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(JEHOM THE
1
COLLECTION
CHARLES
G.
OF
CLARKg
Opportunities
in
the
Motion Picture
Industry
-and how
for
to
qualify
in
positions
many
branches
Photoplay Research
Bureau
of Vocational
Los
its
Society
Guidance
Angeles,Col.
1922
Copyrifkt,
Research
Photoplay
Society
California
Los
Angeles.
All
rights
d
resent
The
Way
New
Motion
Enter
to
Pictures
p 75- pg~
Writing the Scenario
Functions
of the Editorial
Functions
of the
Department
\ff ^
Continuity Writer
Writing the Original Story
The
Free Lance
Writer
,r**r
Writing th
Breaking Into the Publicity End
Duties
The
Qualificationsof the Scenario
and
Screen
Writers'
Child's
Making
Screen
the
Guild
Pictures
Industrial Motion
The
of Pictures
Opportunity
Musical
They
Research
The
Studio
The
First "Shot"
My
Success
the
Movies
Adaptation
How
Cartoons;
in
Are
Made
Department
Made
in
Hollywood
Secret
Distributing Motion
The
Production
The
Four
Pictures
Manager
Horsemen
of the Apocalypse
1357480
Reader
THE
WAY
NEW
TO
ROY
BV
President,
living in
WE
of
life,from
a
of the
world
the
to
other,
are
established
well
upon
eyes
people in all walks
when
period
Writers'
Screen
Member
Society,
of America
League
end
one
critical
turning
accepted
MANKER
L.
Research
Photoplay
Guild, Authors'
ARE
PICTURES
MOTION
ENTER
and
standards.
is upon
the world
is
us
spiritof the renaissance
are
struggling for a re-birth of ideas, and old standards
It is not, therefore, surprising that motion
being weighed.
picture producers should have been called upon to establish
The
"
for
standards
new
their
art.
the challenge of the public has been to
Speaking tritely,
it is, in a spirit
produce bigger and better pictures. Thus
of accepting this compelling challenge for a higher standard,
has
which
that
steadily grown
during the past few years,
the motion
picture producers, as a whole, have striven first to
from
establish and
then to meet
standards
new
angle
every
of
their
business.
The
picturethat
must
clientele
class
"
the
but
to
and
attract
not
"
is
rural
everyone,
with
meet
universal
satisfy
completely
audience
"
"
not
everywhere,
forth,
hence-
success
the
not
urban
particular
any
and
at
vidual
indi-
time.
any
only break into the movies !" Have
you
thought or sighed that ? If you have not, you are one in
ever
that you
thousands.
to you
And, then, has the thought come
sibly
Possuited to the stern
not
appraisal of the camera?
are
"Oh
! if I could
are
you
consider
But
work
not
in this
be
not.
fascinating field
that
fitted for
for
of
one
affiliated with
Aside
moment.
a
from
the
the
Acting
is but
of endeavor.
branch,
other, and
have
you
one
branch
Though
considered
of the
you
your
may
ness
fit-
equally important branches,
industry?
the
players,every
studio
employs
costumers.
in
Opportunities
6
the
artists,
directors,
writers,scenario writers,business
publicity
clerks,stenographers,
and, of course, a vast army
managers,
of
skilled artisans,such
mechanics,
photographers,painters,
film laboratory
and
electricians,property men
as
experts.
Have you the qualifications
of the
to make good in one
branches
above mentioned
of motion
pictureproducing?
If you have, and if you are
determined
to join the army
of workers in the Hollywood film colony,there is an opportunity
for you.
Have you the desire to create? For the person possessing
the creative instinct,
be
no
greater opportunitycan
afforded than the chance which comes
from writinga good
screen
story. While the work of the screen
playeris ofttimes wonderful
indeed,who, after all,is deservingof the
of
the
credit for a good picture? Who, other
major portion
than the man
or
woman
creatingthe story that givesthe
the
chance to prove their ability?
players
advice to anyone desirous of making a name
in the
movies is to write for the screen.
Here is a field that is
most
overcrowded
which offers a wonnot
one
derful
certainly
of
financial
the
successful.
to
returns
promise
My
"
You
don't have
for the screen.
your
own
than
home
to
be in
You
Hollywood
probablycan
anywhere else.
write successfully
do better work in
to
market your story, once
it is
completed. It can be sent direct to the company
you wish
in
the hands
of one
of the
can
to reach, or
placeit
you
sales agenciesmaking a business of selling
stories
reputable
to the producers. There is a certain benefit to be gainedby
this latter arrangement, since the sales agency
usually is
familiar with the wants
of the studios. Certain companies
interested in certain types of stories,
whereas
others
are
probablywould only consider directly
opposite
types.
There
are
many
ways
to
know
just what each studio
in the way
of a story, and for a small commission
they will present your story to the proper officialsin the
studio most
to be interested in it. However, you can
likely
The
demands
agency
managers
Motion
do
all this
Picture
7
Industry
by mailingyour
yourself,
story direct
to
the
you think would be most interested.
of people
It is surprising
to think of the great number
who
talent,of which they know littleor
possess literary
nothing. A vague, unformed desire to create, a longingfor
are
self-expression,
perhaps the only indications they have
of their ability
to write.
company
such a person. Mrs. Elijah
White Elijahwas
the power
to observe closely,
possesseda vivid imagination,
that
the feelingfor a good story. But she did not know
fiction.
she had the ability
to create
screen
Frances
Mrs. Elijah,
after tryingother kinds of work, at last
other
became
interested in the photodrama. Like so many
to create
able persons, she had the foundation, the power
a
but she knew very littleabout the
story around a situation,
techniqueof story building. So she studied film writing
and set about learningthis fascinating
profession.
Mrs. Elijah submitted her first story to an agency.
They sold it to D. W. Griffith. That was distinction" to
have her first story acceptedand produced by one
of the
greatestdirectors in filmdom,
from
the themes
of Thomas
a
man
Dixon
whose
and
playswere
Thomas
made
Burke.
Later Mrs. Elijahwon
firstprizein the J. Parker Read,
Jr.,National Scenario Contest, her reward in this instance
being a check for $2,500.00. And today Mrs. Elijahis a
scenario writer enjoyingthe privilege
of seeing
professional
her name
flashed on the screen
f
or
her efforts an
; receiving
excellent
remuneration.
Recentlythis
sold to Universal a scenario
and written by a life prisoner
in the Arizona state
T
his
author received $500.00 for the story
penitentiary.
his third effort after takingup the study of screen
technique
through the Los Angeles institution of which the editor of
this volume
is director of education.
same
agency
conceived
"
Such
illustratethe wide range of potential
scenario
talent. I am
that there are many
and women
sure
men
who
endowed
with this same
talent for making up
are
stories.
The
cases
one
great lack of the motion
picturetoday is
the
Opportunities
8
demand
The
story.
What
supply.
their
express
and
producers
to
and
make
the
better
the
find
enough
But
right
and
much
of
fullest
who
their
the
make
ability
the
"
more
to
directors
pictures
give
to
out
the
opportunity
the
give
to
than
greater
turning
actors
"
others
all
the
the
to
most
the
the
public
and
chance
more
entertainment.
When
that
talent
is
writers
more
give
to
"
is
the
releases
screen
need
we
plays
first-class
for
in
the
film
motion
stars
men
now
better
picture
dramatist
given,
perhaps
are
and
there
film
to
women
is
a
crying
plays.
is
supply
need
for
given
we
will
the
plots
more,
the
be
for
many
glory
able
to
plays.
more,
WRITING
SCENARIO:
THE
CYCLES
OF
and
Director
of
PALMER
Palmer
Education,
statistics
Photoplay
Corporation
bore, and
figuresgive
moving
picture
fidgets.
so
industry, however, the facts and figures are
stupendous that they have the effect of quickening
pulse and retarding the respiration.
ORDINARILY
the
me
the
FIVE
EVOLUTION
By FREDERICK
President
ITS
In the
Thirty years
in the world
;
are
ago
there
today there
a
not
was
are
of
case
picturetheatre
motion
a
than
more
the
sand
thou-
twenty-seven
houses
States
showing motion pictures in the United
had been
dollars
alone.
Thirty years ago a few hundred
invested in experiments by inventors
who
possessed crude
ideas of the possibility
of motion
pictures;today the production,
form
distribution and exhibition of motion
pictures
the fourth largestindustry in the United
Millions
States.
of
dollars
people
miracles
toy has grown
birth, growth
construction,
speaking
in
we
the nations
mankind
per
cent
motion
years,
the
pages
remarkable
that it stands
of
all
of Babel
suddenly
and
each
Down
words.
history.
a
universal
in
was
found
group
of
course
themselves
was
unable
through the
sympathy
set apart from
common
the barriers of speech. And
ages
and
then, within
language has been given to
motion
picture. Eighty-five
through the eye, and the
language of the
of all knowledge comes
picture is as understandable
"
motion
been
understanding by
ever
of the most
witnessed, for
night. The
picture is so
the
so
men
tongues,
the other's
have
short
of
Tower
told,
are
strange
understand
few
romantic
has
one
over
relatively
fascinatingand
the unfinished
When
a
a
Colossus
evolution
and
of the most
one
of
thousands
upon
picture is
that the world
into
picturesque,so
to
of the motion
evolution
stupendous
as
thousands
and
permanently employed.
are
The
a
invested
are
to
the
Eskimo
as
to
in
Opportunities
10
the
as
the
Ethiopian.It conveys
it does
to
you
or
to
same
the
meaning to
the Bornean
me.
the most
all branches of this giantindustry,
to me
fictionof
is the story,the
the screen, the scenario.
interesting
for the expensivesettings,
What
would the audience care
the beautiful scenery, the highlytrained actors and actresses,
the countless properties,
if they were
all part of an
not
story? Of what avail the thousands of actors,
interesting
the miles of celluloid film,the small army
of directors,
assistant
and their associate artists
directors,
cinematographers,
and artisans,
the complicateddistributing
tial
systems, the palaif it were
the men
not for the photodramatist
theatres,
and women
who have acquiredthe details of this new
fession
proand trained themselves
stories for
to write screen
the screen?
Verily,the play'sthe thing,and the photodramatist rules the situation.
Of
"
drama
historyof the screen
five cycles. Each
succeedingera has
Let us put them
and logical
sequence.
form and analyze them one
by one.
The
First,random
be divided into
followed in natural
down in brief index
may
action.
Second, the brief
anecdote.
Third, the story written
or
rewritten by the director.
Fourth, the eminent author.
trained
Fifth,the photodramatist,
and
skillful.
There will be no sixth cycle.Justas long as the motion
of entertainment,justas long
pictureendures as a medium
sands
and worries in thoumillions of peoplepark their cares
as
of foyersevery day of the year, and fileinto theatres
to revel in the witcheries of screen
drama, the stories will be
There
will be occasional
written by trained photodramatists.
exceptionsin the form of adaptationsfrom printed
until
and more
rare
stories and plays,but these will be more
will be completelycast aside and forgotten.
this hybrid method
Let
us
picturewas
turn
a
back to those
noveltythat
the motion
small part of the old
faltering
days when
formed
a
Motion
Picture
11
Industry
varietyshow.
All that the audience demanded, cared
tude
moved.
The multiabout, or got was action. The pictures
marveled.
It was
the stereopticon
the
mad;
gone
magic lantern suddenlyimbued with the breath of life; the
What
could
to walk out of its frame
more
etchingstriving
ask of the motion picturethan that it merely move?
one
Well do I remember
who shook their
old men
and women
heads incredulously
and mumbled
of "trickery"
and "fraud."
Never in their long lives had they known
picturesto move,
?
how
it
could
it
be
and
audiences sat
so
possible But, was,
and fiftyopen-mouthed as they witnessed the twenty-five
foot film exhibitions.
time
.
Eventually,however,
the
noveltybegan
to
wear
off,
the greatest motion picture
then there came
a day when
be made"
that "ever had been and ever
would
tised
adverwas
entitled "The
It was
and exhibited.
Great Train
feet
in
film
It
hundred
was
eight
length,and it
Robbery."
make.
These
four
dollars
hundred
tised
adverfacts were
to
cost
I
it
could
wish
of
be exhibited today.
a copy
widely.
It was
the firstattempt at anythinglike a consecutive story,
littlemore
than a fragment. A train was
speeding
yet it was
had secreted themselves at the
robbers who
along, some
blind end of the baggage car, crawled
the tender,
over
took charge of the
pointedguns at the fireman and engineer,
to walk
out onto
train,stoppedit,compelledthe passengers
the road bed and hold up their hands, and then went
through
them, and relieved them of their valuables. Finallythere
the robbers were
was
a
pursuit,
capturedand turned over
Even in that firststory effort we had the element
to the law.
of retribution and the punishment of crime.
and
point the motion picturehad been a toy.
With
the production and exhibition of this consecutive
picture
story, brief and crude though it was, the motion
became
form.
art
new
a
Far-sighted
persons realized,in a
dim way, the possibilities
of this new
of expression.
means
The
motion picturehad not attained any great degree of
scorned it
dignityor respect. Actors of recognizedability
almost as a thing unclean.
to any writer
It did not occur
Up
to
of fiction or
screen.
So
this
drama
to
so
much
as
dream
a
story for the
the littledisconnected,haphazard stories
were
in
Opportunities
12
the
who
fourth-rate actors
forced to accept employment only when they were
on
were
the janitorwho
the verge of destitution,
or
swept out the
the forerunner of the costlystudio
that was
frame building
limited to a
of today. The regularprogram
picturewas
"splitreel,"or five hundred feet of film. This limited the
We would
than a fragmentaryanecdote.
story to littlemore
man
see
a young
escortinghis sweetheart from her home.
They would go to a cafe and the young lady would order an
All
most
expensivemeal, involving
everythingon the menu.
would
denly
sudwould
be going smoothly,when the young
man
discover that he had lost his pocketbook. Making an
he would dash from the cafe, in search of his purse
excuse
friend who
would
loan him sufficient money
to pay
or
a
for the meal that was
being served. Meanwhile, a rival
would
alone, and taking
happen along,see the girlsitting
of
the
with
situation,sit down
her, and pay for
advantage
the meal. Just as the firstyoung
would arrive at the
man
cafe,after having obtained the funds, he would be dismayed
his sweetheart
to see
departingwith his rival. There the
stories of
story would end. This is a sample of the screen
originatedby
the second
the
cameraman,
the
cycle.
that time up to date the evolution has been
gradual. There has been no sharp line of demarcation
of the various eras.
The
third was
between
the day
any
of the director. During the second periodit was
found to
be inefficientto permit the cameraman
the littlegroup
or
their own
of actors to originate
stories as they went
along.
So a director was
head
of
the
each
at
placed
company.
he
chosen
of
his
account
to conon
coct
Frequently was
ability
of events
that served to make
littlesequences
stories
better
that were
than
those
little
his
a
fellows,
suggestedby
become
to
soon
indispensable.
Up to very recentlyhe was
unit
in
the most
the
important
productionof films. Stories
from
outside
the studio,or adapted from old
were
purchased
but it was
books or plays,
the director who put the sequence
of scenes
into shape for photographing.D. W. Griffith and
other well known
producersof today graduated from this
From
school.
Staff writers
were
employed at
very meager
but
salaries,
Motion
they were
nodded
Picture
Industry
13
and the director
regarded only as necessary evils,
took their stories with an
impatient
superciliously,
The director's
salarywent up by leapsand bounds, but the writer found
littleincrease in his pay regardless
of his striving.I received
fifteen dollars for my first story and I thought that
I was
doing very well indeed. I was, in fact,for that was
about the average pricefor a story that was
sold from one
outside the studio. Of course, pricesincreased later on, and
those of us who caughtthe knack of the thing,
and managed
in
succeeded
to turn
out a steadysupplyof salable stories,
making fairly
good and fairlysteadylivings.A few were
when
runningtheir incomes up into quiteimpressivefigures
the fourth era dawned.
frown, and
This
third
was
re-wrote
the
them
cycleof
to
suit himself.
the eminent
During the
ally
purchased,but usustillemphatically
author.
books and playswere
at rather moderate
prices. It was
pointedout that no matter who wrote the story it would be
necessary for the director to rebuild it to suit himself. And
there was
Novels and
justicein this,to a great extent.
"as is."
magazine stories are seldom adaptableto the screen
Whole
of
chapters of descriptionand dialogue must
necessitybe eliminated,and these breaches must be filled
with action. Many a novel that has been screened because
connected
with a producingorganization
has felt
some
one
that the pre-advertising
value would
be great, has been
strippeddown to its skeleton of action and found to be
sufficient material for about one
two
reels. To build
or
this to five or six reels has made the introduction of brand
action necessary.
In such cases
the author has found
new
in recognizing
the child of his brain. The director
difficulty
sometimes
for these alterations and additions
was
responsible
sometimes
it was
staff continuitywriter. Of later
a
writer has usually
worked in conference
years the continuity
with the director.
cyclemany
"
The
flood of eminent
couragem
authors' stories caused much disfree lances who
were
tryingto write
among
for the screen.
It seemed
as
directly
though their efforts
all in vain.
submit manuscriptsand
were
They would
receive nothingbut a letter of rejection
in return.
In many
in
Opportunities
14
the
would be far stronger and more
taining
enterthe original
from the publishedwork.
than the adaptation
Many
threw aside their pens in disgust
free lance writers of originals
"what's the use." Nor could they be
and murmured
Some
not
blamed, for the outlook was
brightfor them.
A
meritorious.
of these eminent author productionswere
small percentage of books, magazine stories and stage plays
material.
"The Miracle Man"
are
was
reallygood screen
first a book, then a play,and finally
latter
a photoplay. The
the supreme
work of art. "Humoresque" was
was
a magazine
cases
story, then
attention
photoplay. The
the latter
"
in which
season
a
was
it was
former
of the
one
produced and
exceptionsserve
to
big
of
successes
little
the
exhibited.
These occasional
emphasize the rule,
and
prove
attracted
rather than otherwise.
the established fictionistsand
of screen
source
dramatists,not as a safe and sure
story
but
the
least
Here
material,
as
hopelesssource.
they were,
with
that
is
than
decades
art
two
an
dealing
scarcelymore
old.
