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THE FUTURE 361
dustry would do well to foster a school for playwrights and otherwise to encourage writers of talent. If interest in the legitimate theatre is diminishing, it is because of the lack of a sufficient number of good dramatists to go around. Good story material will be the most important requisite in time to come for the dialogue motion picture, because a picture is never better than the story it tells. The all-dialogue picture will evolve an entirely new literature for the screen. It will express film drama never before possible.
A new musical interest has been added to the sound motion picture. Scores adroitly arranged, that interpret each situation, together with cleverly written theme songs, have added considerable entertainment value. But the art of scoring motion pictures under the new order of synchronization has scarcely begun, and important strides may be expected in this connection within the next few years. But even at the present writing one may say that music, as synchronized, is in closer unity with the situations pictured than was the case in former times. There is not, moreover, the distraction caused by the close proximity of musicians to the screen. The small towns, where inadequate orchestras used to render their ineffectual accompaniments to the silent pictures, have reaped the special benefits of musical synchronization. Music of the best calibre becomes available to every type of theatre. Legitimate theatres may now install reproducing apparatus to be used not only for the showing of special sound motion pictures but also for furnishing entr'acte music.
It seemed for a while that the question of interchangeability of sound-producing devices would rise to impede production and restrict competition. Since producers would be limited to those theatres using their particular system and to no others, and theatres, on the other hand,