The technique of the photoplay ([c1913])

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THE PLOT OF ACTION 37 things used in the play by scenes. Everything used in this scene must be called for. Here is a sample list for one scene: PARLOR IN MAY'S HOME- Rugs- round table- arm chair- sofa- two armless chairs- cover for table- books for same- book case- books for same- fancy lamp for table- vases for book case- one painting- two etchings- wall telephone- sure fire revolver on table- sure fire revolver for John- suit case for maid- bottle and glasses on tray off. Sure fire revolvers means that the weapons are to be dis- charged. The bottles and glasses are "off" because they are brought into the scene after the camera is started. The suitcase is for the maid, because, while it belongs to John, she brings it in, and the property man must give the "hand properties" or those carried to the person indicated. Property lists, "director's sheets" and similar devices are fads of no real value when prepared by the beginner. The director's sheet is a condensed memorandum of the action by scenes and is used only by certain men who profess to be indifferent to the script and direct "out of their own head." Properly done the synopsis, cast and scene plot will all go on a single page. If necessary, two may be used, but it should not be necessary. CHAPTER VI THE PLOT OF ACTION Necessity for orderly arrangement—impossible to go back— introducing and identifying the characters—the start and the finish important. Since the photoplay is a story told in action instead of words, it follows that the story must be fully told in action with the aid of leaders and inserted matter. If you were writing a story you might start it something like this: "Then you do not love me! You never did love me!" Reginald Montmorenci cried these words in the tones of one whose heart is breaking as he staggered back from the proud beauty who stood facing him, cold and defiant. "No," was Gwendolyn's even answer. "It is perhaps as well that you should know the truth now. I do not love you. I never did love you, and it is useless to hope that I can learn. You and my