There
were
no
precedentsand few adroit writers
have been
trained in the new
technique.Men and women
dramatists have been writing
writingfiction for centuries
for the speakingstage since the drama
born in Greece
was
hundred
before
birth
of
five
the
Christ. It was
over
years
natural to turn to these novelties and dramatists. They knew
of story telling,
accordingto their own
technique.It would
producersturned
The
to
"
be easy
for them
That
the
was
theory. But
it did not
its separate values.
work, except in
instances.
were
technique. Many
screen
unable
were
men
to do
and
sort
trainingthemselves
masters
of
Meanwhile
so.
may
under
this
new
ones
who
and absorb the
willingto do this others
"
an
may
ever-increasing
group
not
have
ever
written
studyingand working and
the proper
guidance of experienced
form of expression,
to write
screen.
people stillhave
for
or
the
a
before, are
stories for the
Many
not
were
who
women
stories of any
screen
and
screen
who
Those
succeeded
were
able to forgetfiction and spoken drama
few
of
to learn the
its existence
the idea that the screen
pendent
is depast and present popular
upon
Motion
Picture
15
Industry
copyrightsfor photoplaymaterial. If this reallywere
so,
motion picture
producerswould hardly need to be encouraging
Some
member
the
write
scenarios.
of
to
family
every
books suitable for screen
use
are
beingpublishedeach year.
And yet in spite
of this producers are inviting
the writingof
photoplaysby newly trained photodramatists.
David
Griffith,
probablythe greatest of all motion
Wark
wiselywhen
comments
pictureproducers,
man
and
there
woman
scenario.
Get it out
and
where
put moving pictures
is
he says, "In every
great
some
you'lldo more
they should
moving picture
than
any
of
us
to
be."
Mr.
Griffith is right. The encouragement
of scenario
writing should go on in every possiblelegitimateway.
believe
There are hundreds of peopleunknown
to fame who
that they have good ideas for photoplays.Perhaps many
of them are
right. Therefore, it is my earnest hope that
the suggestions
contained in this chapterwill do much
to
assist them in puttingtheir story before motion pictureproducers
authors are findingan interesting
at large. Modern
and lucrative profession
in writingfor the screen.
You, too,
have a story locked within you.
Now
is the time to set it
down.
You can
do it. Will you try?
You do not have to be possessedof geniusto write a
in the world
scenario. A beginner has every
chance
to
succeed if he or she embarks
career.
a scenario-writing
upon
Of course, if you have had some
writingexperienceyou will
be benefited in your work.
"Pull"
having a
means
motion
absolutelynothing when
picturescenario produced.
consider the vast
amount
tied up
of money
it
to
comes
One
has but to
in each modern
day productionto realize that the story must be worthy
The
find its way
of production
before it can
to the screen.
thing to do is to learn to write a story that lends itself
to a happy transfer from the script
to the screen.
Each
of the
fine arts
has
passed through stages
experimentationand crudity each
cycleby cycle,era by era, year
after century. We
are
livingin an
"
youngest of the
arts
has made
of
oped,
and develgrown
after year, and century
age of speed and the
has
greater advancement
in
a
in
Opportunities
16
quarter of
space ten
a
century than
times
over.
There
have
the
others
some
is much
yet
to be
in the
same
accomplished.
great writers,directors and producersof the next
of. They are the students
twenty-five
years are yet unheard
lies in the hollows of
of today. The future of the screen
who
and women
the hands
of the men
are
learningthe
techniqueof photodrama from the ground up. Some attain
in some
success
requirelong
degree in a short time more
the
laurel
of
wreath
and
achieve
Fame
work
to
study and
Statues are
the good yellow gold of Fortune.
wrought
Cathedrals
not by painters.
are
from stone by sculptors,
The
"
Photodramas
not by musicians.
are
designedby architects,
is
written by photodramatists,
not
a
by novelists. Each
be
those
who
sustained by
separate art and each art must
Such a technique
the separate techniqueinvolved.
master
exists in the case
of the photodrama just as in every other
artistic form of expression.It has reached a very definite
ing,
stage and it may be taughtjustas the fundamentals of paintbe made
music and fiction are taught. Whistles cannot
from pigs'tails nor
The individual
silk purses from sows' ears.
who
natural
desires to write
for the
talent,some
story telling
must
screen
have
some
imaginationand
creative
instinct for the dramatic.
Given these endowments,
the person
who
is willingto devote study,time, mental
become
skilled photodramatist
a
energy and patiencemay
of
just as one may become a painter,a singeror a master
any of the arts, or crafts. The greatest need of the motion
useful and permanent institution is
pictureas a dignified,
writers
and there will
a
new
supply of trained screen
for all who can qualifyas such.
always be room
some
"
recentlythe Famous Players-Laskyorganization,
the Goldwyn Company, and several others,refused
to consider
anythingbut books and plays novels of wide
well known
or
circulation,
stage productions. Today both
of these organizations
are
welcoming originalphotoplays
written by trained photodramatists.
Paul Block, who is at
the head of the Goldwyn Scenario Department,recentlytold
that he would be glad to consider original
me
stories,provided
real
value.
Frank
Woods.
screen
they possessed
Up
to very
"
Director
of
Production
at
the Lasky
studios,has assured
FUNCTIONS
OF
By FRANK
of
President
WOODS
E.
Writers'
Guild
Screen
Chief
Supervising
the
of
Authors'
League
of
was
to
be
Department,"
but
Famous
Corporation.
Players-Lasky
chapter assigned to
in this volume
me
of the
entitled "Functions
the
Director,
America,
THE
DEPARTMENT
EDITORIAL
THE
Scenario
I have
torial
changed it. I prefer the use of the title "Edithe correlated
Department" for that embraces
activities of the several auxiliarydepartments that go to
make
Including as it does the reading staff,
up the whole.
the continuity
staff,the titleand cuttingeditors and a general
supervisionof direction,the editorial department is by all
the heart and soul of the motion
means
picturestudio.
story is the foundation
The
which
upon
the whole
picturemaking rests, and it is
fabrication
into a completed article
of motion
structure
story and
editorial
its
deals.
department
director, the
The
great
with
the
that
the
cameraman,
assist
the actor, the laboratoryexpert, and all the others who
in the production of a photoplay do the indispensable
things
that
be
required,but all
are
of
no
would
avail
be
as
their
knowledge
without
whatever
helplessas
a
a
story
abilitywould
produce. They
and
to
tailor without
cloth, or a jeweler
be readilyunderstood, then,
without
gold and silver. It may
that in a largeproducing organization,
the
is of necessitya highly organized and
editorial
department
tioning
smoothly funcof trained experts. The motion pictureis only
group
about a quarter of a century old, and its development as an
artistic means
of expressionhas reallytaken placein scarcely
than
more
ten
therefore
years,
the
from
progress
crude
a
of
experimentationto the highly efficient methods
today has been comparativelyrapid.
state
In the
early days
of
departments,no
first manufacturers
they
no
were,
and
what
no
picture making there were
editors, and no writing staffs.
of
pictures and
they preferredto
necessityfor authors
"
or
writers.
19
that
is
short
torial
ediThe
exactly what
call themselves
The
of
"
saw
length "sub-
20
in
Opportunities
the
of the crudest sort, and involved broad comedy
jects"were
or
patheticattempts at melodrama.
"Suggestions"for
stories were
purchased for any where from one to five
dollars each.
Then
the Biograph Company placedLee Doughertyon
salaryas "scenario editor,"and Mr. Dougherty was the first
to bear this title. The pricefor story suggestions
raised
was
to fifteen dollars for splitreel subjects,
and
twenty-five
dollars for full reel. It was
in this manner
that screen
into being. Graduallyother companies established
writingcame
scenario editors,and
for
eventuallythe demand
motion pictures
made it necessary for these editors to surround
themselves with littlegroups of assistants,
and thus
the scenario departmentwas
born.
Even
at
that time
such
a
or
thingas "continuity,"
a
lowed
to be closelyfolcarefully
prearrangedsequence of scenes
by the director,was unheard of. The director,camera
and f rquently
the actors, talked over
the story and then
man,
and
"shot" it from memory,
a
great deal of the
story beingadded as the photographing
progressed.
went
out
found necessary
to prehowever, it was
Eventually,
pare
tinuity
manuscriptsfor the directors and the form of conwas
developed. From that time until today the
has been steady;year after year the screen
has
progress
attracted better brains and the art of screen
has assumd
definite proportions.
story
tion
construc-
All of this is merely preliminary
to my
attempt to
the question"How
break into the scenario
answer
one
may
department?" or properly"the editorial department."
The
motion
and more
pictureis here to stay, and more
is beingdemanded
of it in quality
and quantity.It follows
that there will always be an opportunity
for the rightsort
of man
not only an
or
woman
opportunitybut an insistent
call. The job is seekingthe individual with the same
severance
perthat the individual is seekingthe job. There is
for the trained expert, but no room
for the
plentyof room
untrained
who merely desires to get in because he
person
thinks he will be able to "learn the game" as he goes along.
It is surprising
of people
to contemplatethe number
wide
and fairly
who seem
to think that a general education
"
Motion
Picture
21
Industry
ture
reading,combined with frequentattendance of motion pici
s
for
sufficient
make
them
to
theatres,
eligible a specialized
studio position.No one would dream of attemptingto
practicelaw or medicine, to paint picturesor to become
a
musician, without careful study and preparation.Yet,
hundreds
and thousands try to break into the highestclass
of studio work with littleor no knowledge of the details
involved.
Let
that
come
us
discuss briefly
the several branches of endeavor
under the head of the Editorial Department.
First,there is the reader.
is engaged and assigned
to a desk in the readingdpartment. He finds before him a
stack of manuscriptssubmitted
by free lance photodramatists,
by agents employed to handle stories for their clients,
the world.
He
and by rank amateurs
scattered all over
also finds a pileof novels, and fiction magazines,and perhaps
is
this
read
His
two
to
one
or
mass
duty
stage plays.
hold for further conof material,rejectwhat is impossible,
sideration
A
value.
what seems
to possess some
screen
great
of
well
these
"authors"
educated
and
are
misguided
many
to the pointof realizing
intelligent.
They justhave not come
that the photodrama is one
of the fine arts, and that a special
kind of knowledge is necessary if one
is to succeed in any
of its branches.
The
He
salaried reader should know
drama.
He
should be
He should
between
drama
and narrative.
distinguish
the perknow
how to stripa story of description,
dialogue,
sonal
the
and
the
intricacies
of
of
author,
philosophy
opinion
that cannot
be photographed. He should weigh the remaining
it
action in the balance and decide whether
picturable
value. Not onlyall of this,but he should
possess real screen
have a knowledge of all that has been produced so that he
what is hackneyed and what is not.
He should
know
may
be familiar with the limitations placedupon
the screen
by
that
what
he
so
publicopinion
judge
properlybe
may
may
shown, and what must be eliminated.
able to
He
should have
tendencies of motion
the newspaper
reader have an
more
present and future
picturespectators as a whole. As
for news
should a
so
reporter has a nose
alert
a
sense
than
indispensable
"feel"
of
for
novelty and
anything else,
what
a
keen
is
perhaps
sense
of
in the
Opportunities
22
This combination
humor.
of dramatic structure
comes
study and
a
be
only from
training.Some
of inborn
sort
in
is born
there
dramatic
are
Knowledge
directed
thoughtfully
no
who
instinct,but
lines.
developedalongpractical
one.
There
to
seem
such
are
a
possess
gift must
definite structural
rules of drama
which
be appliedto the screen
must
production as well as the stage production,and without a
comprehensivegrasp of these rules the reader is unequipped
for his job.
righthere let it be said with considerable emphasis
that though the elements of influence and "pull"sometimes
times
get one into editorial department work, justas they someinto an exalted positionin any other enterprise,
get one
And
the
who
man
or
possesses
who
survives and
real ability."Pull"
may
woman
climbs is the
one
occasionally
get
in,but "pull"will not keep one
there. So it will be seen
that to become
reader in a studio something more
is
a
knowledge of current pictures
necessary than a superficial
and the desire to obtain the position.
one
Then
there is the
has been
writer.
continuity
Almost
invariably
stories,
original
and who
is well equipped with photodramaticknowledge,
and the willingness
creative imagination
to devote long hours
and hard work
to his task; and he rises,after working in
close contact with one
who has alreadyarrived at success, to
the recognized
a placeamong
experts in this line.
of continuity
On the surface the preparation
to
appears
than cutting
involve nothingmore
a story into small sections
and arrangingthese sections in sequence for the convenience
he is one
who
a
successful writer of
of the director.
If this
were
true
the
writers
supplyof continuity
would
would
be small
the demand, and the remuneration
is that there are
fact of the matter
The
never
indeed.
to fillthe placesthat
enough suitable writers of continuity
exceed
for this is that continuity
waitingfor them. The reason
upon
writingis an intricate and difficultcraft, founded
and
and
from
comes
only
study
training,
expert knowledge,
be based upon natural capability.
and this knowledge must
It is fascinating
work, which involves much creative ability,
but it is arduous work, and is not to be approachedby the
minded.
drone or the superficial
are
FUNCTIONS
By JEANIE
Author
of "Don't
"Male
and
other
many
MACPHERSON
"Till
I
Back
Come
Wives
"Old
Husband,"
Your
Change
Female,"
WRITER
CONTINUITY
THE
OF
New,"
for
and
You,"
to
Special Productions.
DeMille
it's just 'hack' work, isn't it?" she asked, and
there was
a
plaintive,
injured note in the voice
had
writer who
would-be
of the earnest
screen
UT
studios, requesting a
applied in vain to many
writer, while learningto write
a staff continuity
as
"position
no
photodramas" ! ! ! Strange to say, the questioner was
brilliant
a
illiterate blunderer, but a college graduate and
writer in the realms of philosophy and poetry.
irony in my answer.
if the creation of the complete plans and specifications
"Why yes
the
for a million-dollar modern
handling
palace,or
before
in
law
the
intricate
of an
case
corporation
Supreme
if
ofthe
the
a
Court, or
doing
writing
great stage play
of these things could be called 'hack' work, then continuity
writing is hack work !"
I fear there
was
distinct note
a
of
"
"
No,
that
passed
hack
up
continuitywriting has long since
amateur,
infantile stage, although some
of the old time
dear
still lingeramong
writers
Salt
River
the
to
and
Land
their
us,
of
the
inevitable
Has-beens
voyage
has
fortunately
un-
unaccountably been delayed.
The
continuityIS the photodrama, the very soul of it
out
preconceived and fullyworked
on
by.the photopaper
dramatist.
creation
The
of a motion
might
picture drama
be likened to the buildingof some
beautiful modern
palace.
First
the
"
the idea is created
story, and
screen
of the finished
Then
must
the
and
this
apply
dream
color
is
sketch
imagines it.
continuitywriter, the architect,who
all the laws
of
screen
drama
in translating
visual action
just as the building
the master
of a host of physical laws
in
must
order
translate the
to
artist
some
This
into words.
into
architect
be
translated
it corresponds to the water
palace as
comes
know
and
painted picture into
25
wood
and
steel
in
Opportunities
26
both
And
foundations! Both the
marble.
and
the
must
things,
writer and
continuity
above
all
understand
the architect
or
they will
artists as well as technical experts
Not only that,
destroythe harmony of the creator's dream.
but they too must
possess the creative spark. If the original
writer or artist has done his work
with a technical knowledge
be
must
of
"
of the
work
drama
screen
or
practicalconstruction,then the
writer
continuity
or
architect is
comparatively
but if he has built his dream either ignorantly
lessly,
or careeasy
the adaptermust tear it down
arid rebuild it,perhaps
that part,
a half or
a third of it and
discarding
re-creating
"
with the other parts, but strictly
in
accord with the laws of drama
or
gravityas the case may
be.
Otherwise
the finished structure
will show
hideous
That is why every screen
writer
gaps, or collapse
altogether.
should learn to write original
stories as well as continuity.
The best results are obtained when
the writer is both
author and continuity
expert.
not
only in harmony
"
as
a
Hack
work?
Next
comes
Well, HARDLY!
the director,the master
builder who
dles
han-
the raw
them
materials,cutting,
shaping,and polishing
he fits them into place,each bit a definite,
logical
part of
harmonious
with
each detail foreseen and
whole,
vided
profor in the continuity
and just
plansand specifications
the best results in practical
construction are
obtained by
"
as
the architect and
the
friendlyco-operationbetween
the
from
most
builder,so
a
perfect picturescome
helpful
and harmonious
collaboration between
the continuity
writer
a
and
the director.
the novice is not the only one who has strange ideas
to the provinceand functions of .the continuitywriter.
as
ered
It was
not so very
long ago that he was
generallyconsidBut
evil by the author, the director and
of necessary
the producer and paid accordingly.Some
went
even
so
evil
!
his
That
far as to say that he was
an
unnecessary
work
and
hack
work was
requiredno special
only
training.
a
sort
"
So
rash
novelists,stage dramatists, and
ahead
confidently
and
wrote
their
own
directors,went
"continuities"
"
-and
look back through the years and see a winding
Cinema
Trail,whitened by the financial and artistic bones
and died
of a host of hybrid monstrosities that collapsed
now
we
can
27
Industry
Picture
Motion
gling
by the wayside! Perhaps the contemplationof that stragrise
of
the
do
had
with
something to
graveyardhas
lower than
writer from a position
somewhat
the continuity
the office boy to a placewhere he can meet the director face
to face with the knowledge that he is a VITAL
part of the
of the production and will be paidaccordingly.
success
"
Still there
is
plenty of
for
room
improvement.
It is
he is scorned by the ignorantoutsider,
the critical reviewer wrongs
him, Tis the most
enough when
galling
"
but when
unkindest cut of all !" Too often they blame the continuity
writer for the faults of a productionand credit the director
with all its good points. Every day we
see
something like
this.
jointed
productionis sadlyweakened by a jerky,disbut the director saved it by his skilful
continuity,
oped
touches, and the masterly way in which he devel-
"The
human
and
Thus
put
the dramatic
over
the
reviewer
situations."
sentence,
calmly pronounces
the probability
that
or
possibility
ignoringthe
thoughtlessly
the production
was
jerkybecause the director had discarded
as
important connectinglink which the
"unnecessary"some
writer had worked
out so carefully.That
continuity
haps
per-
vance
been visualized in adand written into the script.And
that every bit of
and every "flash" and "close-up"
action,every spoken title,
of the "well handled
dramatic situation" had been planned
and specified
the script.
long before the director first saw
This is not a personal complaint for such things seldom
happen when the director and continuitywriter work in
but many
close collaboration,
heart has ached for
a time my
I happened to know
fellow-scribe when
the truth in
some
the case.
every
littlehuman
Perhaps there is
misconceptionas
to
some
the
touch
had
foundation
for this
importance of the
widespread
writer's
continuity
stilla few studios where
Ideals and production
hack work.
it is considered mere
differ so widely that his positionranges all the
methods
master-dramatist
and
that of
from
supervising
way
he
is
where
other
the
extreme
merely a typistdirector,to
flunkeyto the all powerful director. Nor is this a defense
written continuity which the director is
of the sloppily
work, in the fact that there
are
"
obligedto change.
