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226 SOUND MOTION PICTURES
with them their experience in creating and directing dialogue. On their advice it was soon determined that whatever specific development there might be in talking pictures the general method of treatment would continue to follow the technique of the silent cinema.
Voice problems were given serious consideration, and after much experimentation and many tests by qualified university men it was found that the greatest success was attained by players who read their lines with perfect naturalness. It was also demonstrated that, though the legitimate drama had to take into consideration the fact that the voice must carry in a theatre, this issue was not of importance in the taking of motion pictures, since the microphone used in the recording of dialogue for the latter was able to pick up even the slightest whisper. If actors of the speaking stage are thus finding a new field for their talent, actors of the silent screen equally are showing amazing versatility. They are finding their voices, so to speak, and are discovering in talking pictures a new form of expression that lends greater scope and variety to their art. Directors are studying and mastering the new art and contributing to it the benefit of their experience and talent. Authors and scenario writers are busy studying and rewriting scenarios and plays in order to adapt them to the new medium. Naturally, some talking and sound motion pictures of indifferent production value have been and will continue to be made; for, after all, sound equipment is only an apparatus that is used as an expression of what happens to be in the minds of authors, directors, and players. Yet, although mistakes have been committed, they are more than natural to the development of any new art and are certainly no worse than those inflicted upon us when silent movies were first introduced. The thought to keep uppermost is that the introduction of sound with motion pictures, in changing the entertain