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Hollywood — The ^Authors
the future. And folk-art admits a number of authors to any plot. In fact, every new teller gives the tale a new twist until some chap comes along and writes it down and kills it dead. You are suffering the fate of the folk-author, Sam."
" Folk-author? " said Ornitz. " Tell me. How does this folk-art develop ? Every story-teller borrows from his neighbour; that's all right. But he doesn't borrow his tales thinking of the box office ; he borrows them because he enjoys them himself. He is tickling his own imagination, isn't he? And the tale is given life not because the audience can distinguish between good and bad, but because some other tale-teller likes it enough to memorize it. We talk about folk-art as though it were a popular art, but it never was. Folk-art was always an artist's art, and the people had to take it or lump it. It was an art that owed its life to the appreciation of the poets themselves. Folk-art has never had an eye on the box office. I'll tell you why folk-art has such a superb quality. It is the most independent art that ever existed ; it was never bought."
The evolution of a movie story has only this in common with folk-art : it is an art that passes through a number of hands before it reaches its final stage. The author writes it. The continuity-man splits it into scenes and modifies it to suit the box office. The gag-man (now called comedy consultant in the superior nomenclature imposed by the demands of publicity) adds a few gay episodes. The director remoulds it in order to introduce scenic devices that he has thought out. The supervisor, to earn his fabulous salary, knocks out a few of the scenes as bad for receipts. The stars, if sufficiently important, may be allowed to propose amendments in order to swing it more in line with their particular temperaments, thus saving them the trouble of too much acting. Finally, Publicity may have a word in the matter. But, as Ornitz suggested, the difference between the movie plot and the
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