Talking pictures : how they are made, how to appreciate them (c. 1937)

Record Details:

Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to with your comments.

We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

Talking Pictures Undoubtedly, it could be unalloyed pleasure if the readers had only to read the best stories and plays which are published each year. "But," said one of them, "we must read everything, and out of twenty thousand stories a year, some of them are bound to be rather terrible." Readers, of course, have ambitions like all of us. Most of them employed in the work follow it as a stepping stone to creative writing. An example of a reader graduated to writing is Claudine West, responsible for the scenarios of The Barretts of Wimpole Street, The Guardsman, Smilm' Through, The Good Earth, and many other strong photoplays of genuine literary merit. To those interested in the qualifications for a studio reader, a portion of a letter is offered. This letter was recently sent by a prominent studio story editor to an applicant for a position: "All of our readers have taken one university or college degree, some two. This background is essential. I find my best readers are drawn from families who have lived always with the finest books. . . . Almost all of them read one or two foreign languages as well as they read English. Some of them have had fine experience before they came to me, reading for the great publishing houses, or play producers. It is the critical, analytical mind that makes the best reader. . . . The essentials are at least four years' study of English literature in a fine university, and a reading knowledge of one foreign language at least." [44]