28
in
Opportunities
Yet
much
so
the
"
depends upon the individual skill and
continuitywriter and director and their
of each
artistry
and
functions
responsibilities
that no two producershave ever
closelyinterwoven,
agreed fullyas to the best
are
so
method.
There
editor
is
who has
big producer in particular
the first method
for years.
successfully
very
is his director generalalso and supervises
the
from
one
lowed
folHis
duction
pro-
in as a story until it is
time it comes
turned
lowed
finished picture. The
director is not alout as
a
to change the smallest detail without
his approval.It
is quiteapparent that such an editor must
be an all-around
of screen
master
ter,
technique.In this case he IS such a masand as a result,
that studio is noted for the high quality
of the pictures
which it turns out year after year.
the
is where the director is given a free
The other extreme
will. He is allowed
hand and follows his own
sweet
to
change the continuity,rewrite it,or discard it altogether.
The public
do no wrong.
He is the king,and the king can
think otherwise, when
they see the result,but the
may
is carried so far in some
studios that the
director-worship
staff writer is warned
into detail
not to go too much
new
in his continuity,
"the director might resent it" !
A well
as
heard to say in commenting upon
director was
known
once
but it is an
a script
: "Ye-e-s, it is a pretty good continuity,
insult to the intelligence
of the director. Why, the writer
estimates the footage for each scene, just as if the
even
director didn't have any brains at all!" We
can
imagine
how
hungrilyhe ripped into that scriptjust to prove his
That same
come
"intelligence."
continuitywriter has since beand
successful director,
has proved that
his work
a
he was
capable of estimatingthat footageon the
perfectly
basis of the dramatic value of each scene.
of the biggestand
Strange as it may seem, some
pictureshave been produced by this method, but that
simplybecause it happened that the director in each case
dramatist
well
best
was
was
actor-director.
as
as
a screen
an
an
of the successful directors of the day have been
And
many
writers. The
recruited from the ranks of screen
actorastic
enthusiis
become
to
director,being an actor,
so
very likely
of
certain
situation
drama
he builds
the
that
some
over
artist and
Motion
until it
it up
occupiesa
actual value to the story
he
Picture
naturallysees
space
as
a
the structure
Industry
far out
whole.
from
29
of proportion
to its
If he is an actor only,
the inside and his perspective
that of the dramatist,
as
be as wide and true
The untrained
who stands outside and views it as a whole.
actor-director,
given a free hand and working without the
writer,is responsible
impartialinfluence of the continuity
of our
for many
utterlylacking
jerky,episodicdistortions,
in the flowingsmoothness
so
necessary in the weaving of the
magic illusion of reality.So if a director's positionis the
cannot
star
brightparticular
better foundation
lay a
cannot
dramatic
So
of your
dreams, remember
than
by
that you
masteringthe art of
continuity.
grading all the way from
so
"director-proof
complete and perfectin all
script,"
have
we
the
its details that
staff continuities
in its direction,
fool could go wrong
outline written in a
to the other extreme, the vague
of servile apology lest the tender sensibilitiesof some
spirit
littletin king be hurt.
no
one
but
a
broad for
such
complete, detailed
script. Even if he sees fit to make changes in incident and
his work
is made
easier by having all the details
situation,
before him, to consider and use
unless he has something
better to substitute.
Fortunatelythe real
childish piffle.He
Yes, I
am
a
director is too
the
WANTS
firm believer in the
big and
of
superiority
dle
the mid-
collaboration. To paraphrase the
much
of the dramatist in the
so
saying
and
much
the
director
in the dramatist,that
of
director,
so
it ill behooves that either of them, should fightagainstthe
other of them !"
course
old
"
"
harmonious
"There's
This explanationof the varied production methods
it quiteclear to all outsiders justwhy producshould make
ers
do not want
stories submitted in continuityform. Professional
this and prepare
free lance writers know
their
work
in synopsisor story form, never
tinuity
submittingthe conunless the producer,knowing that the author is a
trained continuityexpert, requests him to do this work
in
addition. Even then he is nearlyalways expected to come
in for consultation and collaboration with the editor and
director.
in
Opportunities
30
the
is that no untrained outsider,whether
Another
reason
furnish
he be a successful novelist or a rank amateur, can
the
real
value
of any
to
ally,
a continuity
producer. Quite naturthe
less
knows
it
easier
he
thinks
it is,
he
about
the
LOOKS
and it certainly
easy enough. So he writes his
and behold ! It LOOKS
"continuity"
justlike the work of
an
expert! It contains the requiredingredientsscenes,
subtitles,
inserts,fades, irises,close-upsand long shots
but alas!
It is no
like a real screen
drama
than an
more
because it
art student's first daub is like a Whistler
portrait
contains the same
made
ingredients.And like the home
architect who knows nothingof the
drawing of the amateur
"
"
laws
that govern
trussingmethods
cannot
dramatic
possiblypass the
strict
"BuildingLaws"
of
construction.
Not
You
the nature, weight,bearingstrength,
and
of buildingmaterials,the beginner's
continuity
that I expect you
wouldn't
be human
believe this,dear
to
if you
amateur!
did.
brain-child
It is YOUR
and all your
love and loyalty,
well as your
untrained
as
vision,combine to blind you to its imperfectionand you
that it is the most
drama
wonderful
screen
just KNOW
written ! But if you could put in justone year of hard
ever
work and study under some
competent teacher,you would
read your first effort quitescornfully
and laugh loudest of
all. Another
seem
year, and your efforts of that time would
almost as amateurish.
make
continuous
So you must
ress
progkeep pace with the swiftly
year after year if.you would
drama.
advancing standards and techniqueof the screen
At the end of ten years you must be able to look back a
real progress
during the
year and see that you have made
will
for
be a candidate
tenth* year
or
membership in
you
I could give you
of has-beens. Offhand
the growing army
half dozen who
of a round
the names
were
nationally
successful
six
writers
known
as
or
seven
years ago, but
"
who
and
simplybecause they were
lazy or mentally incapableof keeping up with the procession.
So the would-be
writer
must
not
continuity
only
but
of
CATCH
KEEP
is
There
no
up!
possibility
up
standingstill.
are
gone
It is
hard to
a
forgottennow,
great artisticand
master
as
technical
profession,
fullyas
sculpture,
painting,
grand opera, or stage-
in
Opportunities
32
the
into a perfectscreen
drama by supplyingone, two, or even
three reels of new
material,all in harmony with the spirit
In this class we will find salaries runof the author's work.
ning
all the way
from two hundred
borhood
up to a few in the neighof a thousand dollars a week.
Then
there is a handful
who make more
than
fullyhalf of this must be
work.
of
a
with big reputop-notchers
tations
hundred
thousand
a
year, but
charged to their originalstory
and reputation
it would
Since prestige
so
are
important,
be foolish to deny that luck plays a certain part in the advancement
of a writer.
Having acquired "the goods,"the
is an opportunityto displaythem, and the
next
necessity
of
for one
BIG star or director
privilege writinga continuity
will advance a writer farther than a dozen masterly scripts
produced with,or by,that many second-raters.
So
writer must
and retiring.It
not be too modest
producersare too busy
pays to advertise ! Sad to say, many
too indifferent to see and study the work
of other producor
ers
and
or
writers,with the exception of the top-notchers,
it may take them a long,long time to discover the kind of
work you are doing unless "you tell 'em !"
a
Now, having been duly impressedwith both the
culty
diffi-
and the
questionwill
of getting
into the game, your next
desirability
surelybe, "My state beingthat of an outsider,
ing
lookingin,how can I change it to that of an insider look-
out?"
is easy.
sary
Simply make yourselfso necesinside !
to the producerthat he'll just beg you to come
? By writingsuch strong, worth while,original
How
screen
dramas
that he will want
to grab you and make
you all his
The
answer
he will be glad to take the time and trouble
to TEACH
because of
necessary
you to write continuity
the value of your creative ability
This is the one
to him.
the
outside
to the inside.
sure
way from
own.
That
the
creative
spark, the producer knows
that
be taught the technical part of it with time and
can
anyone
of technical
amount
no
patience.Without the creative ability
knowledge will make you anythingbut a "hack" writer.
Having
Motion
So the
one
importantthingfor
producerthat
can
you
33
Picture Industry
you
CREATE.
to do is to prove to some
He'll do the rest.
writer gets into a studio through a
some
Occasionally
personal pull,but he doesn't last long without natural
plus careful trainingfor no producer is conducting
ability
finds himself once
So he soon
more
on
a
charitybureau.
the outside,lookingin.
of screen
The
fundamentals
technique,though not
the creative "spark,"can
be learned from books and competent
instructors
"
and
the best way
in the world
to
learn
is by learningto write salable
apply these principles
to
screen
stories. A
course
finishing
before you
necessary
for
staff
work, and
expert
in the
lutely
studio is abso-
continuity
pendable
I said before, the only deas
to win the opportunityto take this course,
way
is by writingand selling
real
some
producer one or more
dramas.
The
screen
importance of the creative ability
appliesto staff writers as well as beginners. I know of
one
big producer who is noted for the care with which he
chooses his continuity
writers.
He does not judge by a
work alone.
He says to the applisample of his continuity
cant
methods
: "It will be easy enough for you
to learn my
of handlingcontinuity,
but I want
how
well you can
to see
CREATE.
Let me
of your original
stories."
see
one
So don't waste your time and vital energy envying and
the staff writer.
Get
criticizing
busy! REMEMBER
HE
THAT
AN
ONCE
OUTSIDER
WAS
JUST AS
YOU
can
qualifyas
a
NOW"
ARE
and that, in nine cases
'out of ten, he
became an insider by the very method
I am
explainingto
Of
he
has
the
of
and
you!
advantage
course,
now,
you
will
write
have
better
stories
than
the
to
you
average story
in
the
order
the
see
on
screen
editor's
notice.
to
attract
you
The situation is perfectly
clear and reasonable. Unless you
write a story that is BETTER
than the average, he
can
would
be a fool to buy it from you.
His staff writers can
grind out the average, hackneyed stuff by the mile in case
of necessityand do it cheaper,quicker and better than
can.
No, the editor isn't running a charitybureau,
you
either !
"
a
Many beginnersimaginethat if they could get into
studio in some
capacityit would prove to be the magic
in
Opportunities
34
the
would enable them to write salable stories at
once.
Forget it! In the firstplaceyou can learn to write
stories without seeingthe inside of a studio
salable screen
and are willingto
providedyou have the natural ability
add to it the requiredtraining.In the second place,once
you will have the one
you learn to write salable stories,
"Open Sesame" to any studio,and in the third place,it is
studio by any
almost impossible
to find employment in any
other method.
which
wand
"
that there are
thousands who want
to get
skilful stenogin just as badly as you do. If you are
a
rapher,
scenic artist,a trained actor, or an
a
expert in
line of useful productionwork, you might possibly
some
others who are
make
it,BUT, because there are so many
anxious
to do the same
thing,there are hundreds of applicants
for every
opening,and this over-supplyis getting
worse
times
Nevertheless, determination will someevery
year.
Here is a brief historyof the
accomplish wonders.
writer firstbroke in :
continuity
way one
Remember
He
learn
he an
to
Neither
was
but
with
Angeles about eightyears ago,
continuitywriting. He had no
Los
to
came
he
tools.
actor,
had
So
buildingscenery,
"got inside" but
tired to write
been
he
an
nor
artist,
an
appliedat
and
was
he had
an
architect and
pull.
expert stenographer,
quitehandy,
shop for work
land a job. He
was
the carpenter
lucky enough
to
mined
deter-
work
so
to
hard
that he was
too
used to go to bed
in the evenings. So he
early and get up at three and four o'clock in order to have
while his brain was
clear.
a few hours
for he had to make a
Fortunately(or unfortunately,
the work
he had considerable
not steady and
was
living),
he was
time for writingwhen
"out of a job." For a year
and studied and wrote.
half he worked
About that
time, after writingsome
thirtystories (one and two reelstillin the future at that
was
ers, for the five reel picture
invited by the editor
time), he sold three stories and was
IT
WAS
IN
to
ANOTHER
join the staff,"BUT
HE
WHERE
WAS
STUDIO
UNKNOWN
EXCEPT
HAD
STORIES
HE
SUBMITED
BY
THE
THROUGH
! Do you get the point? So he got his first
MAILS
THE
and
a
Picture
Motion
and
ups
qualify
all
continuity,
in
training
before
downs
as
but
one,
the
of
in
a
joy
still
life
the
"
and
of
years
sufficiently
the
men
darkened
moving
of
to
under
goods
one
of
before
you
you
and
have
upon
are
for
watch
created,
the
Outside
always
the
magic
and
of
one
your
living
more
the
gifted
success,
you
of
moments
first
portunity
op-
There
other
ultimate
the
strenuous
a
while.
successes.
in
happiest
when
moment
new
for
the
is
that
you
destined
theatre
women
and
If
is
worth
there
beyond
work.
you
writer
well
returns,
writing
ones,
before
and
work
progress
creative
persevering
the
the
continual
lines
have
whole
the
it
deliver
continuity
a
financial
generous
in
of
life
found
have
I
mechanical
and
the
all,
for
in
more
mastered
and
expert
two
circumstances.
All
is
required
really
he
continuity
a
it
but
35
Industry
time,
your
you
brain-children,
and
Silversheet.
breathing
sit
ORIGINAL
THE
WRITING
By H. H. VAN
STORY
LOAN
still a young
Note:
is one
Editor's
H. H. Van
of
Loan, though
man,
of original scenarios.
America's
As
author
of
most
prolific writers
"The
Great
"The
New
"The
Virgin of Stamboul,"
Redeemer,"
Moon,"
other
feature
Loan
has
and
the
achieved
productions. Mr. Van
many
unusual
of being one
distinction
for
of the
"sure
fire" writers
the
He
is one
of the
few
who
has
screen.
distinguished photodramatists
been
connected
with
motion
It is his belief
never
a
picture studio.
that
of the
a ^salariedposition is destructive
author's
creative
power
and
has
offers of highly paid staff pooriginality,and
rejected many
sitions.
I
F
I WERE
writing a
domestic
life of
introduce
them
fond
was
Bates
of
skirt for half
Percival
and
the
was
story about the
Belinda
Bates, I might
short
His
about
typicalman
girlsand
young
mile.
a
or
thus:
"Percival
He
novel
would
follow
the
was
a
domestic
came
be-
mate
For
efficient little person,
cheerful
and
hearted."
domestic
in order
to
of
people
Percival
all those
use
situation,but
kind
what
way
translate
to
I couldn't
characters.
screen
this way
I wanted
suppose
the
some
was
An
for him.
He
cival
her, Perwho
She was
existed.
essentially
happiest when
attending to her
man
and
duties.
But
to
only
in the
always changed
manner
strange
a
soul
household
kind
was
pretty
a
of women,
presence
especially
good looking ones.
veritable
Chesterfield in their presence.
a
"Belinda
town.
I would
Belinda
and
Belinda
words
have
for their actions later
account
and
to
to
Percival
So
on.
plain
ex-
in
show
are,
I do
it
"
I show
several
his littlemustache
of
scenes
before
Percival
"
Percival
mirror; Percival
the
making a
stenographer'shand; Percival
with
partner'spretty wife ; Percival flirting
a hotel lobby.
And
singing as
I do
the
she
flowers; Belinda
same
makes
with
up
Belinda
the
and
a
over
his
pretty girlin
Belinda, smilingand
watering the
taking the flowers
beds; Belinda
cuttinga bouquet
37
"
fuss
twisting
patting his
in
Opportunities
38
into the house
lunch or
some
to
them
arrange
some
money
to
in
an
the
Belinda
old beggar who
a
vase;
giving
comes
door.
to the
These
describe a
short scenes, very
brief action,but they
character.
The difference between
scriptio
wordy deand
basic
actions,that have the same
definite
meaning, is the difference between the photoplayand the
are
story.
It is the lack of definite,
and
interesting
logicalaction
that takes the screen
value from many
a good story. And
itis because they do not realizethe vital importanceof action,
instead of words, that many
fine writers fail as photodramatists.
could never
develop
many
persons who
into writers, because
they haven't the feelingfor words.
They have the urge to create stories but they are frightened,
But
there
are
they have tried to put their thoughts on
and have failed miserablyat this business of stringing
paper
words
together. These same
persons, if they would
would
studyand master the techniqueof photoplaywriting,
find an outlet for their ideas and gain success,
no
doubt,
in the writingof scenarios. The importantthingis having
because
nervous
the idea.
people declare that they never
stories. Perhaps they never
for screen
they are surrounded with so many of
Lots
ideas
of
could find any
cause
get ideas bethem.
with most unusual
surrounded
would greatly
which, if we would put into stories,
incidents,
the amusement
value of the greatest entertainment
enhance
the author, dramatist or photoin the world today. When
play-wrightcompletes his story, play or photoplay,he
cident
inusuallyadmits that his basic idea was inspiredby some
which he witnessed, or which was
brought to his
start
we
attention,actuallyhappened in real life. When
material.
to write fiction,
turn
to facts for our
we
All of us, each
day, are
hears
newspaper
Suppose the editor of a metropolitan
in the
of an explosionwhich has justoccurred somewhere
where a new
heart of the city,
skyscraperis being erected.
He
sends
a
reporter out
to
get the story, and the reporter
in
Opportunities
40
the
hasn't better stories today
The reason
why the screen
is because so many
of its contributors ignore the original
those thingswhich are ordinary. Learn
and concentrate
on
the ordinaryand the unusual.
That
to differentiate between
is the secret of successful photoplaywriting. If you can
write a story which has plentyof action,red-blooded drama,
thing.
climax,you have done somestartling
However, if you can bring about the reform of at
least one
character,and do it consistently,
you deserve still
further praise.If you can
go a step further and work out
the reformation of this particular
character with the aid of
the Supreme Being,you have done somethingdoublyworthy,
and your audience will go away
with praisein their hearts
for the writer who can
and instruct,
but who
not only amuse
improves them mentally.This is due to the -factthat we all
thrilling
suspense
have
a
and
desire to become
who
doesn't
better
men
and
women.
