The screen writer (June 1947-Mar 1948)

OTHER END OF THE RAINBOW by the distributor's estimate of the customers' desires. Seeds of Destiny, for example, which won the Academy Award for documentaries, is not being shown theatrically, through no lack of quality, but because of strong content. There are those who say every person in this country should see this film, but such a decision lies in the hands of those who control the theatres. In any event, the documentary is the film means of saying something in the manner which the writer deems most effective for his expression. To be sure, the writer of the documentary has a certain licence, but always he needs a talent for synthesis . . . that blend of picture and sound . . . the quality which Santayana would call "emergence." But far and away the bulk of motion picture work in New York is commercial. This is also the most difficult and trying work for the writer. This is so because, in addition to the consumer — that nebulous group of persons which makes up an audience — there is a customer to please. He is the party who pays to have the picture made; he must be kept happy. In the total project of sustaining the client's account the writing and making of the commercial film may become incidental. The writer of the commercial, or business, motion picture finds himself first, then, a trouble shooter — a diagnostician, if you please. The customer desiring the film wants it to do a given job. Whether it's selling, or selling an idea, he expects great things of a "movie," even though other media may already have failed. So the writer's first job is to find out what the client is trying to sell. This objective may not always be clear to the customer himself. Very often he tries to make the film do too much. Once this is settled, the writer's next step is to formulate an acceptable presentation. Here, weighing the audience against the purpose of the picture, the writer must give his client the benefit of his creative experience. Like other writing, the quality of his script may be judged by what he throws into the wastebasket. Running the gamut of approvals and technical advisors is no little trick. If the writer musters the stamina and courage to fight for license and time, he has a good chance of turning out a creditable motion picture, as well as a product which meets the customer's requirements. Often, however, the client's purpose for the picture is so specific that the result cannot fairly be judged by normal motion picture standards. The Philco picture, made last year, with a running time of six hours, is such an example. Their purpose was to take a national convention to the Philco dealers, rather than vice versa. This, in its saving of company personnel time and energy, was sound business. One can't quarrel with the motive. From the company point of view, this was a highly successful picture, even at the cost of some $350,000. Another example is the recent order for a film to show to an executive meeting of a national organization which gave the producer exactly seven working days. The company got its picture, but without opticals ; there wasn't time. Here was a film, made simply for the projection of an idea at one showing — one showing at a cost of thousands of dollars! Here is a product with an accent quite foreign to that West of San Berdoo ; yet good business for both customer and producer. Realizing the great business potential of the commercial film Pathe builds a nice, modern plant where quality pictures can be turned out, and what happens? Eastward flows the tide of Hollywood feature producing units. Selznick moves into the studio for his Portrait of Jenny. The East has passed the test. Not in Fort Lee, or New Rochelle, but in the middle of Manhattan Island. So now there is talk of United Artists' building in New Jersey; and Paramount wants to get back into Astoria. Say, the prospect of commuting to the studio from that Connecticut farm is getting pretty real. And Bucks County is only an hour or so away. . . . You don't suppose that Hollywood SWG guy is going to want to pick up a commercial show now and then between features, do vou? 13