The soul of the moving picture (1924)

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108 The Soul of the Moving Picture an artistic and an economic success. Art and business— let us repeat — must be united in this case. To judge a film manuscript on this dual basis is, however, not so difficult. The motion picture is art for the masses. This truth eliminates of itself all cold-blooded and un-felt texts. A warm, vivacious, animated, artistically valuable motion picture book has got to please — that is, it has got to lead up to a commercial success. The dramaturge who takes this view of his business is an exceedingly important personage among his company's acquaintances. He is its artistic conscience; he is its reliable guarantee against failure. The basic condition of what he does is perfect knowledge and ability in the field in which he works. He has to know the nature of the motion picture; he has to be able to see in advance its possibilities of success. And this knowing, this seeing, must be second-nature to him; he must be saturated with them. This alone will give him the ability to select, from the mass of manuscripts that are submitted to him, those that are in every way available. He must be the good physician, the unbribable custodian of those imperfect and yet redeemable papers that lie on his desk for investigation. Nor is this all. In case the manager does not elect to stage the film work himself, the dramaturge must be able to get everything that is in every scene out of it.