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

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Talking Pictures he writes dialogue, and this makes possible a closely personal quality in his work. He is familiar with the technique of his director, and he knows the possibilities of the various departments of his studio. He must know also localisms and idioms of particular communities, so that when a film is made of a particular locality he can be exact in his usage of words. He must be able to see a symphonic connection between the various agencies which constitute the studio. It is from the writing of treatments that many stand- ard novelists and playwrights go into actual scenario writing. Donald Ogden Stewart, Anita Loos, Hugh Walpole, Morris Ryskind, and Alice Duer Miller have wholly or partially abandoned the novel and the play for the scenario. Other authors do not like scenario writing. They prefer to write stories. And there are still others, once only scenario writers, who have developed so great a flare for original creation that original stories by them are in constant and high- priced demand. Ah example is Frances Marion. Miss Marion's first director-boss, Hobart Bosworth, who paid her $25.00 a week, is the character-actor star of the present day. As a stenographer on the set with a director in the early days, Miss Marion showed a mind so attuned to photoplay needs that she was promoted to writing sce- narios. She then tentatively submitted a few of her original stories. Overnight she became the most con- sistently successful and the highest paid author in pic- tures. She made treatments and scenarios of Stella Dallas, Humor esque, and Min and Bill, and she reached [74]