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THE TRUTH ABOUT THE MOVIES
hack, working on second-hand ideas, whose first thought — even if unconsciously — is for speed.
But suppose original screen dramas were purchased by the producers in the manner in which original plays are bought for the stage. John Brown, the original screen dramatist and an honest artist, has an idea which he feels would be expressed better as a motion picture than through any other medium. He proceeds to develop his idea directly in the form of a screen play, imbued with his own inspiration, individuality, style and treatment. He takes as much time as his artistic conscience demands. His work completed to his own honest satisfaction, he takes it to Mr. Stage-Producer reads a three-act play. If he found no merit in Brown's manuscript, he would reject it. Then, unless Brown sold it elsewhere, he would be out of luck and some six months' labor. Such is the gamble taken by every writer for the stage.
But suppose Mr. Producer accepts Brown's screen drama — either as it stands, or with certain changes which Brown would himself insert. The author is guaranteed that his scenario will be projected exactly as it is written, or as nearly so as technical limitations will allow. An initial payment is made to him according to contract — in the world of the stage, this sum is from one to two thousand dollars. Mr. Producer then proceeds to make the picture, Brown receiving an agreed royalty or a percentage from the profits of the film's sale. Then he has some direct share in the success, large or small, of his brain-child.
The new arrangement will bring about more cordial relations and a greater harmony of effort between the writer and the director, similar to the relationship of the musical composer and his interpreter. The one composes the piece the other renders it to the public as it has been written, striving to give in that rendition the full and exact meaning and message of the author.
This may mean our having fewer films — God grant the day — but they will be, in time, far better pictures.
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