The
man
live
better life is not in
or
woman
a
accord with the universe.
A bad man
isn't bad because he
He's bad because he doesn't know
wants
how
to be bad.
be
him
if
show
the way to improve,
to
good, and,
you can
he'll grasp it.
want
to
The photoplay author is often asked where he gets
his ideas. I don't know
what reply others make, but I
freelyconfess I get mine from real life. Hardly a day
without the newspapers
supplyingus with a story
passes
of an
actualitywhich, when transferred to the screen,, is
acceptedas fiction. And, after witnessingthe completed
declaring
productionthe audience will invariably
go away
that "such a thing could never
in
It's
life."
real
happen
amusing, isn't it?
In the
future
will have its own
writers,
and they will be authors who will devote all of their time
and energiesto the screen.
The result will be biggerand
for which the authors will receive big money.
better stories,
Another effect will be that each productionwill furnish an
entertainment and the pictures
will have unlimited
evening's
in the theatres. The lengthof the run
will depend upon
runs
of the picture. The exhibitor will pay more
the success
itwfll be booked
for the production,
on
a flat price,
or
money
as
on
a play.
a percentage basis,the same
the
screen
Motion
Picture Industry
41
the future has in store, and, for the freelance
writer, it is going to be most tempting. The screen
but his work
bear
writer is coming into his own,
must
and thought. In the future,the authors
evidences of care
and their stories
who do the best work will be favorites,
attention as certain stars have in the
will attract as much
it must
be appreciatedthat it is very
past. Of course,
writer to turn out a success
difficultfor a screen
with every
to expect
story. The drain on his mentalityis too severe
it. A playwrightturns out a successful play perhaps every
In that lengthof time the photoplaywright
will
two
years.
write at least fifteen photoplays
; a coupleof years ago they
were
expected to write thirtyor fortyin that length of
time.
That's what
Playwrightsdo
make good screen
writers;neither
do authors or novelists make exceptional
photoplaywrights.
In fact,the majorityof them have experienced
failure when
it came
to turningtheir efforts towards
the screen.
not
reach the brow of a hill after a
with it a certain
long and tedious climb, and there comes
But
happinessas we realize we have reached our objective.
learn that the real work
has only juststarted when
we
soon
arrive at our destination ; that the greatest pleasurecomes
we
with the struggling not the gaining and that herein the
incentive lies.
It's
great relief
a
to
"
"
I wish
names
on
to
those who
impressupon
the main
title of
a
their
author, that the
desire to
photoplay,as
see
the
with
constant
plugging; the
wonderful, beautiful efforts that are put forth in striving
that goal is reached, pause there
to attain the goal. When
only long enough to get your breath, and then go on, and
let your efforts not
slacken, but rather let them be even
great
returns
come
before.
Always try and make the
greater than they were
Create a high standard
next
story better than the last one.
and
never
The
permit your
one
work
to
fall below
that standard.
fault I find,in the scenarios which
common
are
reading,is that they do not represent
considerable
time, care and thought. It requiresall
three of these elements to do anythingand do it well. Give
the story the very best that your creative genius can
pro-
often submitted to
me
for
in
Opportunities
42
the
duce, and do not think of the money
you are going to get
for h"; never
give it a thought until the scriptis finished.
Make
each
effort and
story your
supreme
bored with
yourselfto become
over
again. You must find
do your best work.
will never
There
do
work
doing your
permit
over
pleasure in doing it,or
a
fundamental
only thirty-six
are
not
dramatic
and
you
tions.
situa-
Every one of these situations has been used at least
thousand times by authors, novelists,
playwrights
thirty-six
and photodramatists.You
be
able
to
distort,juggle
may
and
twist them
but
"
new.
that
and
When
idea can
write
in various
do
think
not
have
by
something entirely
convinced
are
you
do
cannot
busy
too
ferently
littledif-
a
good story,
a
if you
typewritten
; for producers are
written in long-hand.
are
to
sit down
that, have
read
needn't
lot of words
paintinga gloriousbackground with a
mean
nothing,and which only interruptthe
it
that
scripts
story immediately. You
into your
Get
them
serve
idea, and
your
surrounded
Type it,and,
to
"
you
have
you
be
it.
way
action.
start
that
But,
the other hand, don't leave too much
to the imagination
on
situation and leave it to
Don't glideover
of the reader.
a
the scenario editor to work
out that situation. Use
your
in detail the way
you think
should be enacted.
Put plenty of action
the entire scene
into your story. Keep your characters moving all the time,
them
do a lot of things which
and be careful not to make
not importantin the working out of your plotand which
are
genius and
inventive
do not
have
You
must
stage and
the
The
element.
can
a
direct effect on
remember
a
screen
to
two
or
movement
act
three
drama.
screen
Why
keep his
outcome.
the
differs from
is the dominating
written
ever
and
scenes
? Because
one
the
moving
actors
this,his audience
for the stage
titles
subtwo
or
photodramatist
on
will walk
the screen,
out before
unreeled.
pictureis entirely
A
over
that the
greatest second
realizes that he must
and, unless he does
the
the ultimate
novel, in that
be reduced
in
describe
dramatist
the
uses
conversation
big punches in
his
or
play,but
clever
the
dialogueto- put
photoplaywright
Motion
Picture
43
Industry
lias to supplement that dialoguewith big action. Action
is the most importantelement in a photoplay. There must
be lots of
the
it,and it must
be necessary
to the developmentof
be put into the scriptjustto furnish
plot. It mustn't
for the actors ; it mustn't be
It must
be consistently
put there.
movement
in.
in
remember
dragged in,or forced
In fact,the pointto
writingthe originalstory for the
First,establish
is:
screen
for the story ; then
introduce your
reason
after
characters,and,
start for
a
you have done that,make
That's all there is to it. Establish a premise
your climax.
and then rush for the final scene.
Don't waste
any footage
on
don't
clutter
with
lot of
a
your
way;
story
up your
thingswhich only retard the action,and have no necessary
effect
a
the climax.
that it contains action,
few thrillswith
action and then some
action. Mix
more
a
it,flavor it with sweet romance
and spiceit with suspense.
If you can
real big human
stuff in it,the stuff
put some
that bringsa tear to the eyes of the audience, it will improve
on
But
be
sure
it a great deal. Then, the next instant,chase the tear away
with a smile. If you do all that,you've givenyour audience
reason
legitimate
no
won't
want
for
demanding
its money
back.
They
it back.
of characters to the
It is advisable to limit the number
Too
characters confuse the audience and
minimum.
many
they
have
continues.
in recalling
who's
difficulty
who
This
mixing
results
in the audience
as
the
story
labor
with
its amusement.
they are
to
Those who go to the theatre go because
They want
seekingrelaxation from business cares.
be amused
cast
down, and
without
you
sincere and
first idea that comes
are
Be
great mental
any
keepingthe
earnest.
Do
into your
it will come
cost
not
head
effort.
of
Keep your
productiondown.
and
sit down
and
rush
write the
it to the ducer.
proYou'll deserve
back to you.
If you do,
The officeof a producer is not a receptacle
to get it back.
and slovenlywritten plots. It's a high
for slipshodscripts
class institution for
sincere.
Spend
a
the
serious
efforts of
month, if necessary,
of the story you
intend
those
in mental
who
are
tion
construc-
certain
writing. Be absolutely
44
that
have
you
to, and
sit
it can't
good
not
Make
Visualize
each
description
of
scene
words
when
this
nine
weeks
spend
you
possibly
will
be
inspired.
put
a
the
to
will
alone
the
at
have
valuation
story
is
good
it is worth
than
worth
you'll
ever
it, and
on
best
your
thousand
writing
Redeemer"
is
not
to
If
labor.
it in
it
and
necessary
actual
on
the
on
in
two
work.
best
hurry.
to
are
thus
Stamboul"
of
fifty
complete
Work
work.
you
and
weeks
in
day
your
need
no
It
a
represent
There's
surprised
As
not
hours
Your
shown
Great
"The
action.
it.
scene,
was
eight
Moon."
New
continuously
it
writing
three
it
as
spent
the
for
approximately
I
in
"The
than
more
sittings
weeks
on
work
exactly
where
in
see
Virgin
"The
and
else.
anyone
of
contained
each
of
it than
completed.
clarify
consideration,
creator
script
story
; six
story
the
them
you
is
sub-titles.
own
put
as
it
material
good
will
If
story.
your
it
serious
described
the
and
they
paper.
your
only
describe
explain
was
screen,
and
story,
to
original
the
possible,
receive
qualified
In
Write
it is entitled
on
it is
providing
and
the
of
length
where
scene
it
putting
words.
and
will
author
every
as
needed,
are
better
of
short
as
the
the
consideration
start
long,
too
jungle
them
they
and
about
be
mere
a
down
worry
careful
it the
given
then
Don't
the
in
Opportunities
or
It
when
three
couldn't
feel
you
Then
you
is
something
will
be
results.
of
question
to
determine.
on
the
just
as
get
for
It
of
work
much
If
more.
price,
it.
as
an
you
it is very
that
is
impossible
almost
individual's
receive
good,
you
for
to
brain.
it.
it is worth
If
A
it is
more
in
Opportunities
46
IMAGINATION.
IS CALLED
bisexual, for he must
WHICH
reach
free lance writer
to emotions
of self
God.
be
must
the
as
and
of all things,
that he
has
a
stringsof
"movies"
the
and
need
this
violin,as unconscious
the Devil, and as justas
thing
some-
skilful of directors so
be a student
says that
most
most
sitive
sen-
a
all of some
know
thingsand
There isn't any such animal.
ceased
never
mentally
men
hearts of the millions
of knowledge,as
paragon
of the wisest and
One
wise
what
"
is
the
cunning as
moonbeam,
In short,he must
a
as
He
psychology of
the
know
equally. To
women
the
"
to
"
is a
where
Shakespeare
"
that
the
did before
the drama
speare
Shakespearediscovered it. Some day there will be a Shakefor the screen.
He'll be a free lance writer and he will
have the bard of Avon
whipped to a frazzle,because his
medium
of expression will be the universal language not
pictureof today
motion
stands
"
dependentupon
words.
why there's no such animal is because the
art is a babe in swaddlingclothes,sprawlingand creepnew
ing
and crawling,tryingto walk, but unable
so
hungrily
that it puts everythinginto its
reachingout for sustenance
mouth.
It laughs,crows,
gurgles,cries and has to be
It has to be carefullyfed with
spanked to make it behave.
what it will be when
pap and spoon, and nobody yet knows
The
reason
"
it has grown
Man
to its full stature.
becomes
profession.The
professional
only when
writer
is the
he has created his
ture.
parent of the moving pic-
When
that becomes fullyestablished as the foremost
Art of expression the writer will be the chief instrument
in its existence. The writer will have created it. All the
other splendidadjuncts,suppliedby Camera
Artists and
Artisans,must be subordinate,for "The Play'sthe Thing !"
There
should
be
truth
enough
in that to
make
another
Shakespeare.
such animal today because the free lance
writer is usuallya staff writer out of a job. While waiting,
hoping for another, and the solid comforts that go
seeking,
There's
with
makes
"
no
"
weekly salarythat
of
occasionallythe
some
sort
"
a
is often expressed in hundreds, he
And
story and sells it where he can.
baby
swallows
it. The
writer must
live.
Motion
Picture
47
Industry
find the food that the baby wants, and he
from
usuallycontent to boil the milk that comes
any
s
tories
herd.
He
finds
in
himself
occupied
revising
literary
that are not his own,
written by others,whose views of life
To
is
do
he must
so
motives are not his and he is far too busy to get out into
the outside world to discover why. He soon
acquiresthe
knack
of making stories without acquiring
to
the ability
create
of his own.
He surrenders all ofJKs time, his
one
mental and physical
his opportunity*"
be in touch
strength,
with the outside world, where only true JMjpiration
is to be
found. He becomes
of continuity
an
accomplished
and sinks himself with the weight of ytt|l)P
excellence. He
is not the master, not even
the*own"jppfilPs
own
mind, body
is
soul. He
instrument
or
an
by others. He
makes
what somebody else
the picture
ished,
is finit isn't his. It isn't dflkl^ry's.
It is everybody's
and power fflKlgfi
who had position
to dictate in the making.
and
wj^jp*
"
plaJjKfjIFpon
wamjjtf^yhen
But
when the babe grows up
all stories,
from every
fieldof literature,
that can
be coaxed, twisted,distorted into
"
"
with and without fidelity
movement,
have been and are being turned into
to Truth
and
pictures.But the supply is not equal to the demand
Now?
Where?
other source
be discovered.
must
some
Aha ! Eminent
authors who have written much, and long,
and well. They should be able to create good stories faster
than they can
be filmed. But, alas,the eminent has labored
to bring his brain child into the world.
long and tediously
Only one out of three or four or five of his children live.
in another field.
Besides his eminence has lived and worked
He has cultivated another form of expression.His habits
semblance
of action
and Nature
or
"
"
form.
firmlyfixed that he is unable to learn the new
He is,however, tempted to sell his offspring
into a sort of
slaveryin which his darlingis whipped cut mangled
into sometransformed
thing
grotesquelydressed or undressed
are
so
"
"
"
"
he never
he cannot
his story
"
a
knew
or
This is too often a tragedy
sells
established author who
wanted.
prevent. The
story that the world
has
read
and
accepted
"
allow the producer to make
and all
any
alterations that may
be thought advisable in the studio.
Hughes and Beach, and others,have had to go into the busimust
contract
to
Opportunities
48
could
way
they
the
But
accessions
from
in,
up
or
and
College
will
live
of
in
the
studio,
The
use
have
fire, that
only
with
write
that
the
who
may
steed,
you
may
may
not
live
order
to
Seeing
is
speaks
in
be
the
great
if
"
and
armor
and
knows
set
challenge.
your
and
just
lance
its
idiom.
own
prepare.
"
know
you
that
where,
in
nection
con-
Truth.
how
If
weapons.
of
some
no
for
form
new
sense
storehouse
mental
of
He
his
preserve
much
acquired
the
studio.
substitute
too
dergarten
kin-
be
Academy
the
believing
successful
grow
will
yes,
"
in
his
fill
to
patience,
nobody
from
but
all
stage,
the
comes
succeed
all,
permanently
would
courage,
in
life.
of
the
have
you
"
the
like
all
know
it
a
who
You
you
truths
be
world
above
and,
vital
can
If
outside
the
will
he
pends
deown
will
There
high
and
its
future
studio.
the
grammar
But
within
big
the
upon
It
eminent.
germs
of
depend
not
however
other
no
brains.
own
does
from
with
courses.
perspective
with
"
field,
In
so.
their
Art
writer
contact
of
new
growth
screen
close
primary
"
the
do
to
own
product
other
slow
The
in
of
any
the
upon
laboratory.
the
protect
growth
"
their
forsaking
less
or
more
ness,
the
in
divine
you
rest
to
you
inner
will
and
not
test
con-
By
Note:
Editor's
KATHARINE
Katherine
TITLES
THE
WRITING
HILLIKER
first
Hilliker
into
came
prominence
through
in titling the
Scenic
Outing-Chester
tures.
picMiss
Hilliker
these
rather
injected into
By
cleverness,
and
charm
caused
countless
that
"dry"
subjects
atmosphere
an
a
is Katharine
I know
Americans
Hilliker?"
of no
to ask, "Who
higher
tribute
could
have
been
than
the
that
this.
Among
paid a writer
evidences
of
writer
and
her
recent
more
ability as
a
surpassing
number
editor
and
"Star
of important
"Passion,"
are
Dust,"
a
ductions
proreleased
First
and
by Metro,
Realart,
Goldwyn,
National,
others.
the
excellence
of
sheer
hear
WE
do
not
a
great deal nowadays
about
the
pictureto
the ideal cinema, which will carry on
without
the aid of subtitles.
And
come,
think
more
work
her
fully
success-
I
while
it
and
quitepossiblethat we shall have more
before very
frequently,
long, this type of picture,I
believe that there is any possibility
of its eliminating
the titled film.
It is
quite
within
that Anita
Loos
the
realm
might
of
write
a
stance,
imagination, for inof
comedy susceptible
being played through without titles,but who would
her witty sallies,her tilts with windmill
suppress
Where
of her
satire without
a
who
could
express
to
tions?
conven-
the subtitles
title?
the stage has its devotees,
pure pantomime on
in the motion
will it have its followers
picture audience.
Just
so
is the actor
wish
as
pantomime has by no means
voice in stage productions,and
But
will continue
Five
to
function
years ago,
When
it came
an
the
suppressed the speaking
I have
no
doubt
that words
indefinitely.
unknown
title writingwas
an
sion.
profesto the finishing
stage, picturesrepresenting
on
outlay of thousands
screen
of dollars
were
strung
on
a
ungrammatical and
elty
at best indifferent reading. But graduallyas the sheer novthe always growing
of picturesin motion
wore
away,
ulty
became
audience
more
discriminatingand developed a facfor better picturetext followed.
for criticism. The
demand
motley
line of titles more
often
than
not
Today titlingis a recognized adjunct of the picture
writingbusiness and the titler has as distinctive a share in
49
50
in
Opportunities
the
making of a
photographeror
the
fine screen
productionas
the continuity
writer.
the director,the
It goes without sayingthat the first requisite
of a
titlewriter is a knowledge of vgoodEnglishand
knack of puttingthat knowledge into words.
After
that the most
valuable
asset
a
titler may
cessful
suc-
the
have
is the
giftof story telling,
beingable to see a story in a mass
vage
film. Very often it becomes
to salnecessary
which
been
with titlesa costlyproduction
has
poorly
directed,badly cut or otherwise mishandled, and the acid
and
test of titlewritingis the ability
to take such a picture
of
subtitles evolve from its wreckage of discrepby means
ancies
and missinglinks a grippingor an amusing yarn as
of muddled
the
be. And
when you can
in
weight gold to a producer.
case
your
may
do that you
are
worth
the titling
of scenics
There is a vast difference between
there is no
and features. With
the former
cut and dried
story to follow. Given a few cold facts of information
low
folthe titler may
which must
be sifted through the picture,
his own
will and build his own
sweet
story. He may
make
create his own
characters,work out his own
itinerary,
So long as he adds to the entertainment
climax.
his own
wander
value of the film,he may
at will.
But with a feature he runs
up againstlimitations. His
of the
speakingnow
story has been written for him (I am
struction).
photoplaywhich is in good condition and needs no reconwriter and the director between
The continuity
them have made it into a fine dramatic play.
