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A Photoplaywri^ht De Luxe
HECTOR rURNBULl IS NO! \ FILM I'll )\l l R Bl I in ll VS Dl I l\ I Rl D Ml CH GOODS
l>\ Randolph Bartlett
HE occupies one of ihe most Luxuriously equipped offices on Fifth Ave nue, 1 [e is assisted by a highly organized staff. Himself i successful
77k Turtibulls: Hsitor ami Margnrrt
author of
scenarios — one oi the most successful in the world, as a matter of fact — he has dropped independent writing to develop new material and discover new talent. He believes in the art of the photoplay, and with success beckoning to him in several directions, he has elected to devote himself to missionary work. Above all. he is essentially a man who knows what he is trying to do, and not guessing around here and there, satisfied with the "just as good." He is Hector Turnbull. head of the scenario department of the Famous Players-Lasky combination.
Turnbull is the sort of man who proceeds rather upon dead reckoning than by inspiration. Mis heavy, black eye brows and steady dark eyes mark him for an analyst rather than a poet, and give point to his theories. You know that he has thought the subject out carefully, keenly, incisively. You do not think of him as the possessor of creative fire, and yet this same man has established a new record, reversing the old order by having sold the stage rights to two scenarios, written primarily for the moving picture market. Scenario rights to hundreds of plays have been bought, but Turnbull's "The Cheat" and "The Heart of Nora Flynn" are the first scenarios to have been sought for stage plays. Here is his explanation:
"A good moving picture scenario must be, fundamentally, a good play ; a good play is not. necessarily, material for a good moving picture. The moving picture must tell its dramatic story in terms of physical action, and with that as its basis, providing the story does not cover too much ground, geographically, it has the foundation for a stage play. On the contrarv, the speaking drama often owes so much to its
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