Talking pictures : how they are made and how to appreciate them (1937)

Page scan 00099 from Talking pictures : how they are made and how to appreciate them

Record Details:

Title:
Talking pictures : how they are made and how to appreciate them
Date:
1937
Publisher:
London : E. & F. N. Spon, Ltd.
Volume:
Talking pictures : how they are made and how to appreciate them
Leaf #:
00099
Language:
English
Collection:
Books
Format:
Books
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
August 29, 2024
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The Scenario Writer in entertainment history. At the right point in the scenario of San Francisco she blithely wrote: 1 Mary (softly) Yes, Jack. Burley, putting his arm about her, leads her down a short flight of steps toward door leading into ballroom, camera trucking with them. when o. s. [off stage] a strange, low, protracted rumble. They stop. The rumble increases. CUT TO: That paragraph and those descriptive of the earthquake which followed brought six months of headaches to scores of technicians, stars, directors, sound men, setbuilders, effect makers, and cameramen. The scenarist must use the specialized knowledge of his own studio resources as an organist uses the many keys on his console. He cannot proceed adequately without this special knowledge, and this takes years to acquire. While academic courses in actual scenario writing are interesting, they cannot be of such direct value to one ambitious to write scenarios as the late Dr. George Pierce Baker's Yale workshop course was to embryonic stage playwrights. Whatever academic background might be secured would have to be altered to fit the actual facilities at the studio in which the writer might find employment. The scenario writer usually knows the stars for whom 1 Screen play by Anita Loos and Robert Hopkins. Owned by Metro-Gold wyn-Maver Studios. [73]