His business then becomes interpretation.
To him falls
in
the task of letting
the audience
the plotas it develops.
on
His titlesmust carry atmosphere and above all characterization.
add high lightsto heightenthe director's
He must
effects.
while
let me
subject,
say that there
gent
than intellimore
important angle of feature titling
characterization. The titlewriter should study a character
And
is
no
as
does
vernacular
should
never
of
we
any
are
on
actor
his role.
Broadway
have
a
the
sweet
He
should
never
mix
the
that of the Middle West ; he
southern belle of the sixties ex-
with
Motion
Picture
she'd had at the dance
the "swell time"
claimingover
51
Industry
that
simple outspokenchorus girlof the present day
ness
prefacingher inflammatory remarks with "Oh, my goodnight,or
!
a
he shouldn't
...
permita
bewhiskered
old tillerof
to talk about
been farther east than Iowa
the soilwho's never
when
he means
"hams"
a
angel
nine-year-old
actors, nor
of a Vanity
child to speak with the smooth
sophistication
self
to cast himFair caption. He should have the imagination
in the part he is writing,
and if he hasn't the imagination,
he has no business being a title writer.
for the embryo titleris the
for there as nowhere
else
local room
of a newspaper
office,
is he taught to prune his garden of literature"his mental
sunflowers are cruellycropped and the facultyof being
of the first rules of the
in littleis one
able to express much
An
excellent
training
camp
"
titling
game.
screen
and
again because the time allotted each titleon the
readable
it is also vital that the most
so
fleeting,
easilyunderstood terms be employed.
Then
is
well the consternation with which the word
propinquitywas greeted in my first set of titles. The producer
tish
from it like a skitwho had ordered them shied away
colt. He
that not ten people in an
swore
average
the word, much
less knew its meanaudience had ever
ing.
seen
he suggestedthat we
After my flat disagreement,
test
the matter
each of us selecting
five persons
out in the office,
submit the word
would
for definition.
to whom
we
I remember
Of my five one was
the generalmanager
and another the
director of publicity.
The others I chose at random.
In
his group he had his secretary,the assistant treasurer
of the
the chief accountant
and the head of the shipcorporation,
ping
The
that
followed
M.
the
G.
department.
poll
brought
and the publicity
director nobly to the fore with learned
definitions of propinquity,
but of the remainingeightonly
Mr. X's secretary had a bowing acquaintance
with the polysyllabl
and
Since then
out of my
of them
thought it was a Latin phrase!
I have cast propinquity
and words of like flavor
titling
vocabulary.There is nothingto be gained
most
52
in
Opportunities
the
by placingverbal stumbling blocks
in
the way
of
your
audience.
But
be
must
where
is important,
the titler
less by the character of the picture
or
guided more
he is handling.A slapbangcomedy, for example,will call
for short,snappy titlesas fast as the rapid-fire
of its
scenes
story, whereas a great spectaculartragedy will need the
of
dignityof rhetorical English to carry the stately
sweep
its unfoldingdrama.
the main
it all up, say what
in the fewest words
possible
To
as
brevityin
sum
time
to say
necessary,
characterization or atmosphereto
for short titles.
nilly,
The
have
you
but
effectively
as
sacrifice
never
ignorantdemand, willy
an
lapse title is the red-headed
of the
stepchild
mysteriousway it has been
titlewriter's muse,
for in some
of the passage of time is
decreed that a bald announcement
No
indecent as the baring of a family scandal.
as
longer
back
those
fall
one
on
good old standbys,"That night,"
may
"The next day" or "The day after." Instead of "Ten years
later,"we say somethinglike this : "And the years unrolled.
A path of gray years along which the child stumbled
into
istered
womanhood"
whereupon the time lapse has been adminlike a mental castor oil in a generous sugar of phrasing
and the day is saved.
"
the way
of the written word
Perhaps the greatest handicapin
of subtitles is the baldness
A typographical
the screen.
or
on
mis-statement, never
suspended nakedly on
seems
a
so
of the writer
it appears
as
grammaticalerror,
glaringlyobvious as
black and white board
motion
picture audience.
or
a
when
before the
disapprovingeyes of a
Daring
voice and an
lines in a stage play,tricked out by the human
will rock a theater in an
appealingpersonality
ecstacy of
lines enlargedto meet
mirth. Bwt those same
the requirements
the
warmth
of a twenty-foot
color
and
screen, lacking
will more
interpretation,
inexpressibly
cheap and vulgar.
of
vocal
titles without
the human
hokum
often
In
the
than
same
background
not
way
are
appear
hokum
apt
to
sound like nothing but hokum, and the worst
of all
snare
is the titlemeant
to be humorous, for the humorous
titlehas
r
BREAKING
INTO
THE
END
PUBLICITY
OF
PICTURES
ADAM
By
West
Coast
Publicity
HULL
Director,
SHIRK
Famous
Players-Lasky
Corporation
ing
prejudiced,but I believe that no trainfor motion
so
admirably fits a man
pictureor any
local
other publicity
in
work
that
as
gained a newspaper
I have known
in various
room.
publicitymen
many
ated
parts of the country, and almost invariablythey had gradufrom
from
the local room,
the city desk.
sometimes
After
has said, "the only kind of publicity
all,as someone
worth
paper
writingis that which will be printed." And a newsI
PERHAPS
am
knows
man
what
pretty well
will and
what
will not
get into print.
Naturally, the publicityman
the
That
does
entirelyat
ber
happens to be a memof a large staff with this particular
field assignedto him.
devote
He
his energies to preparing matter
for
may
"fan"
trade papers,
magazines, so called, or specialclass
periodicals;or he may write material for the press books
columns.
news
which
go
to
exhibitors.
degree into
some
The
news
sense
man,
or
I
But
almost
city editor, as
specialwriter, who
may
the element
of
in
enters
news
phase of the work.
is usuallypossessed of
the
mean
he
any
man
newspaper
"
is,unless
aim
not
reporter, rewrite
man,
inherent
an
desk
copy
editorial or
distinguishedfrom the
not
always possess the
for
"nose
news."
The
would
be
unable
story in the
it.
What
wonder,
man
publicity
in
most
?
where
news
the
average
The
see
then, that
the
latter's mission
certain
reporter makes
"
55
the
best
is to interest the
thing or a certain individual
several things or
individuals.
To
do this
them interesting
either by news
to the public,
a
person
anything worth telling.He sees a
commonplace incident. If the incident is
he will probably get a feature story from
him is "copy."
to
commonplace
Everything to
not
finds
reporter
or
he
or
public
possibly,in
must
make
by facts
or
in
Opportunities
56
the
them.
The reporter comes
in contact
fancies which concern
know
with practically
all phasesof life ; he must
something
about almost everything. The
same
applieslargelyin
publicity.
is another
There
so
calling,
work
that those
picturepublicity
much
difficulty
step from the one
the
same
closelyallied to
engaged in it can
motion
without
that is,theatrical
With certain modifications and considerably
press agency.
the film publicity
writer has
greater ramifications,
to do.
sort of work
to
the other
man
Where, however, the publicity
"
only writes
is foreignto
not
in a field which
he engages
and familiar to the theatrical press
man
placescopy,
but
the
agent.
newspaper
But the newspaper
has this advantage; he generally
man
knows
what the newspaper
will printand, being familiar
with the mysteriesof the editor's desk, and the business in
general, can
soon
acquirethe facultyof "gettingstuff
across."
such as Famous
Players-Lasky,
bigcompanies,
do the placingwhile others prepare the copy.
So there is always the possibility
of gettinga start in the
of taking up
writingend, and later,if especially
qualified,
the job of placingmaterial.
department is not always
Landing a job in a publicity
that there are
the easiest thingin the world, for the reason
who are
trained men
constantlyshiftingabout and
many
who
are
ready to jump into the breach when an opening
At the same
occurs.
time, a good man
invariablylands
or
sooner
later,though when thingsare quiethe may have
to wait longerthan he likes.
of
The best way to get in is to make the acquaintance
directors and get your
their lists.
name
on
the publicity
In many
certain men
in a rush, be unable to
will want
a man
Sometime
someone
those he alreadyknows
find one he wants
by repuamong
tation,
and then your chance will come.
of motion picturemaking is,of course,
with
valuable but it isn't easy to get this without contact
other way
the studios in some
no
capacity.If there were
if I
work
determined to enter publicity
open, and I were
had no previousexperience I think I would try to get a job
A
knowledge
"
"
Motion
Picture
57
Industry
extra, or work in the prop, department
inside the studio and learn the "how" of it.
as
an
"
to
jt\st
get
in the publicity
departments
the
in the
of some
latter
are
companies,though
in the matter
of fashion
majority. Sometimes, especially
intimate details of feminine life,a
articles and the more
than a man,
but many
feminine
is better qualified
woman
readers of stories concerningthe sartorial characteristics of
the stars,would be surprised
to learn how often these articles
of
written by mere
who have caught the knack
men
are
the
interest
of
descriptionand learned how to intrigue
readers.
women
Women
as
well
as
men
work
A
education is a good thingfor a publicity
man
college
Of the two, I think perhaps
but by no means
indispensable.
both together
valuable
a
trainingis the more
newspaper
make
Work
motion picture
a
on
a
splendidcombination.
for publicity
is excellent training
publication
writing.Aside
twelve years'experienceat newspaper
from
work, during
from
which I was
cub
a
everything
reporter to editorial
writer,the year I spent as motion pictureeditor of the
similar capacityon
Dramatic
Mirror, and in a somewhat
the New
York Telegraph,proved invaluable to me.
I, at
and
the
nomenclature
trend
of things,
and
least,knew the
world.
personnelof the screen
"
Publicitywork
is hard
work
if it be conscientiously
who
doesn't work
in that way
will
the man
never
get far. He must applyhimself,not onlyto the actual
physicallabor of writingand diggingout stories,but to the
task of visualizing.
He must
acquirea vision much like
that of a director who tries to see his picturecompleted
before he starts to "shoot."
He must
the possibilitie
see
in the stars or others he is seekingto popularize,
and develop
these possibilities
believe in his
to the nth degree. He must
he is
subject.He must believe in the qualityof the pictures
that
realize the work and thought and money
publicizing,
has been expended upon them, and act accordingly.He
hold himself,his work and his product.
cannot
lightly
And
done.
He
with
sufficientto make friends
possess personality
the people with whom
wise,
he is associated,for how, othercould he hope to gain their confidence and establish
must
in
Opportunities
58
will enable
the entente cordiale which
material he must have ?
He
His
must
expect
to
the
get
brickbats
more
is the invisible voice,so
to
him
speak.
His
to
obtain the
than
bouquets.
words
are
read
best
people,perhaps,than the works of many
him.
His own
but few people will ever
know
sellers,
sonality
perbe
It
that
he
be
must
speaks in
submerged.
may
the voice of a star or of some
imaginary character,but
seldom does he, as an individual,
receive from the publicthe
credit for the clever thingshe says.
Sometimes
press agents
sign their material but not frequently,and there is really
no
why they should. Although
reason, generallyspeaking,
the publicity
does
an
man
importantfigurein his profession,
not mean
to the readers.
anythingin particular
by
more
"
The
end of the business I will not
advertising
That
is a distinctly
different field,and those
upon.
requirecareful trainingand a natural giftin most
But
Of
it is
fine branch
a
there is
course
and
publicity
a
for those who
very
are
close connection
and
advertising,
in
a
sense
touch
in it
cases.
fitted to follow
between
it.
straight
everythingthat
is
is intended to advertise and
man
publicity
help sell the productof the studio for which he works. But
he remains a pubunless he is writingadvertising
licity
proper,
and it is with this phase of the profession
that I
man,
am
attemptingto deal.
is distinctly
for
field for the younger
a
Publicity
man,
it requiresspeed and activity
and constant
application.It
requirehim to work earlyand late. He has no hours,
may
when
thingsare pressing.His first duty is to "get the stuff
out" regardless
of meals, sleepor other engagements. However,
it is only fair to say that nowadays the work
in most
studio publicity
departments is so well organizedand systematized
written
any
scorn
by
the
Of course,
that there is littleof this to contend with.
like any real newspaper
real publicity
would
man,
man,
"hot on the pan."
to leave while somethingwas
Like
every
other branch
of the great motion
picture
department of today is, as I say,
industry the publicity
is a
and efficiently
organized.Where the company
carefully
department is usually
large one, the work of the publicity
divided
into various sections.
For
example, one
man
may
Motion
attend to newspaper
another
stated,there
another
stories,
with
contact
As
on.
so
editors
everywhere.
previously
There
maintains a position
somewhat
that of cityeditor of a newspaper.
a
material,
trade paper
to
place the material and
others who
are
59
Industry
magazine writing and
to
constant
Picture
is
are
in
usually
comparableto
director who
after all,can
best be advertised by
picture,
innumerable
so
pictures,
photographsare taken. Not alone
the "still" photos,as they are
called,of the productions
art photos,a
themselves, but informal pictures,
portraits,
hundred
and one
varieties used to illustrate and properly
the photoplays
in advance
of their publicshowing,
publicize
and after they have
been released,and also to keep the
features of the stars before the readingpublic.
The
motion
is part of the publicity
man's job. Not the
actual takingof the photographs,but the planningof them,
in which
he will find plentyof opportunity
for the exercise
This work
of his
and
ingenuity
If I
asked
were
essential to
invention.
what
"""
regard
believe that
mere
have
It
least
as
to write
ability
important. I
it neither
good
said:
copy
energy,
would
agent.
regarded as
a
cousin
I don't
But
it is a
unfortunate
"P.
Munchausen,
to
it in that
mean
is less
:
sense.
constrained
am
application,
or
carry
"Imaginationrules
The
a
man
are
to
the
far.
the world."
splendidmotto for
has long been
A."
ScherezIn fact this belief
This is the day of
Ananias
and
justified
today than ever before.
comparativetruth in advertising.
to visualize,
to
Imaginationto enable a man
that
most
Energy, personality,
cause
belast
imagination
say
I named
that
might be said,cynically,
the press
ade.
it
without
Napoleon
J
I would
publicityman,
a
imagination.Nor
I
three qualifications
were
see
things
invisible to the average
the significan
person, to grasp
before
have
of events
into
actual
they
ripened
self
and be able to put himin another's place this is the kind of imaginationI
And
it is worth its weightin gold to the possessor.
history,to
character
understand
"
mean.
The
with whom
man
publicity
he
works.
must
He
learn to understand
the people
will find that ninetyper cent of
the
Opportunitiesin
60
stories he may
and that the unkind
very human
have heard from the outside concerningthem are not worthy
the most
of a second thought. Actors are among
interesting
know.
I
have
known
or
ever
ever
They have
hope to
people
imagination,and they have the charm that results not alone
them
are
but because
personalities,
possessionof interesting
they have dealt so long in emotions that they are ten times
as
expressiveas ordinary individuals. Likewise, they are
charitable,
kindly and considerate. But sometimes they are
always be taken into
temperamental and this fact must
the
from
"
consideration
if the press
does
man
semi-occasionally.The
water
degree to
of theatrical
A
motion
or
of
be
a
magazines,
current
apply in lesser
engaged in any branch
are
great reader
and
fiction,scientific matters, travel,and
Personally,I
Carter
Nick
it
in newspaper
back and
came
trace
can
days
made
a
"
of the
papers,
news-
works
of books
in fact,all kinds.
"
of
the days when
I read
with avidity,
and feel that
back
to
Dick
Deadwood
time wasted.
not
was
and
be in hot
to
picturework.
should
man
publicity
wish
facts
same
of the others who
many
not
times
I'd hate to tell you how
many
phrase from one of the old thrillers
good
stuff for
a
headline.
as
organization
I am,
perhaps,prone to regard my own
to perfectionthan any
something nearer
discovered
I have
the world.
is undeviatinglybest in
for what
in
other
of its kind
that
Paramount
picturesfor the
stands
screen.
publicityman
spiteof
But that isn't publicity.It is honest conviction,
based upon
a
fairlywide knowledge of the business.
agine
imDespitethe experienceI have had I don't for a moment
I know
it all not by a "longshot." Sometimes
parative
a comand
offer
that is a
a suggestion
tyro can come
along
Well
winner.
that is the result of imagination. And
I
have enough to know
that I am
not infallible by a good deal.
commend
the
of
I
work
publicityman, either in a big
for
individual
smaller organization,
or
an
to
or
a
company
how
the
(You see
everything.)
will crop
out
in
"
"
anyone
One
who
thing is
has
sure
imaginationand
"
any
man
who
learn whether
he possesses
he doesn't
he will,I fear,soon
soon
"
new
pastures.
energy
and
personality.
will
these qualifications,
and if
starts
be
in at the
seekinggreen
job
fields and
DUTIES
AND
SCENARIO
of
Over
CORBALEY
Screen
Twenty
Palmer
ORDER
IN
be
to
Supervising
Now
Successes;
Reader,
Corporation
Photoplay
scenario
successful
a
THE
READER
By KATE
Author
OF
QUALIFICATIONS
reader
one
must
knowledge of dramatic technique. Well knit
drama
does not happen; it is evolved
from adherence
laws
of building. Certain
to certain
causes
produce
certain dramatic
effects. To analyze intelligently
a
story in
have
order
to
on
to
a
find out
apply; one
which
The
to
its
make
must
rear
studio
scenario
not
or
in which
suited to the actors
studio?
Has
the
a
a
How
much
the
reader
must
foundation
be
tests
is there
capable of
story will fit the needs
of
ciding
de-
vidual
the indi-
is
actresses
employed. Is the story
under
with that
contract
will it cost to
in theme
been
story similar
what
structure.
that reader
and
know
must
that
sure
dramatic
a
successful
whether
value, one
screen
produce such a story?
produced recently? Is
of the story censorable ? Is
it the kind of story the public will pay its good money
to
?
The
able
reader
be
all
these
must
to
see
answer
questions
subjectmatter
or
treatment
intelligently.
In
order
to
safeguard his
studio
from
the
charge
of
have
plagiarism,conscious or unconscious, the reader must
wide
a
reading knowledge of fiction,past and present.
a
Many a reader has recommended
story for purchase,only
"that was
to have
a
a
producer or director remark
good
since
De
the day
it."
Maupassant wrote
story
A
successful
continuity,that
reader
have
must
a
generalknowledge
of
medium
stories are
lated
transthrough which
into screen
action.
