Picture Play Magazine (Mar-Aug 1916)

266 The Public Pulse knows the way but who has no time to undertake the immense amount of detail work incident to working it out, wishes that the fan would discover the magic trumpet. The film manufacturer is anxious to know what his patrons want — for therein lies his success. All that is necessary is to speak to him on leaving the theater or to write a letter to him. Once the manager of a house knows the general trend of his patrons' wants, he will set out to supply them — if he is a live manager. This he will do by telling the film exchange — the renting agency through which he secures his programs daily — that he wishes them to inform the producers who supply them with films that such and such a thing is not right, or that this or that is very effective as a business builder and should be used as a model in the future. The exchange in turn communicates with its main office, and the main office relays the request to the manufacturer. The suggestion is brought before the directors ; thus it is that it goes into effect. Do not think that I mean a single request by a single fan, taken up by a single exhibitor and then by a single exchange, will have any weight with the company ; for it very probably would not. But were all the picture followers who have the interest of better pictures at heart to do their share, the manufacturer would receive not one but closer to ten thousand requests to do certain things. The fact that so many people should think the same way about a thing may seem quite a presumption to you, but it is a well-known fact that the thoughts of the masses revolve around a very few ideas in cases of general appeal such as this. Let us consider your viewpoint of the matter now. Perhaps you think it is the duty of the producer to supply what you want, rather than to have him appeal to you for suggestions. That is true in a certain sense, but what if all of the producers supply that which you do not want ? You are not the only one who is not pleased — there are thousands who are just as displeased as you. Then why not voice your sentiments together? It is but little energy expended on your part, and the result will allow you to go to the theater later and see that which you desire. Personally I get no end of enjoyment from attending theaters and seeing pictures of other companies and of learning all that I possibly can about various players whom I do not know personally but whom I have seen on the screen. Really I am decidedly an ardent fan, and am an admirer of this class of picture-play-theater patrons. The study of the screen for pleasure, and the learning of its various ins and outs through wrhat is written about it is one of my hobbies. This is quite apart from my studio work, and I am just like any of you, my readers, in this respect. I leave my motion-picture work behind me when I leave the studio— unless it requires special attention at home — and follow the screen, its plays, and its players merely as a diversion. Learning what I can about this great art just as any outsider would — for the joy the knowledge brings me. But I am letting my enthusiasm on the subject carry me away from my theme. There is one thing more I wished to mention in this article, and that is a brief sketch of some of the things which are puzzling the film companies to-day. These I shall run over briefly and without much detailed explanation. First comes the question of whether or not the public likes to be shown long or short pictures. That is, wrhether they like a film of the one, two. or three-reel variety better than they do a five-reeler or one which runs even longer. Of course, we all realize this depends upon the story, acting, direction, elements with a direct influence in