Moving Picture World (Jan-Mar 1912)

THE MOVING PICTURE WORLD 33 comedy idea, require that the action shall be more fully explained, and this means that more words will be needed, but even here it is not necessary to go into every detail, and you'll be surprised to see how easy it is to get over complete action of a scene in half a dozen snappy lines. At the start it is a good plan to write in the action in full that your thoughts may not be checked by the need for condensation. Then go over the script and cut out all that you can without hurting the story and cut down what you cannot cut out. If you can't plan a scenario write just the bare plot and sell it for a plot — which is what the scenario sheet means, but you'll not be paid as much for a scenario, so write a scenario if you can, but write just a scenario and not a novelette. INQUIRIES Making the Most of It. There is something more in writing a photoplay than merely writing in the essential action. You may have a complete story and yet have not half the story you could make out of the same theme. This doesn't mean that you can make a two-reel subject out of a onereel plot, but that you can make that one-reel subject twice as good by putting in the little touches that make the difference between a good script and a star story. A sonata is written on a simple theme, a few bars of melody. The artistry lies in treating that theme so that the best possible use is made of it. It's the same with a storj'. You see a young man strike down an old woman in the street. The act is revolting and you are glad that some husky truck driver climbs down from his vehicle and gives the young fellow the beating he deserves. There you have the elements of a story, simple, dramatic and satisfying. But suppose that you knew that the boy was the old woman's son, that she slaved over the tubs that he might be the "gentleman" that was her dream for him in his baby days. Suppose that you knew he struck her down because she had only the pittance to offer that her labor brought and he sought to drive her to theft to make up the sura he needed. It's all a part of the first story, but now are you not doubly glad that he received at least a part of his just deserts? Isn't your heart wrung with pity for the poor old woman and filled with loathing and contempt for the son? You've taken a simple theme and with a few touches you've made it. a better and more gripping story. Next time that hoodooed script comes back see if you cannot add to it the humanizing touch that will lift the curse from it. It's the trouble with half the returns, only half the story is there. Folded Envelopes. It's pretty poor economy to get a pack of cheap envelopes and use the same size for both going and return covers. Envelopes — even good envelopes— are cheap and an investment of thirty cents for two packs of stout manila envelopes is more profitable than your own labor or the hiring of a stenographer to copy the carbon of the lost or damaged script. Where but one size is used the return envelope is either folded twice across the short length or — worse still — one edge and one side are folded over to make a fit. Most envelopes are made from short fibre stock and are given weight and finish through the application of clay. When the envelope is folded the clay cracks, the fibres are strained and the chances Uiat another script will be lost are exceedingly good. With a white envelope the danger i> doubled, since the chemicals used "to bleach the pulp weaken the fibre. It is for this reason that experienced writers almost invariably use manila. If you send less than ten sheets the ten and eleven inch sizes are best, and a scenario has no business being .even ten pages long. Fold twice across and you have a package that will fit nicely in the inner envelope, which in turn will travel well in the outer -covering and get the script to the editor in good shape. If the script is bulky the seven by ten is permissible with but one fold in the sheet, but the danger of creasing is greater. To use an envelope large enough to contain an 8iA x ii sheet without folding is to copy the story after each return. Don t do it. It doesn't impress the editor. Copyright Productions. Some writers are disposed to view with alarm the evident tendency on the part of some studios to employ the copyrighted works of well-known authors. It is contended that this will hurt the market for original photoplays and eventually drive the scenario author from the field. It is going to take up a part of the production, but on the whole it will have a beneficial effect. The Edison Company found that the names of men like O. Henry, Richard Harding Davis and others on the film title carried weight, and it is pointed out that the Edison Company is the first to give the lesser lights the same advertisement. The established author broke the way for the minor writers and perhaps it will be found that when the companies get used to paying more than $25 to $35 for copyright rights the compensation for original work will be more generous. The $100 script is not far off, but it must be worth the hundred, and the writers who start now to get ready for that happy day will be best prepared when it comes. "Use No Hooks." Here's another letter from a correspondent, and it does not concern ■either of the studios previously mentioned: " sent back my script this morning. It has been read all right, and I hope they will set up a wash basin and towel outfit at . I'd be willing to subscribe the basin myself in selfdefense. He said he had tried it on three directors, but it looks as though the whole company had had a hand in or rather on it." This sort of thing is little less than dishonest. A request for manuscript implies that reasonable care will be taken of it, but after kicking about the studio a couple of months it is shipped back to the author with never an offer to pay for clean copying. If all studios sent back stuff in the same shape it might be argued that the soiling of a script was unavoidable, but some companies send back script looking as neat as though they had just been turned out, though it is plain that the script has been read. It is not the editor's fault, as a rule, but he is helpless since he has to turn over to the directors the original script and the average director knows little about manuscript matters. It is time that their education was begun. J. JONES. — You fail to qualify with your name and address as evidence of good faiili. but you're excused this time. Certainly it is "permissible" for the writer to place a value on his manuscript. It's your manuscript, and you've the right to say what you are willing to sell it for. But, on the other hand, the purchaser has the same right to pay what he thinks is proper, or not buy at all. It is the usual practise to let