This knowledge will prevent his
judgment being swayed by beautiful phrases,by the colorful
and sympatheticlanguage in which
a
story is often clothed.
In thinking of that story in the terms
of a continuityof
action,the reader
value.
The
screen
can
reach
a
is the acid
61
correct
test
of
estimate
of its
logicalplotand
screen
char-
in
Opportunities
62
the
tected
development. Inconsistent .actionmay pass by undein its guiseof beautiful phrasingin a novel and in
the splendid
lines of the spoken drama, but stripped
of these
is glaringly
garments, that inconsistency
apparent.
acter
have had careful training
scenario reader may
in the study of dramatic
technique,may have a practical
knowledge of studio needs, a wide knowledge of fiction and
a
thoroughunderstandingof continuityand stillnot be a
But,
successful
but these
The
reader.
These
after
thingsare
all be acquired,
can
qualifications
all of minor importance.
thing needful, the one essential thing which
acquiredis an inherent feelingfor a good story.
one
be
cannot
a
It is inborn as is an eye for color and line,and an ear for
music. It can be trained and developed,
but if one
does not
it,he cannot
acquireit.
possess
A
with
reader with this sense
picksa story from the mass
tell why he selected
unerring instinct. Often he cannot
value is there.
it,but always he is right; screen
So, of
a
great
language,often
crudities of
buried
story, sometimes
screen
craftsman, after handlinga
skilled scenario reader may
told
haltinglyby
an
under
unskilled
of worthless material
say, "This is a story!"
mass
the
do the studios offer the aspirant
opportunities
has a reader's qualifications?
His opportunities
who
are
limited only by his ability.Many continuity
writers, and
writers of originals,
ranks
have risen from
the
of the
What
readers.
value of
The
write
Here's
a
originalsis
reader's
shown
trainingfor.one
in the
of
case
who wishes to
Frances Harmer.
has spent many
years as a reader in
has only recently
sold her first
the Lasky Studios, but who
original
story. And would it interest you to know that Miss
a
Harmer
woman
is
more
who
than
75 years
old?
increasing;studios are seeking
with the qualifications
should
and women
for men
a reader
portance
have, for present day producersrealize the paramount imReaders'
salaries
are
of the story.
One
great producer,whose
that he has always
success
purchaseda story
rests
because
on
it was
the fact
a
good
Picture
Motion
story, and
screen
"The
author,
says,
the
thing
one
that
I must
matters,
there
Today
find
of
suitable
stories
more
world.
Palmer
Photoplay
are
by any
have
recently established
than
They
sends
daily
read
worthy
all
systematic search
all this
mass
stories
to
old
of
the
supply
business."
it is to
business
service
story
a
original scenarios.
books,
material
of
thing
one
which
and
of all novels
studio, synopses
zines
magain lish,
all stage plays produced
America,
Eng-
to
every
published in
and
the
The
largest
producers.
They read
Corporation.
other
organization in the
for
material
screen
is the
these
whose
organizations
are
it is
arch;
their
know
who
known
well
a
the
it is
because
readers
have
by
of
keystone
and
matters
written
was
is the
story
that
it
because
not
63
Industry
they
and
find
needs
of
making
are
a
But
in
magazines.
enough good screen
big producing organization
old
cannot
annual
They
one
!
this
In
in
the
there
country
for
search
unending
be
must
people fitted
many
and
material,
screen
help
to
the
need
is great.
"Those
stories
who
day
every
people
are
sensational
and
To
greatness
the
in
for
To
it.
discover
duty of
find
and
reader's
a
rewards
work
them
scenario
story,
great
then
this
to
see
in
looking
like
always
misses
unless
he
great
has
for
the
ple
sim-
genuine
a
of
through hundreds
the really fine stories
scripts
manu-
is the
reader.
to
that
the
missing
are
stories
situations
drama.
among
the
Great
fine
search
not"
see
little mind
smashing
succeeds
enthusiasm
and
the
means
and
see
studio.
every
simple
that
to
eyes
effects
one
essential
in
and
greatness
No
have
convince
story
the
come
picture world.
to
producer
life
"
of
these
its
are
WRITERS'
SCREEN
THE
ITS
CLUB,
WRITERS"
"THE
HUSTWICK
By ALFRED
DO
AND
GUILD
early efforts of the producers
in the days when
"moving
moving pictures were
pictures" only that and nothing more?
YOU
remember
the
"
Several
of
animated
years
after
the
first
public exhibitions
trains, fallingwaterfalls
railroad
and
the
like,
its bow
as
a
"play," or "adaptation," made
form
of public entertainment, and several
more
permanent
the carefully-constructed multi-reel
elapsed before
years
picture claimed, and won,
recognitionas a legitimateform of
dramatic
exposition. Up to that time the public regarded
the motion
kind of side-show.
picture as a novelty, a new
With
the presentationof photoplays that competed in length,
in entertainment
value and in artistic qualitieswith the plays
of the legitimate stage (and far surpassed the legitimate
their
to life,their illusion of realityand
plays in their fidelity
and action) the motion
into
variety of scene
picture art came
El
Dorado,
an
being, the motion
picture business became
and
the motion
handful
from
of
picture "public" grew
a
darned
world
to
well, the whole
curiosity seekers to
goes
the "pictures" now.
the
screened
"
"Who
made
the
motion
it is
picture industry what
cation
today ?" A perusal of the periodicalspublished for the edifiof the picture "fan"
might lead him to an entirely
incorrect answer.
A
questionnaire submitted
to producers,
all
the
and
directors, photographers,
various
technical
the
branches
of
result in as many
different
industry would
there were
answers
as
it isn't
questionnaires. Of course
fair question, it can't be answered
a
in a couple of words.
But
a
slightly different question which
might easily be
answered,
would
be, "Who
has
65
made
the
present
highly-
in
Opportunities
66
the
developedmotion pictureplaypossible won
"
for it a world*
and taken its future into his keeping?"
Without
the
is the "screen writer."
answer
the photodrama cannot
possiblyexist. He
photodramatist
but he does control the
not control the picture
business,
may
pictureart. And it is the motion pictureart that makes possible
the
business. If the art deteriorates,
the motion picture
of popularentertainment,will die a quick
a form
as
picture,
death upon the gallowsof publicdisapproval.All of which
wide
is
audience
And
the
"
further argument, to those
stillbelieve that a collection of dollars,scenery, props
sufficient for the making of
mechanical appliances
are
submitted,without
respectfully
who
and
photoplays.
justthis much explanationof the screen-writer's
nished
permanent importanceto the screen, I will make the unvarthat the firstone to realize this importance
statement
of the photodramatist
the screen
to the photodrama was
dramatist himself. Everyone else had his chance to arise
and exclaim,"What
a wonderful
thingthe screen-writer has
art and a highly
accomplished. He has developeda new
complex techniquein a few years. He has made possible
the millionaire producer,the world-renowned
star and the
despoticdirector. Honor and glory to the screen-writer."
But nobody did arise and say it.
With
"
In the wild, uproariousdays of movie
fortunes were
raised to dizzyheightsand
depths,the
trio,the
publicheard, read
and
madness
sunk
to
when
dizzier
gazed upon an almighty
with an
a picture
million into
a
producer,flinging
board,
"easy come, easy go" gesture ; the star, blazoned from billand theatre-lobby
if he were
the German
as
publication
to earth ; the
"superman" alreadycome
philosopher's
director,commanding an army of satelliteswith megaphone
kind of Napoleon,burdened
with
and upraisedarm, a new
a thousand
cares, real and imaginary.
his
But the screen-writer,busy in his littleroom
on
of the
next
scenario,got littleof the attention and none
with it. He playeda lone hand
Kudos
that went
and was
the
small
end
of
the stick. Every other branch
usuallygiven
of the motion pictureindustrywas
organizedto promote its
and the generalinterest last.
interest first,
own
"
in
Opportunities
68
the
their art before themselves, they builded
This is always so.
knew.
Because
such
body
a
better than
only legallyexist for
can
greatest purpose is not to be
Over and
in cold printin its constitution.
down
be
benefits it seeks for the screen-writer
must
definite
they
objects,its
very
found
set
above
the
placed the
ideal it has set itself to attain:
The
development of the
highestpossiblepitch.
The
plane
ultimate
art
elevation of the
of
writingto
screen
photodrama
which
securelyrest the ancient
painting,
sculptureand the spoken drama.
upon
The
perfectionof a technique which
bequeathed to the coming Shakespeares of
In
of
worthy
short, the
art that will be
an
of universal
One
development,
be
may
the
in form
lofty
ture,
of litera-
arts
proudly
screen.
elevation
permanent
to that
the
and
tion
perfec-
value,and
and
patronage.
the Guild's
objectsis the establishment of a
clubhouse.
This objectwasn't in the originalscheme
at all.
Back in July,1920, nobody talked about a club. The handful
of writers,who
started the thing,thought they would
do well if they had a hundred
members
at the end of the first
office conveniently
located for the transaction
year and a modest
of
of the Guild's business.
I think
that the club idea got well under way.
it
Of
although it already had
finance
the
men
a
club
out
its first hundred
of its treasury. But,
will arise to
it,and the
serve
that it possessedsome
wizards
A
was
holdingcompany
quicklysubscribed enough
property and
transform
the Guild,
members, couldn't
course
given the occasion,
Guild suddenly found
of finance in its ranks.
formed,
and
to
money
it into
last December
was
a
the Guild
purchase
club.
The
a
members
beautiful
property
was
the Guild as its home, and on
October
29,
hallowe'en party marked
the opening of the
1921, a monster
club, the headquartersof the Authors' League in the west,
established
and the home
In
"The
by
of the motion
in the world.
finds every
club comfort, and
It has,
for the conduct of the Guild.
Writers"
complete machinery
pictureart
one
Motion
besides
Picture
69
Industry
well-equipped general office,a lounge, library,
dining-room,dormitory,ladies' lounge and athletic grounds.
the professional
To it come
photodramatistswho supply the
it goes advice, sympathy and enof today. From
screen
couragement
for those tyros of the art who
will supply the
of tomorrow.
It registers
the dramatic compositions
screen
of members
for a nominal
and non-members
fee, giving
them a protection
which is equal to the ordinary copyright.
a
It hurls
literarybroadsides at the censorshipand
Sunday cranks who seek to destroy the art to which
dedicated.
arts
It extends
whose
trenches
the hand
of
fellowshipto
blue
it is
the elder
its own.
lie behind
"The Writers"
is more
than a club, just as the ScreenWriters' Guild is more
than a guild of the Authors'
League.
It is a rallyingpoint for all creative artists in the West.
It takes
in associate
members
who
are
patrons
or
tioners
practi-
and will grow
of the arts.
It is a child of the screen
but it is catholic in its ideas and unrestricted
with the screen
in its ideals.
of art, for artistic
freedom
of expression,for the elevation of publictastes and
the
Guild symbolizes. Whoever
works
for those
morals,
ideals "The
is glad to receive as an honored
Writers"
guest.
Whatever
makes
for the enoblement
accepted an invitation to
The
join the Guild has done something for the cause.
Writers"
Screen- Writers' Guild and "The
belong to all of
for their use and enjoyment, and a membership
the members
held.
in the "Guild" is not a possessionto be lightly
Every screen-writer
who
We
remember
what
which
our
those
of
burden
use
we
our
have
is in
our
who
and
are
who
has
enjoy this possessiontoday
to inherit it when
we
lay down
present tasks.
done
to
We
be content
enshrine this new
must
and
advance
keeping.
present welfare
We
must
not
remember
must
the
with
art
that, beyond
the present welfare of the screen,
object to build upon firm foundations
and
there is the worthier
edifice that will encourage
an
"
of tomorrow.
and
inspirethe photodramatist
INDUSTRIAL
MOTION
WATTERSON
By
Rothacker
President,
Editor's
Watterson
Note:
this
R.
and
advertising
educational,
R.
PICTURES
ROTHACKER
Film
Co.
Manufacturing
Rothacker
is
industrial
motion
the
of
producer
He
pictures.
pioneer
tered
en-
field
in 1910
and
has
since become
recognized
thority
auas
an
Rothacker
written
the
Mr.
's slogan,
subject.
shortly
entered
best
ment
advertisethe practical picture field, is "The
the world
because
motion
will never
be written
pictures are
on
after
he
in
the
superlative
advertising
contributions
any _pem.-" Hia
lications
kmnediately stamped
"f
the
1AM
NOT
picture
of
producer
medium
and
to
many
him
as
industrial
nation's
the
well
one
versed
"
illustration
convince
"
motion
industrial
lems
prob-
us
illustrations in
of
worth
advertisingplus the superiorityof
means
pub-
pictures.
inestimable
The
necessary.
a
greatest
in the
going to attempt to exploit the motion
is hardly
That
an
advertising medium.
as
of
of
limitations
the
excel
of
of
motion
the
picturesas
value
of
the
picture.
It is
easilypossibleto embody in motion
picturesall
the requirements of good advertising. To
get attention
to tell a story in an
to illustrate
interesting,
logicalway
comprehensivelywhere a stillpictureand word description
and
incompletely to create enthusiasm
carry the message
be acthe consumer
to rouse
to the buying point all can
complished
more
effectuallyin a series of attractive,
of direct adveranimated
tisements.
pictures than in a great number
"
"
"
"
"
mark
product on the market, putting a tradebefore the public,sellinggoods by advertisingin the
time
columns
of newspapers
and magazines, require much
Launching
and
many
a
advertisements.
Where
the reader
looks
over
an
casually while reading a magazine,
he can
avoid
the advertisingfilm is by
the only way
the printed word
be repeated
must
going to sleep. Where
and
repeated before it registerson the reader's mind, a
motion
will not soon
man
forgeta clever,interesting
picture
advertisement
more
or
less
advertisement.
The
interest
offer
trend
the
in
reader
unlimited
modern
then
advertising,as
sell him.
And
I
see
motion
it, is
to
pictures
for interesting
possibilities
advertising.
"
72
in
Opportunities
the
The
movie theatre as an advertising
medium
first
was
utilized by small merchants, who
exhibited a colored slide
between
the shows in the local theatres. The publicwas
for these slides were
too
disgusted and rightly,
ugly and
Often theybore nothingbut a crudelyhandprinted
uninteresting.
that John Jones was
the "old reliable
statement
if you don't like my
If you
shoemaker
work, tell me.
do, tell your neighbors."
"
"
"
Theatre patrons were
ment
bored, and at last,publicsentieliminated this feature of the motion picture
program.
It left its mark, however, and proved somewhat
of an obstacle
to the constructive motion
pictureadvertiser. But
be transformed
into an asset, and the
every obstacle may
of modern
motion pictureadvertising
is
very superiority
of these first poor efforts.
emphasizedby the memory
The
second
pictureswas
move
made
advertising
through motion
toward
by largemanufacturers,
who
would
nish
fur-
exhibitors with some
300 feet of film showing pictures
of factories and machines.
to sell
Now, it is as impossible
of
kid glovesto a woman
a pair
by showing her animated
of the workers, as it is to make her buy by showing
pictures
a
gloves
still
photograph
of
the
factory
manufactured.
These
all about the human
interest in
bored
publicneither looked at their
their kid gloves.
where
those
manufacturers
were
kid
got
for-
advertisingand the
picturesnor bought
velop
It took the skill of modern
advertising
genius to dethe fullest possibilities
of motion pictureadvertising.
From
the dry exposition
of the manufacturingprocess, they
have made
a story teeming with
life,romance,
mystery.
Behind the
of intense human
obviouslyprosaicload
is a story
of freight
The
the romance
of commerce.
interest,
motion
pictureadvertising
expert finds the story behind
shakes in the spice
the product adds the flavor of romance
interest
and incidentally
of human
bringsin some
good,
talk.
strong selling
"
"
"
There
an
is
a
trick to
it. It must
advertisement,yet it must
not
not
lose the
obviously
element,
publicity
be too
in
Opportunities
74
put up
$10,000 plant. They
a
out
turn
six hundred
blackingper day, and
of shoe
boxes
the
sand
thou-
forth and
so
so
forth."
give the prospect somethingvisible. Show him
the $10,000 plant,
the well organizedfactory,
the busy offices,
the lively
Show
him the day's tonnage, six
shippingroom.
thousand
hundred
boxes of shoe blackingbeing loaded on
He'll be ready to believe,and
to trucks or
freightcars.
invest his money
in that shoe blackingfactorytomorrow.
But
It's the
real estate.
Moving picturesshow
can
scenes
every aspect of the property. A few interesting
do more
than a thousand
eulogiestoward convincingthe
with
same
investor.
He
knows
that he is protected.He can be pretty sure
he is buying safelywhen all the sales arguments are backed
up with visual proof. It has been said that the moving
picturehas
Californians
been
and
"
instrumental
California
in
sellingGary property
to
citizens
of
property
to
the
Gary.
Another
by motion
pointin favor of advertising
is this: Through sales literature,
the advertiser
tures
piccan
reach
he has obtained
only a preferredfew, the names
of mailing lists.
through direct advertisingor by means
He can only sell to the people whom
he knows
are
interested,
for it is impossible
to tell the complete story to the general
the enthusiasm
ment
of the non-interested elepublicand arouse
in the magazine or newspaper
But in motion
page.
he can
picture advertising,
get attention and build up
interest all at
once,
thought of California
so
that
land
as
the
an
who
investment
man
never
"
who
before
would
bothered to read the newspaper
or
magazine
becomes
interested and convinced
advertisement
through
is
and
transformed
from
casual
he
must
watch,
a
pictures
observer to a live prospect.
never
have
"
to tell a complete story, the
Just because of its ability
invaluable aid to the propagandist.
motion pictureis an
used by the government
Some
were
during
very fine pictures
the war
to further the sale of War
SavingsStamps.
Motion
75
Picture Industry
The
future of the industrial motion pictureis justas
drama
or
screen
comedy
great as the future of the screen
the
the
who
has
vision
To the man
to grasp
woman
or
business offers splendid
fact,the motion pictureadvertising
for
and the reward
opportunities.It is not overcrowded
brilliant services is on a par with the reward for similarly
brilliant service in any commercial
field.
And
who
motion
Men
course.
who
have
The
is
to
qualified
picture? The
and
have
trial
produce the indusadvertising
expert, of
studied this work
or
gained experiencein advertising
agencies.
mere
fact that animated
value
advertising
be done
trained
who
women
and
create
is to
pointthe
does
camera
not
photographyhas
mean
and
a
nized
recog-
that all that has to
turn
the crank.
cessful
Suc-
moving pictureadvertisingcampaigns requirethe
services of a capableand honest specialist
who thoroughly
understands
the business and who
can
put an advertising
which
punch in every one of the sixteen separate pictures
appear
on
a
foot of film.
