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Talking Pictures
studio to join its writing department, you must first prove that you can write.
The training needed for studio readers, architects, research workers, interior decorators, and others has been established in previous chapters. These subsidiary trades and professions will also have to offer, in the studios as now constituted, comparatively little opportunity because of the few positions open.
But in the enlarged cinema of the future, brightened by color, deepened by third dimension, physically extended by television, and immeasurably expanded by a new and great educational market, there will be opportunities far beyond those open today. In no other industry or art is the view of the future so bright and so alluring.
Let us turn back, for a moment, for one last moment, to the motion picture of the present. If this book has shown that the current cinema deserves more careful and thoughtful consideration than it has received, it will have accomplished its purpose.
Too few know of what they are talking when they classify a photoplay as good, bad, or indifferent. Too few have known enough about the background of a great picture to evaluate it correctly. Many can judge the literary quality of a story from which a photoplay has been made, but this is not an accurate yardstick, for the picture is dependent on many equations which are not present in either the novel or the stage play.
Our motion picture mosaic is now complete. We have watched each tile as it has been made. We know the loving care which representatives of 276 arts, pro
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