Screenland (May-Oct 1931)

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She produced plays at her own theatre in Oakland, California, for a time; was production manager for Edward Everett Horton in Hollywood for a year, and now she is one of the most successful scenarists in Hollywood, with "Once a Gentleman," "The Command Performance," "The Steel Highway," and "Maltese Falcon" to her credit, the last two about to be released. Little Dorothy Yost is another who started in journalism. Her father, Robert Yost, was a managing editor in Los Angeles. She was sixteen when Julian Johnson helped her write for the screen. She loves animals and so many of her pictures have featured horses and dogs — a la "Kentucky Pride," a race-horse story. Now, in addition to writing for Universal, she has had a play presented with great eclat, "The Emperor," written in collaboration with her young husband, Dwight Cummins — another couple like Florence Ryerson and Colin Clements. Eve Unsell is another bright dear, college bred, who began her career in her teens. Studied drama, literature, voice, and has all sorts of university degrees. Her motion picture interests began after three years of brilliant newspaper writing and stage acting, when she became a play reader for Mrs. Beatrice DeMille, and later editor for Paramount and Fox. She has won screen credit for scores of pictures, many originals as well as adaptations, for dozens of our most famous screen stars from Mary Pickford to Lon Chaney. At 16, this bright girl had plays copyrighted and produced under the name of Oliver Wallace Geoffreys, which sounded nice and important. Agnes Brand Leahy began as a script girl, which means she held the scenario and informed the director which scenes came next. She has about ten screen stories to her credit. This story will never end if I don't crowd the rest ! Marion Orth, who once meant to be a trained nurse, married, one boy baby, and doing scenarios for Fox, First National, Paramount, and de Mille. Bradley King, convent-bred, wrote magazine stories, caught Tom luce's attention, did scenarios for him until 1924, and has since written for Fox. Warners, and MG-M. Helped Frances Marion on "Anna Christie," and is screen credited for half a dozen by herself. Maurine Watkins, Radcliffe and Yale, began on Chicago Tribune ; wrote plays, notably "Chicago" ; now doing screen stuff for Fox. And Sonya Levien, Russian. New York University education, daughter of Siberian prisoner ; meant to be a lawyer ; wrote for national magazines ; two successful plays ; edited for Roosevelt ; married to Carl Hovey ; son 9 ; hates being on time ; restless, clever, does Will Rogers' scripts for him. Gladys Lehman, university graduate, began as story reader for Universal ; made herself learn to write, did synopsing first; first screen story for Reginald Denny, now leading scenarist for Universal with a dozen first-class talkies to her credit. Beulah Marie Dix, college bred, MA. and A.B. degress, author of 20 books, entered film work through Cecil de Mille. and since bristling with screen accomplishments. Jane Murfin, associated with "Strongheart" pictures, was a New York playwright — two of them made in pictures, "Lilac Time" and "Smilin' Through." Studied art and languages in Europe. Is also an actress. Now a staff writer at RKO. Then there's Gertrude Orr, another Kentuckian, college girl, former newspaper reporter, overseas with the Red Cross in war, marvelous experiences. Visited the Orient, and came to Hollywood in 1922, did publicity in studios, and now a flour SCREENL AND ishing scenarist. Can't leave out Doris Malloy, college girl, war worker in France, fiction and advertising writer ; broke into screen work with W'estern serials, and now on Fox staff. Helped with that allwoman picture, now titled "The Mad Parade," because of her war experience. Also Winifred Dunn, scion of British statesmen ; took up world reformation at 18 ; wrote a screen play to promote it which was produced as "And the Children Pay." Found the world didn't want to be reformed and so to Hollywood. Became scenario editor for Metro, wrote several herself. Has 20 screen plays to her credit. Now head of woman's "committee for the Olympic Games in Los Angeles for 1932. Viola Brothers Shore, Ursula Parrott, (author of "Ex-Wife"). Virginia Kellog, Peggy Thomson, Gertrude Purcell, Ethel Doherty, Louise Long, and Dorothy Howell are all bright girls whose names appear as scenarists or dialogists of screen stories and really should not be lumped in a footnote like this. Lenore Coffee, formerly a stenographer, author of short stories, is another girl Apparently, Marguerite Churchill keeps a diary, in fact, several of them. who has been writing scenarios for at least six years, weathering the talkie revolution with honor. "Mother's Cry" is her latest. Then there's Jeanie Macpherson, Cecil B. de Mille's scenarist for years, including "The Ten Commandments," and "The King of Kings" — single, formerly an actress, director and writer in the days when $22.50 a week covered all those jobs at one studio. You will note that 85 per cent of these girls were newspaper women or writers of some kind before entering this work. Two-thirds of them are college bred. All of them had considerable experience before becoming scenario writers. It isn't one of those jobs that just anyone can do. It calls for not alone a vivid imagination, a knowledge of life, an exact efficiency, but a naturally versatile intellect as well. They must have a vast sympathy and understanding of their fellow human beings in various walks of life, and they have to be diplomats, for actors, directors, producers, supervisors, authors and technicians all have to be placated and convinced that the scenario is first class — to say nothing of an exacting box office public. They are paid everywhere from $200 to $1,000 a week, with Miss Marion getting $3,500 every seven days. Yes they are paid at the rate of from $1,000 to $5,000 for a story. But oh, they earn it !