The
in motion
development of the advertising
power
and the judiciousdirection of that power
when
pictures,
and experience
developed,is a science requiringadvertising
ability
well as an intimate knowledge of film conditions,
as
and an
grip on the moving picturechain with
intelligent
the film manufacturer
all its links between
and the public.
To
the
plates
advertising
expert or the layman who contementering the motion pictureadvertisingprofession,
I would
suggest that he use these questionsto test out his
of success
own
possibilities
"
the picturepossibilities
of a business
Can you investigate
and arrange a scenario adapted to its peculiar
ments
require?
produce a story repletewith
of interest,a
value, containinga maximum
irrelevancyor dead action,and work into it
direct advertising
message?
Can
you
entertainment
minimum
of
a
certain and
76
in
Opportunities
design and assist in the production
of moving pictureplays with logical
plots?
the
Are you capableof balancing
"laughs"and serious
that the advertising
situations so judiciously
pointis neither
burlesquednor burdened?
Do
think you
the
you
If you
can
all these
answer
the industrial motion
The
can
questionsin
picturefield needs
the affirmative,
you.
of the
possibilities
industrial motion pictureare
to the theatre.
facturers
Progressivemanu-
not, however, confined
and
miniature
of
offices,
distributors
equippingtheir
are
projectionmachines
prospectivecustomers
be
to
used
to
"
salesmen
in the
by
sell
with
shops,or
visual argument.
The
of the industrial motion
pert
opportunities
pictureexand
not
are
limited,however, to advertising
selling.
Nor is the advertising
the only one to reap the benefits
man
of animated photographyin the commercial
life. A brand
line of business is open
that of motion picturephonew
tograph
to the public.
"
It is
of a few years till the motion
only a matter
picturephotographer will be called into our homes just
call in the ordinaryphotographertoday to take a
we
as
of a party, a ceremony,
instead
a wedding. But
"flashlight"
of a horrible,posed group, we
will have picturesof our
familyand friends moving about naturallyas if no camera
focused
were
upon
joyous moments
yesterdays. Our
of
the
and
We
them.
lives
our
children
will be
"
to
will attend
able to perpetuate
look back upon
our
their mothers'
dings,
wed-
will be
we
sweethearts,and
able to dance again with our
first
ourselves in the quaintgarb of
to admire
days gone by.
And
the children
be grown-up
men
and
we
love, in
women,
and
a
we
few
will
bringback the memories of their childhood
few posed photographs. Wouldn't
a
you
they will
have nothingto
except, perhaps,
years
welcome
the opportunit
have re-created for you a series of livingportraits
the baby in his perambulatorout for his first airing
his firstgroping steps the cherub of three romping with
his toys the serious littleartist of six modeling in mud
to
"
"
"
"
"
Motion
first
the
of
day
glories
fortunate
and
pranks
father
first
father
looking
his
of
the
the
the
by
their
all
can
camera,
for
youth
like
one
when
your
children.
the
And
with
again
over
the
maiden
winsome
same
youthful
whose
to
love
years.
who
eighteen.
day.
their
the
"
the
able
be
to
answer
once
you
were
"
find
will
parents
"And
will
children
Happy
children
their
for
re-create
can
of
today,
give
children
our
why
work.
I
offer
back
yet
the
profitable
a
it
is
capable
line
of
our
greater
is
there
say
As
depend
must
bring
to
memory
and
in
early
looked
I
mother
years,
question
We,
will
falls
their
"
children
little
a
to
that
girl
me?"
like
is
what
games
Your
pants?
back
his
at
tomorrow,
bring
says
another
lives
invariable
boy
recorded
been
is
mothers
memories
of
and
later
at
Happy
re-live
again
have
on,
him
captured
over
me,"
met
of
live
"This
hour.
partner
long
wand
magic
fleeting
first
grown-ups
pastimes
the
turn
the
"
and
up
grow
The
mischievous
the
school
77
Industry
"
graduation
might
Picture
happiest
unexplored.
work.
whims
of
hours.
promise
another
motion
the
upon
for
field
open
But,
picture
the
in
But
we
future.
motion
can
That
picture
developed,
once
expert
fickle
a
an
interesting
it
Opportunitiesin
80
atmosphere, althoughwe
the
travelingwith
were
his father
at
that time.
The
act
firsttime I awoke
when
was
he
out
ran
to
the stage one
They still talk
on
during his father's act.
Coogan brought down the
Then
the fact that
Jackiecould really
day, unannounced,
of it how
Junior
"
house.
opportunity. It happened in California,
during the time Mr. Coogan was playing in vaudeville with
Annette
Kellerman.
Jackie did a little"bit" at the end of
Miss Kellerman's
act
an
impersonationof David Warfield.
his
came
"
The
nightCharles Chaplin first saw
him, Jackiewas
not
at his best. He had been illand had missed
several performances.
I had debated about allowinghim to play that night,
but my husband
had urged me, and I let him go on.
Jackie
had
missed
hurry
his nap that afternoon and I was
back to the hotel and to bed as soon
was
a
knock
I
over.
at
was
the door
very
as
anxious
his
to
ance
perform-
buttoninghis littlecoat when we heard
Charles Chaplin!
of our dressingroom.
excited and fearfully
disappointed.This his
Charlie ? Where
the funny shoes and the cane
were
Jackiewas
beloved
and
the mustache?
whiskers
"
without
But
his
Riding
Red
flowinglocks
"
Santa
a
Hood
the shoes and
Mr.
upon
his knee
his red
without
without
the
wand
and
fairywithout
a
coat
and
and
long
Charlie
wings
cape
"
cane.
for any deficiencies in
liked him, trusted him
at
once,
and talked to him
and, poor, tired
Chaplinsoon
Jackie
appearance.
climbed
Claus
littleboy, fell asleepin his
made
up
"
arms.
had not thought of puttingJackiein
that time, we
had
the one
heard that Hollywood was
the pictures.We
the
and only place for the silent drama, and coming down
Pacific Coast with the vaudeville road show all of the artists
At
bilTwere
talking about having tests
Mr.
Imagine my
surprise when
Chaplin said he wanted Jackieto play a role in a new
duction
proMr. Chaplin said the nature
of the part
with him.
somewhat
was
vague at the time but that he thought with
of Jackie,he (Mr. Chaplin) could develop
the personalcontact
in other acts on
our
for the movies.
made
the role.
Motion
Picture
81
Industry
Jackieremained with Mr. Chaplin a solid year.
little
During that time, Mr. Chaplin taught him many
tricks. He would
sit by the hour with Jackieand talk with
him
the baby to talk,too.
Many of the ideas in
encourage
"
"The
Kid"
from
came
the littleinformal
chats
the studio
on
lawn.
Chaplinmade no effort to hide the
Kid."
He
was
inspirationfor "The
"partner" and gave him many
giftswith
Jackie,my littlepartner"inscribed on them.
Mr.
his
Jackie,as a
played the "big
film star,
black
was
the
fact that
Jackie
him
called
his
words
the
"To
littleboy who
same
had
fuzzy tail" a few years
of difficulty
with people who
a
great
would
insist upon
praisinghim
tellinghim how beautiful
how
clever he was.
or
Very often they thought I was rude
and unpleasantbut I had made
a sincere promise to myself
that I would not let him become
spoiledby compliments and
petting,and I pride myself that I have been able to keep
before.
dog
I had
with
a
deal
"
my
word.
The
charm
from
of the child actor lies in his entire freedom
self-consciousness.
A healthy,happy, normal
boy is
much
more
youngster.
appealing than
the
And
moving picturebabies
an
over-confident,sophisticated
of
greatest problem of the mothers
is to
keep them
sweet
and
unspoiled.
Jackie is justa natural,honest to goodness "kid," full
of fun and mischief and the joy of living. He is happiest
when
playingwith the other children in the neighborhoodor
He is not allowed
racingdown the sidewalk on his coaster.
different from the rest of the boys.
to think that he is any
He is not pampered in any way.
From
my
observations,I think
own
deal stricter with
him
than
most
mothers
he is naughty, we
days. When
spank
as
spankings as
Jackiegets just
many
He has been taught to obey his
age.
a
good
fathers these
and
say that
boy of his
I dare
him.
any
are
we
other
father
and
me
at
all
three times,
but the first
time we
speak. If he had not learned to obey
his father and mother, how
could we
expect him to follow
times, not
after
the instructions
we
have
talked
of the director?
to him
twice
or
Opportunitiesin
82
go to bed at eightevery night,and he
hours.
He works
only four to five hours
Jackiemust
ten
to twelve
six
days a week, and the
Jackie'sschooling
"
stages
time
now
as
the
does
"
it would
not
other
he
is
sleeps
a day,
hours are spent playing.
just in the very elementary
will not
attended
and
if he
take up
an
studies,as do the other children in the
much
as
of his
ordinaryschool. He
movies, with a private
tutor, and the individual attention enables him to learn much
faster than if he were
in a class. He is very proud of his
and likes to read aloud the story of "The
Little Red
ability
Hen"
and "The
Fox and the Crab."
Some
of the studios
maintain
here
schools.
The
Brunton
about
twenty-fivecompanies, have
working all the time.
air and
Fresh
sunshine
and
Studios, which
two
competent
plenty of play
"
house
teachers
the
same
to
physical and mental trainingthat every mother wants
give her child is what Jackieis given. I want him to grow
I want
him to be happy and
up into the rightsort of man.
him to
But I don't want
healthy,clean of body and mind.
be a "goody-goody" either.
far from
He is certainly
being a Little Rollo now.
Although he minds and does what he is told,there is a
he is stubborn,
streak of "man"
rightthrough him. When
Force would
I do not try to force him
to give in.
plish
accomI
with
him
and
show
him
what
nothing. try to reason
is right.
is that
One of the very splendidthingsabout his work
the peoplewho work with him know
justhow to handle a boy.
"
I remember
once
the "lot." He
on
when
he got
one
of his stubborn
fits out
around
supposed to throw his arms
that a grown
actress and hug her tight.For some
reason
an
understand
Jackiferefused. We begged
person could never
firm. He would
and teased and cajoled. He was
not do it.
Finallyhis director said,"That isn't the way Charlie would
back to the actress
a
act, Jackie." Jackiegrinned and went
for his fellings
had been hurt
and threw
littlesheepishly,
of us
around
her in a regular bear hug. None
his arms
was
"
dared
crack
The
This, of
a
smile.
greatest
course,
imaginationsare
asset
of
the
child
star
is
imagination.
is characteristic of any actor, but children's
much
vivid than adults' that I
more
so
Motion
of
believe the encouragement
part of an actor's
83
Industry
Picture
childhood
fancies
is
portant
im-
an
that
earlytraining. I don't mean
he should be allowed to develop into a dreamer, and that all
but it is very
important
practicalideas should be stifled,
that his ideas be not scoffed at or laughed at.
is due to the fervor
I trulybelieve that Jackie'ssuccess
into
himself
he throws
with which
him
part. That
a
vivid
from
imagination
ragged
Jackie Coogan to a
little boy." And
as
street urchin, or, as he says, "a poor
"Peck's Bad Boy" he was
not justJackiebeing mischievous,
but he reallybecame
the character he portrayed.
The
of plays featuring
children shows that there
success
is a great opportunityin the motion picturesfor the talented
child.
The publicis continually
plays,
clamoringfor more
transforms
and
yet there
to
seems
be
a
lack
of stories that will feature
for
is a demand
interest grown-ups.
There
of these stories,and everyone
interested in moving
more
pictureproductionis on the lookout for them.
children
and
It is only recentlythat children have become
so
tant
imporin the film world.
several children who
There
are
are
playingbig
now
and
in
important roles
super-productions.
talented
I
youngsters, too.
stage has claimed many
think the opportunityfor the child artist is greater every
The
day.
Don't
when
or
laugh at
next
your
Mary
grow
is talented
the
natural
and
children's antics and
ideas.
Don't
smile
littleJohnnie
door neighbor,who has seen
babyhood, tells you that the child
up from
should be given the opportunityto develop
gift.
It is
a
serious
future is the greatest thing in our
parents to see that the littleones
Our
matter.
lives. It is the
children's
duty of
all
If
fair start.
and teacher
instrument
to study music, an
Johnnie wants
be provided. If Mary loves to dance, she should have
must
are
given a
lessons.
If the child wants
to act, he should be permittedto act.
where genius is hidden unless that genius
None
of us knows
and
is given a fair
equal chance to develop. And if there is
genius and
will
with
genius is cultivated and developed,opportunity
The stage and screen
not filled
are
surelycome.
that
children.
for talent,once
There
is
always
it is brought to
room,
light.
and
lots of
room,
Opportunitiesin
86
pre-viewingof the picture. These
the motion
picturescorer.
As
soon
the
as
form, he calls in the
producer
scorer,
are
his
has
who
the
must
of
requisites
cardinal
picturein
be able
to
its finished
take
notes
indicate just what
the drama.
These
notes
music he thinks will be most
sive
appropriateand most impresthe
various
when
scenes.
accompanying
he
as
watches
Of
the
course,
scoring is
not
a
together
haphazard fitting
various melodies
that will interpretthe different
that
be a general theme
parts of the picture. There must
will be in keeping with the theme of the picture. Selecting
the general theme is in itself a difficult task, and a task that
of
requiresrevising.
After
the theme
pieces of
music
for the
decided upon
is
incorporated,the score
and
the various
chestra
played by an oranother
preview of
producer who watches
and accepts
picture. The producer listens and criticises,
the
rejectsthe
or
has been
It would
drama
score.
be useless for
me
to
tellthe lover of the
photo-
is so
much
music means
Music
to silent drama.
much
subtler than speech that it conveys
the
to the audience
meaning. Music speaks to the
very finest shades of dramatic
audience
without
detractingfrom the action of the story,
without
and
a
how
known
music.
makes
actor
a
to
interruptioncaused by explanations. It is
fact that the layman feelsrather than understands
Therefore, in accompanying the silent drama, music
direct appeal to the emotions.
It is easier for the
gain sympathy and understanding when music accompanies
the picture.
The
the
rich field in opera
music.
Certain
certain dramatic
situations on
the
compositionsaccompany
These
situations
of course
in
to be found
operaticstage.
are
the
For
scorer
finds
a
met,"
moving picturestory. For instance,in the picture"KisOtis Skinner
as
Haaj is about to stab the merchant.
at
that scene, Mr. Carl Edouardo, Director of Music
in New
Theatre
of all the
York, and scorer
splendidpicturesscreened at that theatre,selected the music
in "Salome," where
which
accompanies the scene
John the
in
the scene
Naturally,it interprets
Baptist is murdered.
the
Strand
"Kismet."
Motion
When
the
musician's
be
must
selected
and
will
the
When
how
To
harmony
task.
Not
just
it is
position,
is
of
To
his
if you
you
motion
that
as
scene
of
is
being
essential;
emotions,
that
stand
under-
to
easy
is.
picture really
which
is
enacted,
of
pieces
is
in
that
perfect
is the
scorer's
and
patience
time
Persons
work.
will
training
exercise
to
will
It
who
this
work
prove
will
picture
will
find
a
that
field.
you
ability by
a
royal
some
welcome
and
dignified
picture
classics
with
along
screen
make
and
have
the
for
looking
are
If
amply
to
for
rewarded
motion
helped
There
instincts,
creative
pleasant
a
recognized
trial.
your
is
the
on
who
be
is
great
have
musicians
efforts
the
flashed
artists
brother
can
of
it attractive.
find
he
musical
qualified by
one's
that
find
scorer
name
other
giving
"
scene
musical
the
their
where
each
thousands
is
accomplishment.
and
finding
name
is
flash-backs
it
selection
knowledge
musician
creative
such
music
arranged
variety
motion
a
of
one
that
opportunity
the
and
of
drama,
hundreds
the
fascinating
and
ample
time
The
important.
knowledge
is
the
so
sudden
many
scoring
that
only
as
But
the
task
written
with
used.
is
are
the
during
symbolic
infinite
picture
a
from
The
running
the
motion
select
been
the
and
difficult
watch
stop
a
timed.
considers
this
continuity
watch.
stop
atmosphere,
constitute
in
compositions
with
one
themes,
are
various
the
by
picture,
a
perfectly
coincide
recorded
have
of
87
Industry
projected
are
preview
picture
they
reels
Picture
picture.
fresh
clever
awaits
fields
I
acclaimed,
the
the
vise
ad-
qualifications
piece
you
of
ing,
scor-
in
the
SCREEN
CARTOONS:
HOW
THEY
SMITH
By SIDNEY
Editor's
Note:
creation
of
forefront
the
here
cartoonist's
the
cartoons."
"Mr.
"Gee,
of
Smith,
kids
the
them,
not
likes my
and
wife
my
blessed
a
everyone
Just
once
or
the
time.
because
twice, the
been
stuff," or
your
But
and
none
that
say
he
stripis going
friends
cruel
to
make
to
rush
comic
up
your
hear
prune
funny,
people'sidea of
one
joke
I'm
an
ring
to
a
turn
you, you
in fact, it isn't
And
they
pay
be
of
day
your
Barnum
T.
in
good joke
funny all
a
that
headache
out
or
funny
isn't
Then
all.
at
Smith
that
your
that
work
fellow
that !"
you
big
and
hit.
say,
friends
pictures. Then,
elevator, you
awful
a
to
magazines,
But
is."
fellow
is
thing
some-
the
to
every
P.
no
have
you
have
it's brilliant.
to
All
work
your
time
know
does.
idea
new
a
it in
that
clever
of
think
they
send
for
articles
humorous
When
and
of
when
other
some
least, you
he's
with
talent
Gumps."
out
you've happened
public expects you
Sometimes
Then
If
the
come
"How
"
that
of
lot
a
write
it out
excrutiatinglyfunny
they all say, "Gee whiz !
stuff like
for turning out
of
will
them.
says,
think
to
so
nobody
his
by
in
you
other
An-
Yak."
Doc
about
who
included,
girl has
your
famous
"Old
his
is
he
tells
story
authoritative.
absolutely
thinks
one,
fellows
those
life, Sundays
At
the
made
is
just crazy
are
you've got
best
is
has
pencil
magazines. It's easy for
funny, they write
circus.
and
cartoon
Smith
by
work.
I envy
when
fame
everlasting
He
Gumps."
