Screenland (Sept 1922–Feb 1923)

46 Cf This is the concluding installment of "the life history of a photoplay/' Exploitation and distribution of films, a subject little understood by the average playgoer, are entertainingly discussed in these chapters. BEHIND the I amera By UELVIN M. RIDDLE With ELINOR GLYN A, CHAPTER XVII. lFTER a picture is completed photographically and cut and assembled by the director, the next step is its editorial treatment. This involves writing and inserting titles, spoken and narrative, and finishing touches in cutting. Such work is usually accomplished by the editorial department of the Paramount studio, composed of a supervisor and several title specialists. In the case of Beyond the Rocks, however, because of the personal interest of Madam Glyn in the various branches of the production work, the author of the novel and Director Sam Wood collaborated in the writing of the titles, submitting their suggestions to the editorial department. Of first importance comes the main title of the picture. This often varies from the title of the original play, rovel or story from which the picture is adapted, but in this case the original main title of Madam Glyn's novel was reLained, as it had good screen value and fitted as well as any other suggestions which were forthcoming. ThERE has been some question, however, among those screen patrons who did not read the book, and prior to seeing the picture, as to the application of the main title to the story. Madam Glyn when questioned as the best authority on this point, quoted, by way of explanation, the following passage in the book: "He was a fatalist. He told her (Theodora, played by Miss Swanson) what would be, would be and mortals like himself and herself were just scattered leaves, like barques floating down a current where were mostly rocks ahead. " 'Then must we strike the rocks whether we wish it or not?' asked Theodora. 'Cannot we help ourselves ?' " 'Ah, madam ! For that,' he said, 'we can strive a little and avoid this one and that, but if it is our fate we will crash against them in the end.' '"What a sad philosophy!' said Theodora. 'I would rather believe that if one does one's best, some kind angel will guide one's barque past the rocks and safely into the smooth waters of the pool beyond.' " Later on in the story, Theodora writes to Hector (played by Rodolph Valentino) and in the course of her letter says : * * * * "And, oh, we must not grieve ! We must thank Fate for giving us this one peep into Paradise— and we must try and find the angel to steer our barques for us beyond the rocks." Thus, it will be seen that the idea of the title of this novel and picture originated in the symbol employed to bring out the theme or central thought of the story, as embodied in this dialogue. Sub-titles are very necessary to the picture. Of course, as few titles as possible are used, the idea of the picture being to convey to the audience by the actions and expressions of the characters, the story, in so far as possible. But it must not be inferred from this that titles are a drawback. A good title, in the proper place, and couched in the right kind of language, is an asset to the picture. The titles of "Beyond the Rocks" have a very important part and necessary purpose. They set the time and locale of the story, introduce and acquaint the audience with the various characters, bridge over lapses of time in the happenings of the story, and save an undue amount of film footage and possible drags in the story by explaining action which might require a great deal of film to explain in story continuity. 1 N titling "Beyond the Rocks" the following procedure is adhered to: The scenario writer's guide titles, as appeared in the scenario, are photographed and inserted in the roughly assembled picture. Mr. Wood and Mrs. Glyn then looked at the picture in this form and sat in a title conference, taking each title in turn and im proving upon it or putting another more apropos in its place. The work of writing titles involves the greatest amount of literary skill and taste. The editorial crew then take the picture and trim it down to seven reels, or, to be exact, six thousand eight hundred and seventy-eight feet, see that the titles are exactly placed so as to blend in perfectly with the action, and polish up the picture editorially. About seventeen hundred feet of this entire picture length are devoted to title footage. This set of titles is referred to as the "temps," of temporary titles. When these are fully approved and okeyed, the permanent titles are made, printed on illustrated black title backgrounds in white letters, photographed onto negative film, printed to positive, and inserted into the places held by the corresponding temporary titles in the picture. In photographing the titles, about three feet of film are allowed to every five words of title. For example, if the title consists of fifteen words, the screen length of the title would be about nine feet. In cutting spoken titles, the title begins right where the character starts to speak and when the title finishes, the character is shown just completing his speech. CHAPTER EIGHTEEN. "Exploitation." Exploitation is one of the three great branches in the mechanics of the motion picture industry. Production, the first great branch, involves the making of the picture, exploitation takes in the publicizing and advertising of the picture, and distribution, the third step, concerns the rental and distribution of tire picture to theatres. All of the articles of this series thus far have been concerned with the production stages of the picture. And now we arrive at the subject of exploitation.