the company make the valuation and then if you think you have been underpaid, write politely and Bsli them if that is the regular rate. If it is, send yonr work elsewhere. (2) A writer may reserve the fiction rights on a story, but In doing so he is apt to spoil a sale and it is seldom that this course is to be advised. If you can make a good story of a photoplay plot, write the story first, and reserve the picture rights. (3) If the story is purchased by a company and the story is subsequently made into fiction form, the payment goes to the author who works your story over. You are not entitled to additional payment, as most companies purchase all rights. (4) There is no "regular price" for scripts. Payments may run all the way from $15 to $50, according to the compaoy and the value of the particular script. WEEKLY READEB. — You cannot get with a company unless you are experienced, and you cannot gain experience without first having been with a company. There are about 4,000 experienced dramatic players looking for positions with the picture companies. You can figure your chance as being good if they all die. but not otherwise. Better abandon the idea now instead of a couple of years from now. You'll save both time and worry. E. E. H.— As a general thing the companies prefer not to mention the locations where their pictures were made, as they may want to go back there before some other company finds the place. For this reason these questions are not answered. Your third question was answered a couple of weeks ago. It was while "Broncho Billy's Christmas Dinner" was being made that Miss Edna Fisher was injured. No Pathe player has been seriously hurt of late. They are used to tumbles in Western pictures. The reply concerning Mr. Costello was in regard to his occasional appearance at some photoplay theater as a guest on "Costello Night." An inquirer asked if he "hired out," and it was explained that he did not accept payment for these appearances. UES. A. S. — Questions of relationship are barred, but there is no relationship betyeen Miss Lawrence and Stiss Leonard. Miss Lawrence appeared in "The Test." but Miss Ethel Elder was the leading woman In "The Petticoat Sheriff." GEORGE T. — The studio at South Beach. Staten Island, has been occupied by a number of concerns at various times, the Eelmar Company being the latest occupant, if we are not mistaken. We regret that we cannot supply the address. JONES^this time from Cincinnati. — Miss Gladys Fields severed her connection with the Essanay Company some time ago. giving place to Miss Edna Fisher. We have no record of her present connection. If Miss Fields Is with a picture company, will she please so advise this department. There are others than Jones who want to know. L. G., Jr. — Herbert Eosworth is with the Selig Company, and be is putting up some capital acting. He is scheduled in many of the recent releases. H. C. T. — Miss Dot Farley was the opposite to Mr. Kerrigan In "Daddy's Redemption." The company does not know her present whereabouts. (2) This question Is out of order, but we do not believe that your surmise is correct. Our belief Is based on more Intimate information than yours. (3) William Shay and Lucille Young are the players in the Imp's "Battle of the Wills" In addition to King Baggot. (4) We do not believe that Miss Pickford was a dramatic player, but are not positive. A. J. S. — Miss Mignon Anderson was the Dora in the Thanhouser David Copperfield series. She was the leading woman of "Master of Millions." B. M. M. — Ask as something easy. There are quite a number of probable reasons why the companies do not film the casts, one being the length of film required, which detracts from the length of picture, since the latter mus' :ome within the 1.000-foot standard. In the Res Company's "A Breach of Faith/' Miss Lois Weber was the heroine and Miss Nanghton the ad* ventoress. BEBE. — Yale Boss Is not a dwarf, but a small boy, who has been kept singularly free from mannerisms while acquiring dramatic training. He does not work for other than the Edison Company. O. K. W.— Keep your "bonnet" and the ham sandwich. You'll have to dig up for yourself. E. E. L. — The printed titles and "leaders" are made In various ways, but they are never printed on the film. One company photographs painted cards and handles the negative the same as negative of scenes, another makes lantern slides and uses these as fixed negatives, the slides being made by photographing a printed card. A third company makes direct photographs of the card leader. If "how are they made" means who makes them, the author suggests what should be used and the editor usually has to condense the suggestions. BEN J. C. — If you want to do arrangements of standard works of literature. It would be wise to query the likely companies to see if they are interested. Most companies prefer to arrange their own scripts, or at least Indicate just bow they want the arrangement made. GEM, — Robert Conness was away from the Edison studio for some time, but he is back again and will probably be seen in some of the January releases. Nowadays the players interchange between stage and picture work. T. S. G. — We happen to know that a picture version of the play you mention is now being done. Announcement will probably be made before you can unload your script. Save your stamps. S. F. J. — The number of prints made from any negative Is a jealously guarded trade secret, and the figures are not made known, ..B, Z. — Mae Hotely, Elsie Glynn and Harry Myers were the leads in Lubiu's "Some Mother-In-Law." Miss Hotely was the Mother-In-Law. Mr. Myers did not leave the Lubin Company, as we recently explained, though he had arranged to go to one of the Independent companies. L. D. N. — We do not believe that you can obtaia Miss Lawrence's photographs, as she Is not now with the Lubin Company. B. G. — Miss Isabelle Rea and Miss Lucille Young are playing leads with the Imp Company. H. H, — Mrs, Mary Maurice was the Mother in the Vitagraph's "Wistaria." She is the same who played In "My Old Dutch." The Vitagraph's Eugte Eye Is a real Indian, and not an Imitation. M. c, D. — B loses. The Klnemacolor films are black and white. They use no tinted films, because they do not have to. Klnemacolor film differs from the regular stock in that the emulsion Is more sensitive to light values, since the pictures are taken at the rate of 32 each second, instead of the usual 16, and behind color screens at that. We do not know where you can obtain cuttings of the film. E. C. N. — See reply to R. E. H. above. R. B. L, — We do not advise querying the company you mention within eight weeks, as they are slow to decide. A delay In this case is a hopefnl sign. C. 0. E. — Edward O'Connor la the Bo'son of Edison's "The Bo'suu's Watch," Edwin Clark was the young man.