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

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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]