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CHAPTER LXII 307 a hurry to sell. Be prepared to serve your apprenticeship that you may become a master workman and enjoy a master's privileges. 11. Do not think that you can materially shorten this apprentice- ship through school courses. There is a certain amount of drudgery that must be performed before you can qualify and this work no one can perform for you. You cannot buy success. There is only the school of experience, and the classroom is the motion picture the- atre, but you must regard it, for the time being, as a classroom and not as a place of amusement. 12. If you had spent your entire life a hundred miles from navi- gable water, you would not expect to ,be able to build a ship or even a rowboat without having seen one. No plans or pictures can fully replace the intimate personal knowledge of thorough exami- nation. It is the same way with photoplays. You cannot expect to write them without some familiarity with the screened picture. If you wanted to build a rowboat you would not simply look at it. You would closely examine every detail of construction, and this same careful examination is required before you can really know motion pictures. 13. It is best to go to the theatre alone that you shall not be dis- turbed by the comment of a friend and look on the picture not as a diversion, but with much the same spirit as that in which the medi- cal student approaches the dissecting table. Your interest lies not so much in what appears on the surface as what may be discovered by deeper investigation. Look not so much at the picture as a drama, but as a study. Good or bad it will equally well repay your analysis. 14. The probabilities are that you are reasonably familiar with motion pictures on the screen, in which case you are out of the kin- dergarten and ready for the intermediate course. 15. Study to apply to the filmed picture the principles here laid down. Note the resemblance between the scenes you see and the ex- amples you will find here. Add to your mental classification what you see on the screen. Note the handling of the cut-back, the use of trick work, the manner in which the story is developed. Educate yourself so that when you study the book you can add to the exam- ples cited many more from the plays you have seen. 16. And note always what it is in each picture that makes an im- pression on you. You liked this picture. What was it that you liked? Was it the acting? Was it the story? Was it the produc- tion? 17. Suppose tliat your answer is that it was the acting. What was there to the acting that won your regard? Was it the per- sonality of some favorite player? Look back of that personality and see, if you can, how the story cunningly contrived to show that player at his or her .best. Note how all these situations were thrown to that; player that your interest might be strengthened in the character. The player, no matter how good he or she may be, cannot hold your in- terest if the play is not well planned. You think for the moment it