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COMMENTS ON PRODUCTION 231
talking scripts. Although certain modern stage plays will lend themselves for adaptation to the sound motion picture form it is likely that stories specially written for the medium will meet with greater success. It is even now doubtful that old stage plays, comic operas, and novels will best express the fast moving age in which we are living to-day. More than likely the plays and stones that thus lend themselves readily will prove to be the exception rather than the rule, although the script form in the writing of sound motion pictures will in some respects resemble the manuscript which is prepared for the stage.
Figure 7 shows a reproduction of script pages that show the difference between the directions for silent versions of motion pictures and for those containing dialogue. In this instance Paramount has produced two versions of the picture Interference. Though the players in both pictures are the same, the silent version was directed by Lothar Mendez, while the talking version was made by Roy Pomeroy. In following the specimen script of the latter it will be noted what great latitude is given the director for dramatic direction. Though the silent form goes into detail as to the facial expression or " business" that may be required of the player, the dialogue version touches lightly on this, leaving practically all of it to the judgment of the director. Moreover, though there is a similarity of title and action, the real difference is in the photography. The dialogue treatment subdues all the pantomime, leaving most expressions to be registered vocally — for example, in revealing that Voaze is drunk. The proportion of " business" required in the silent version as against the talking one may similarly be indicated by the fact that the synchronized Interference runs three hundred feet less than the silent. In other words, talking pictures are different enough to require less footage.
In the production of sound pictures the director with ex