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MANY of my readers have written to ask me what they can do to assist the producers in making better pictures, and I shall devote this article to describing just how every motion-picture-theater patron in this big country of ours can do his or her share.
First of all, I must consider the various types of people who attend the performances in the homes of screen plays. First, there is the ardent fan, the person whose chief pleasure is studying the movies, and whose happiest hours are those spent in the, darkened theater, watching the screen silently unfold its stories through the medium of the players' histrionic talent. Then there is the person who enjoys motion pictures better than the drama or any like recreation, and who attends the theater almost as frequently as the ardent fan. Next comes the person who ''drops in" and sees a picture whenever nothing more important is on hand, and who enjoys it in' a more or less indifferent way. Then follows the person who never fails to impress upon those about him that the movies bore him or her and who is seen at the theater less frequently than any of the other classes.
I have classed the motion-picture patrons pretty generally in this outline,
not restricting my grouping to any particular social class, for my study of audiences and theaters has proven to me that the richer classes attend entirely different kinds of houses than do the middle and poorer classes. These divisions of patrons I have mentioned are to be found in each of the social classes and are therefore a fair outline of motion-picture-theater audiences as a whole.
Considering these four types of patrons, it is easily seen that the backbone of this great industry consists chiefly of the hrst two — this being written with due regard to the other two classes and the thousands they represent. The ardent fan and the regular patron are the ones who are closest to the producers, and who are best in a position to help them make better pictures. They are the ones who see the defects in motion pictures as a whole, as they attend the theaters day by day and know what has been used so often that it is no longer attractive. If their voice could only reach the ear of the producer, he would gladly listen to them, and, by calling upon the creative and artistic talent of his players, remedy what is wrong and supply that which they desire.
The fan wonders how he can raise his voice loud enough to make the producer hear; and the producer, who