe to .say that any character that would appear in a majority of the scenes should be included in the description of the cast. (Q.) I have been told that my story has too much "scatte/red interest" ; wiill you tell me what this means and how I can avoid it? (A.) You have probaWy separated the characters in the story without any necessity for their separation and have then been compelled to develop dramatic happenings which have no real part in the development of the plot. Very often the cause is that yovi have not a clear dramatic objective in the story and if this is the case there is little to knit the story together. (Q.) sent a story called, "The Mystery Of The Bar Y Ranch" to three different studios. Two of them returned it without any comment except that it was unsuitable. The third told me that it was lacking in originality. My story was a typical western one* and cattle rustling and it seemed to me as original as .some I see on the screen. How can I go about getting originality in a western picture as everything seems to have been use<i heaps of times before ? (A.) It is not at all an easy matter to put "originality" or as we prefer to call it, novelty of treatment, into a western picture of the type you mention. Entirely new twists can sometimes be given to old situations by an ingenious person. Another way is to de?velop the story with some very out-of-theordinary character, one whom you would not expect to find in those surroundings. Such a character must have tremendous personality and must be able to hold the interest of the audience. In this case the characterization is the making of the picture in great measure. Yet another way is to write a story, the action of which might take plact? anywhere and then give it the picturesque western setting. (Q.) How many dramatic situations must I have for a five-reel picture? (A.) Never less than three major ones and only if these are of sufficient strength will this number suffice. A good five-reel picture often contains as many as six or more and many minor one's leading up to them. (A.) A critic has told me that my descriptions of scenes are "telegraphic" and too cold. How . am I to get away from this when I understand the detailed synopsis should be' kept as brief as possible ? (A.) A detailed synopsis should be kept " as brief as possible"' but this does not mean that the story is to be sacrificed for the sake of brevity. Your aim should be to get the greatest power out of the scenes you are' describing and if this takes a few pages more — then use the few pages. A big scene cannot b^ developed in a few cold blooded sntences. The emo tions must be described to some extent as well as the action for if this is not done then the' characterization is lost at the moment it is needed most. Put all the feeling and power dnto a "big scene" that you can and if a little dalogud is necessary, use it. (Q.) I want to write about some vital problems of the day but when I have it down on paper. I find that the subject is consorable, yet I cannot resign myself to writing milk-and-watet stuff. (A.) There is a way of going around this censorship matter. If the subiect is treated delicately, if there is a. moral lesson in the story, a thetaie based on a vital question has a chance to pass the censors, but it is a chance. Better wait until the public has shaken of! the yoke of censorship before attempting such stories. (Q.) I have in mind some ideas for writing educational pictures. Is there a market for that kind or material ? (A.) There is none'. Producers of educational pictures have their own staff writers who write up any subiect desired. Better stick to writing fiction, the field is unlimite'd there. (0-) In a story I wrote recently, I had the girl imagine herself wearing beautiful gowns. Should I write "dissolve Mary wearing evening dress, etc. ? (A.) No, write straight narrative. If your story is accepted, the continuity writer will write in the "dissolve" whene'ver necessary. Do not clog up your story wi;h technical terms, forget that they exist.. (Q.) Shotdd L write the continuity of my story instead of straight synopsis ?' I find that I simply cannot write a comprehensi.v^ synopsis but can write a good 'Continuity. (A.) Better practice on straight synopsis. It is very hard to read continuity and "get" the story unless the work has been done' very well and a novice at th game would hardly be able to turn out a good continuity. This work re'quires considerable practice and experience. (Q.) Is there any market for war stories? — T. K. O. (A.) There is no market for war stories at the prese'nt time. Immediately following the war the happy thought of every author was to write a war story. As a consequence a story with a war setting has lost its value. Anothtr argument against this type of story is the cost of production. It costs a great deal of money to outfit and maintain two "armies." (Q.) Is there any call for negro comedies? — R. S. P. ■ (A.) There is little or no market for comedies composed entirely of negroes. However, the Monumental Film Cn. ; with offices in the Loew Building. NeV York City, is building a studio at Washington, D. C. for the production of two-reel colored comedies.