Writing the photoplay ([c1913])

Record Details:

Title:
Writing the photoplay
Date:
[c1913]
Author:
Esenwein, J. Berg (Joseph Berg), 1867-1946
Publisher:
Springfield, Mass. : The Home Correspondence School
Volume:
Writing the photoplay
Leaf #:
000113
Language:
English
Format:
Books
Contributor:
University of California Libraries
Sponsor:
MSN
Coordinator:
Media History Digital Library
Description:
Date Added:
July 19, 2022
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THE CAST OF CHARACTERS 97 Stock company. The producer will do his best for every part, however small. One thing that you should not overlook in making up your list of characters, is to show the producer how he may cast his available people to the best advantage. To do this, you should not only mention every character, no matter how unimportant, but in the case of all those characters who do not actually come imder the head of principals in that particular picture, you should give the number of the scene or scenes in which they appear. This will, in many cases, enable the producer to use some of his people in more than one character by "doubling" two minor roles. As an example, let us suppose that you have written down your principals—the ones who will "keep" the one part through the whole of the action. You can then write: Mrs. Brown's maid, in g and ii.^ Trained nurse, in 22, Pohceman, in 15. Blind beggar, in 27. Colored porter, in 28. Here are five minor characters, and yet, if the producer desired, he could use only two people to play all five parts. Mrs. Brown's maid (in 9 and 11) could easily change to a trained nurse for 22. The actor playing the policeman in 15 could just as easily make up as a blind beggar for 27; \ Meaning scenes 9 and 11. Of course, you can only make this arrangement after your scenario has been blocked out, scene by scene.