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

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The Scenario Writer the stage and action reflected upon the screen require different timing. But he who really wants to contribute eventually to the screen must love it for itself. The screen has suffered and its growth has been checked at times because of the necessity of eliminating those who are not sincere in their affection for it. It was inevitable that in a new art which suddenly began to shower considerable financial rewards, manv should have been attracted who were interested only in the rewards. A number of playwrights, novelists, and technicians came to the studios interested in the money offered, but not really in the medium itself. They wrote for the screen, but they did not give themselves to it, and they reserved their best thoughts for the art in which they had started. As a result they contributed nothing lasting to the photoplay and, eventually, they were eliminated. Today, although the screen is less than fifty years old, it has practically completed the process of purging itself of those insincere persons who saw in it only a quick way to easily gained money. Today the people who are succeeding in the studios are the young actors who see in the screen a chance to carry the acting art to millions, who fifty years ago never saw a Maude Adams or a Henry Irving. Today writers of great novels and great stage plays are finding a new thrill in producing original photoplays, written directly to fit the requirements of the new art. Today young scientific students read avidly of the remarkable scientific advances — chemical, elec [77]