We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.
Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.
THE MULTIPLE REEL 123 instead of being limited to 250. The cast is apt to be lengthy and this is all the more reason why care should be taken to provide for the doubles. We think the best scheme is to number the scenes in consecu- tive order from i as far as they will run. Other schemes are to use Arabic numerals for the first reel, letters for the second and Roman numerals for the third. This is apt to prove awkward and a better scheme is to use the Roman and Arabic in combina- tion, scene seven, of the first reel, being 1-7, and the tenth scene of the third reel being III-io. The straight numbering will be found to be the best for the entire subject will be produced as one script and the scenes in the second and third reels that are made in the same sets and locations used for the first will be made at the same time. By having only one scene of the same number there is no possibility of confusion. One point to observe is that the minor climaxes or critical mo- ments shall fall every thousand feet. This may bother you at first, but a little practice will show you how to write about so much action to each reel. You cannot tell precisely how the action will run unless you are intimately acquainted with the di- rection methods of the man who will produce your script, and even then you will be none too certain. In writing a magazine serial you know that the breaks should come at the end of each five, eight or ten thousand words as the office rules may require, but in writing action you cannot judge by the number of words and must depend upon the general run of the action. The multiple-reel is no more than a very strong one reel story fully told. Tell a good strong story and you have a multiple reel. Some two part stories are no more than one reel stories produced with unusual care. Others have more story while still another form fills in with battle scenes and Indian fights to cover the lack of a full story. There should be no more leading characters for the three reel story than for the one. The same combination of hero, heroine and villain should serve for all parts of the story. There will be a greater number of secondary characters, but the leads will re- main fixed whether the story is in one part or ten, because the whole story deals with one leading character precisely as the half reel does. Most of the military productions are produced from studio scripts or from one reel stories that permit amplification. As a general thing it is better not to mark in the battle scenes too strongly. Give plenty of room for their introduction and a rea- sonable excuse, but kave the rest to the director who will know