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The Public Is Never Wrong
called himself Lawrence Griffith, reserving "David Wark" until he reached fame. This, he thought, was to be as a writer of books.
Early camera technique was to photograph a scene from a distance, as if all the actors were on a stage. Griffith was the first to bring the camera close to a single actor. The result, known as a full shot, was the forerunner of the close-up. He moved the camera far back for long shots. The dream balloon was in use, but Griffith boldly switched to the object of an actor's thoughts. The fade-out is credited to him also.
But Griffith was feeling his way and besides was hamstrung by the standpat notions of his employers. When Griffith made a two-reel picture, it was released in two parts. The common feeling was that a picture of more than ten to twelve minutes' running time would not hold an audience's attention.
I disagreed. Amidst derision at the dinner table at Shanley's I argued that people would sit through a good story even if it ran an hour or longer.
The feature picture was not, of course, an original idea, being simply a parallel of the average stage play. The Europeans were making a few multireel pictures. But when they arrived in the United States the "trust" broke them down to single reels for release. The truth was that, although twelve thousand to fifteen thousand theaters showed pictures at least part of the time, the "flickers" were widely regarded as a fad which would decline, if not disappear.
I decided to put my theories to a test. The best film