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Talking Pictures
ner affected his learning. They provided for him a needed relaxation.
Every absorbing story is a dream which some clever man or woman draws from his imagination and puts on paper. The "story scouts" of a big, modern motion picture studio might very well be called "dream hunters," for they roam all over the world searching for stories.
One story was read in a native magazine by a salesman traveling through Czechoslovakia, and his suggestion led to its purchase and the filming of a successful picture. In an Italian theatre a woman attended the performance of a new play by an unknown author. She rose from her seat and went to a cable office. There she wired a studio. Within three days the play had been bought for picture production.
In New York City, large film companies employ staffs of readers who go over new plays and novels in manuscript before they are produced or published. The best of these manuscript stories and of new magazine material are sent to Hollywood for final reading and decisions concerning their availability.
Two comments sometimes heard amuse professional story editors. A person will say, naming a great play or novel of past popularity, "I wonder how the movies overlooked that fine story." The chances are ioo to i that the files of every studio in Hollywood, London, Berlin, Paris, or Rome contain a synopsis and a reader's full report on this particular tale. In similar manner professional story scouts smile when they receive hundreds of letters immediately after a new novel is re
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