"The
who
would
certainlybe grateful to the man
me
some
day and say, "Smith, I like your
do.
like this,
They never
They greet me
to
step up
Mr.
and
pen
WOULD
I
cartoonists
film
the
that
earned
characters,
American
making
character
has
inimitable
of
about
Smith
Sidney
those
MADE
ARE
when
bird
that
say
guy
The
"Sid, that's
89
corker."
a
carefully avoid
you're riding
to
Smith
undertaker."
humor.
really brilliant idea.
And
you're sure
your
next
day you wait for
a
another,
pulled
Which
the
down
"Did
this
is
But
subject
in the
you
see
morning?
just some
90
Opportunitiesin
There
lots of folks who
the
justbecause you make
don't have
know
to
anything about
Cartoons
to tell them they'reall wrong.
in order to illustrate action properly,
are
think
funny figuresyou
drawing. I'm here
require action, and
you've got to know as much about the human
figureas if
were
going to paint beautiful ladies without many
you
clothes
on.
And
to
at
you
for
as
having ideas,maybe
but
christening,
pullingto get them
your
pretty hard
that a sense
a
cartoonist has
out
of humor
is necessary
My idea is that if you'rea keen
bound
of humor.
to have a sense
of the
know
to
got
about
human
know
funnier
people,the
to
do
some
It's obvious
bag.
producing these ideas.
enough observer, you're
Watching people closely,
in
observingthe littlequirksand twists of
race, will giveyou a mighty keen sense
You've
givethem
the fairies do
the so-called human
of the humorous.
nature, and
they
the
more
You
seem.
you
have
to
know
what their reactions to
why people do certain things,
the normal, everyday occurrences
A man
is funnier
are.
when
he gets peeved about his wife's millinery
bill than
he slipson a banana peel. A cartoonist has to watch
when
people pretty closelyin order to be able to translate their
actions and reactions into words and pictures,
that every
so
minute
of his daily life is devoted to a constant
study of
human
nature.
your
So, if you can
a
stripin a
reputation
But
there
run
"
You've
draw
a
another
necessary
The
of
so
is
draw
newspaper
you
if you can
day without losing
day a.fter
be a cartoonist for the movies.
Patience.
you must
possess.
and
can
if you
have ideas
"
thing more
better.
It's one
thing to
got to go Job just one
few
picturesand expect to get a laugh and it's
the thousands
of drawings that are
to
prepare
one
"
to
make
short
one
of
principle
screen
cartoon.
cartooningis the photographing
of a series of successive actions by a figureor a number
each just a trifledifferent from its predecessor,
figures,
the screen, the illusion
that when
the film is projected
on
screen
of action will result.
And
because
the littlefigures
have
about, the animation
of
a
to
appear
picturerequiresa
to
move
great number
Motion
Picture
91
Industry
of separate drawings,each one
just a bit different from the
before it. It is in knowing just what degree of -change
one
in each successive picturethat
in the action shown
to make
the trick of successful
cartooninglies.
screen
in the action
enough change
the figuremoves
of these pictures,
the
jerky manner.
too
and
there
slowly.
If there is not
tures,
picmany
If there aren't enough
little figuresmove
too
are
in
unnatural,
an
The
backgrounds for the various picturesare drawn
but once
wherever
possible,because there would be a lot
work
connected
with screen
more
cartooning if the artist
the background over
had to draw
Sometimes
each time.
the background is drawn
on
a sheet of transparent celluloid
in order to produce the effect of the figurepassing back of
the objectsin the picture. Sometimes
the background is in
the form
of a border covering certain parts of the sheet
carryingthe animated figures.Often the latter is cut out
less and the figuresare
made
to overlap certain
more
or
portionsof the background. This looks as if they were passing
in front of the objectsin the pictures.
in
a
The cartoonist works on
frame which is placedover
ground glassheld
electric lamp. The light
easel of
an
an
the rays passingthrough the paper from below enables
the artist to indicate on a sheet of clean paper, placed over
the last drawing, the new
line for animation.
or
progressive
from
The
movie
cartoonist
must
understand
something of
because the picture
is necessary
photography. Perfect register
it is thrown
is magnified so tremendously when
on
looms
lack of register
the slightest
that even
the screen
big.
be arranged so
Easels and photographingapparatus must
that
each
sheet
of
paper
will maintain
the
same
relative
position.
ence's
thought must be devoted to the audiunderstanding of the picture. It is important to
portant
imin order to emphasize one
elements
all minor
object. For instance,when a figurethrows a ball,it
A great amount
subdue
of
of the arm
that there be no further movement
is necessary
after the ball leaves the thrower's hand.
Every other object
motionless
the
while the ball travels across
remain
must
picture;
otherwise
the effect is ruined.
And
again, when
92
Opportunitiesin
the "balloon"
and
is used
to
the
that the character
show
is
speaking
introduce his words
while this is flashed on, there
be no
motion
in the picture until the "balloon"
to
"
must
disappears.
A
But
full reel of
since certain
a
since
call for
used
drawings are
and
scene,
drawings
1,000 feet would
titles
times
several
the
down
cut
16,000 pictures.
to
number
prolong
of
foot, only about 8,000 drawings are actually
But making 8,000 drawingsrequires
awful lot
an
per
necessary.
of patience.
The
cartoonist
master
does
8,000 drawings in full detail.
But
he
make
He
wouldn't
of the
one
every
the time.
have
drawing indicatingthe
degree of action he wants
expressed. This is real work.
Then
the artists in the productiondepartment of the studio
must
a
sketch
make
not
of each
will fillin the details of the sketches.
After
in the
the
drawings
order
proper
adjusted in
a
and
one
the
after
the lens
The
is
camera
ward
pointingdown-
device.
registering
the
and
camera,
with
be assembled
must
photographed.
frame
wooden
framing or
apparatus, regulated by
on
made, they
are
An
electric
the
push button, turns
real job is to placethe drawings
photographer's
another
little
a
in
the
them
frame, fitting
backgrounds. Of course,
proper
is
and arranged so that the work
to
the
everything is numbered
something like job press
feeding.
it is sometimes
possibleto make a
By clever manipulation,
If a figureis
actions.
very few drawings represent many
thing a number of times,like dancing
shown
doing the same
to draw
or
running around in circles,it is not necessary
than one
complete set of actions.
more
It requireslots of knowledge and experienceto plan
Indeed, compiling the list
schedule for the cameraman.
a
what drawings are to be used and
of exposures,
signifying
of exposures
to be made
their arrangement, and the number
of each drawing, requireskill and experience,and the man
who does the thinkingfor the photographeris the real genius
in the
of
production
So, when
your
local movie
you
animated
sit down
theatre
and
cartoons.
in that
laugh over
comfortable
seat
in
the antics of Bud
Motion
Fisher's
the
"Mutt
Andy
see
projected
in
filled
of
the
sketches
smile
at
you
month
to
artist
poor
of
of
that
whole
a
of
a
comedy
taken
think
8,000
the
other
who
artists
"
in
detail
the
has
you'll
upwards
little
one
over
crack
even
the
why
minutes
ten
maybe
make
to
who
for
And
produce.
know
gleefully
or
"
you'll
"
chuckle
or
93
Industry
Cartoons
Bray
Gump
had
Jeff"
and
whimsical
Picture
all
these
sketches
of
the
skilled
"
workman
whose
him
credit
to
the
And
really
after
work
your
good
fellow
who
and
comedy.
worked
Maybe
it
all
enabled
have
study
you'll
And
out.
give
maybe
won't.
you
and
experience
finished
the
produce
to
of
years
if
you're
if
cartoon
"
and
over
on
had
the
dog
friends
luck
do,
to
you.
bright
"
see
well,
of
you
can
become
if
the
you
public
can
thinks
go
into
can
you
funny
being
over
And
cartoonist.
a
sort
if
and
person
experience,
some
to
young
capable
are
you
again
over
you've
a
of
tried
you're
the
out
as
your
funny
movies
as
and
"
THE
STUDIO
RESEARCH
Is
Qualified to
Who
LEROY
By
Chief
of
is
WHO
picture
DEPARTMENT:
Enter
That
Service?
ARMSTRONG
Research
Universal
Department,
qualifiedto
do
research
City
work
in
motion
a
studio?
Any sincere person who has had a wide reading.
a
Newspaper
good preparation.
training seems
from
who
the imperative
Those
realize
journalism
graduate
for speed, and
for that impersonal
necessity for accuracy,
and unprejudiced view of the earth and the fulness thereof,
which
begets humility, and discourages partisanship.Also,
it inculcates
attribute
of the
patience a very necessary
worker.
research
Having been born in 1854, I believe that
has an
of mature
man
advantage though there are
a
years
the time of the war
with
born
about
fellows
Spain,
young
be few, who
whose
and
women
birthdays may
are
doing
in this department.
work
excellent
"
"
seem
Probably it depends on
incapable of the work
afterward.
successful
workers,
research
was
company
has
work
some,
fail because
made
perfect
because
who
some,
person
before
trial,are
tremendously
And
for
fellow-employes
A
the
Research
all the histories
should
they get
their
are
who
the
convenience
make
notion
and
perfect
that
that
the
all inquiring
useless.
Department
for
of all the countries
motion
from
picture
the dawn
all
profusely illustrated,preferably
be
with
photographs.
reproductions
that
have
been
the
of all
painted and all the
great pictures
figures that have been sculptured from Ung to Rodin, and
futurist and
schools.
including the modern
impressionistic
of time
to
the
present
day
"
In
again,
specializeon the
And
times.
the
When
atmosphere
the
of
the
its files must
perfect
Research
must
Department
and
of all places and
customs
manners
a
boys want
long shot at Gopher Prairie,
Prairie
be forthGopher
instantlymust
95
Opportunitiesin
96
coming.
And
Kit
Carson's
costume
the
be true,
must
to
even
the last porcupine quillin his moccasins.
Every type of water craft, from the ark to the motorboat, will be representedin picturesin the Research Department.
And when
the technical department asks the distance
the roof of a freightcar
between
and the top of the rail,
he must
be told while he waits. And
again he will be back to
inquirefor a license plateon a Paris taxi. All this and much
is to be found in the Research
more
Department.
But
there
is no such thing as a perfect Research
partment
DeIt is the goal towards
all
which
motion-picture
studio librarians are working, but they know
they will never
the
because
world
does
stand
still.
not
arrive,
Every day
something new
develops,and you must get a pictureof it,
and enough text to provide intelligent
ing
understanding,knowthe situation will be just
perfectlywell that tomorrow
the same,
You
or
worse.
have
everything.No matter how shrewdly
select
be able to supply all
material, you will never
you
from
technical
from
of the art room,
demands,
men
men,
the scenic lofts,the prop shop where they can
make everything
under the sun
if only they have a pictureof it. The
best you can
do is to try.
cannot
"
No
research
department
even
approaches completeness
it has the best of illustrated papers,
and
domestic
foreign. It has the technical papers of every trade, and
the very best of the illustrated magazines. Emphasis is
unless
the illustrations,
because in motion
picturework
audience
it will not do to depend on the imagination. The
and Colonial furniture.
if your set confuses Queen Anne
knows
pictures that is the urge
Pictures,and always more
placed on
"
of the librarian,or
And
thing of
that
of the research
that the
means
man.
Research
Department
is a
and
the books and maps
most
likelyto be needed, and begin your
from the productiondepartaddition with the first demand
ment.
Nothing is unimportant. Very often advertisements
There are
are
helpful. We clipthem and put them away.
growth.
that
seem
pictures
trade
loss
You
magazines like
whether
to
tear
start
Good
up
with
Furniture,which you are
and
the pictures,or
save
at
save
a
Motion
Picture
the entire magazines, bind
them, and
shelves.
There
monthlies
like The
are
Country Life,the beauty and
of
if
sacrilege
A
card
cut
index
them
must
"
be
put
them
very
the
on
Beautiful
House
value of which accuse
if you
and wastefulness
or
you
97
Industry
you
don't.
carefully,
very diligently
religiously
kept up. No one can remember
where
all the picturesare.
But the card index will help
If you have time, or plenty of assistance,
you find them.
If that is
the clippings
mount
and filethem alphabetically.
impossible,
clipthem and file them by alphabetuntil such a
and
prepared
"
time
as
a
One
can
be
adopted.
ment.
encyclopediasin any research departis the longest
not only be able to tell what
correctly or the
body, but spellits name
have
must
You
form
permanent
more
must
bone in the human
sub-title will flash an awful accusation from the screen.
Or,
when
the mirror reflect,
makes
to ask what
they come
your
inform
them.
chemistry articles must
"
Department has to be
the studio.
Its most
important service
Once
stimulate a passion for accuracy.
The
Research
the conscience
of
is to infuse and
director would
a
build his set as he
collected data to the winds, and
throw
wanted
it built
vaunting an information
"
the
Omnipotence.
But
even
beyond
directors grow
tame
that of
under
that preferstruth to blundering
ignorantguesswork. Once a director would order
largelyand vaguely,and "beat it" to the beach, while his
pressure
and
from
a
management
would
assistant and the property man
take a company
car
and pause at a down-town
supply house long enough to echo
the director's requirements,
spendingthe rest of the day and
such portionsof the night as seemed
invitingat anything
in the world other than the company's business.
growth of the Research Department, they
first find out what
they need for the picturein hand; and
when
they go down town they know what they are going
Once
the public libraries,
after.
to
for
even
they went
fundamentals, borrowing books which sometimes
turned,
rewere
and sometimes
But more
not.
and more
were
they
the nature
are
of
co-operatingwith the librarian,
explaining
and their needs; and since a wise managetheir pictures,
ment
all reasonable purchases,the Research
Deencourages
But with the
ability
to
work
money,
of
there
be
able!
and
are
with
to
studio
its
to
he
comes
research
be
data
have
them
locate
and
in
worker,
to
contact
the
the
is
spending
And
To
or
time
possible
of
the
a
of
loyalty
are
be
required,
interest
sense
he
assembled.
shortest
these
"
in
needed.
pictures
in
inspire
careful
it
all
throughout
duty
not
once
the
have
To
else,
of
post
must
the
research
undertakes
anything
keep
essentials.
anything
whom
his
in
He
wanted,
willing
these
be
day.
carefully
when
"
before
the
Whoever
recommending
never
very
in
complete
nearly
more
certain.
to
expect
hours
must
is
thing
must
the
them.
serve
One
the
becomes
constantly
partment
the
in
Opportunities
98
company
indispensable
in
all
in
THE
"SHOT"
FIRST
WHILE
seven
And
have
dramatic
possible
has
who
HOLLYWOOD!
critics maintain
erudite
claims, and
IN
MADE
that there
situations, Al
only
are
Christie
that there are
hundreds.
proven,
is Al Christie?
Thousands
of movie
him
producer, and director,
of screen
He
comedies.
is champion of the screen
comedy,
and
the ten years
that he has devoted
the lighter form
to
of screen
has witnessed
entertainment
the filming of over
hundred
his direction and supervision.
comedies
under
seven
But even
than a long distance producer of commore
edies
is Al Christie!
He
is a seer
of the motion
picture
vidual,
than
other
He,
more
industry.
probably
single indiany
is responsible for the transposing of what
once
was
the quietlydozing section of Los Angeles, commonly
known
as
Hollywood, into the film capital of the world.
screens
proclaimed
as
a
member
27th, 1911, Mr. Christie was
a
automobile
of a party of tourists "doing" Los Angeles. The
of Mr. Ford's
eldest vintage.
they were
driving about in was
Boulevard
and Gower
When
to Sunset
Street, the
they came
car
developed radiator trouble and Mr. Christie decided it
mediate
was
a
good time to stretch his legs. He explored the imdown
neighborhood and, asking the rental of the tumblethat occupied the shabby corners,
tered
shacks
quickly en-
October
On
with
agreement
for the property.
into
month
And
the
an
when
so
players
housed
received
its
in
a
the
baptismal
few
days later
recently rented
fire from
asked
who
owner
Mr.
the lens
Christie
$30
had
per
his
quarters, Hollywood
of
a
motion
picture
camera.
"Christopher Columbus"
Al Christie really is!
what
The
that's
tumble-down
The
with
of
his
the
own
motion
of
the
hands
that
shacks
into
a
makeshift
of
Mr.
a
great industry
"
Christie transformed
studio, were
the nucleus
ment
picture industry, while the present developsite
this
section of country
surrounding
repre99
100
Opportunities
sents
investment
an
The
finest
old
of
for
of
the
of
Christie's
boy
a
and
apart
the
plot
I
when
there
is
than
appealing
best
laurels
girl
I
advice
via
the
in
love
can
in
in
it,
give
same
fix.
That
to
writers
of
the
screen
like
one
every
there's
who
them
keep
We
nothing
Then
her.
Then
something
or
And
love.
love
that
reading
by
stories.
itself.
human,
the
medium
of
made
become
to
profit
him.
mean
more
fellow
a
I
has
start.
comedy
like
of
foresight
the
his
the
Acres
brother,
audience
care
that
nothing
young
a
the
take
say
of
light
audience
will
his
might
for
the
and
made
he
of
one
Hollywood,
with
make
and
element
than
screen
make
some
because
very
girl
in
comedies
formula
and
but
stories,
have
a
first
by
dollars.
studios.
Christie,
where
screen
pet
"Take
Mr.
association
"lot"
very
Writers
take
in
him,
supplanted
locate
to
million
Hollywood
by
him
prompted
owner
Mr.
used
the
hundred
been
splendid
are
possible
four
over
have
many
now
which
it
shacks
the
ground
of
in
about
love
should
lovers,
more
ing,
amus-
nothing
is
really
would
comedy."
more
the
seek
Interview
An
be
successful
with
FAIRBANKS
DOUGLAS
"To
SECRET
SUCCESS
MY
pictures,it is absolutely necessary
in
pictures is no
keep fit,for the making of motion
light weight occupation," said Douglas Fairbanks, world
renowned
film star, when
what
he
asked
by the Interviewer
of the first things necessary
to
screen
thought was
one
that
you
success.
and
reallyexercise mentally,physically,
Mr.
has a
Fairbanks, "and if one
emotionally," continued
good digestion, and is responsive emotionally,and has a
than
the
really comprehensive mentality, there is more
know
"You
for
chance
average
we
lay much
"I could
You
digestion.
giant, rather
be
the
fame
seek
With
the
suffer
with
a
he is
makes
rigors of
studio
irregular,if he is not in good
absolutelyimpossible to be in good
strength of your digestionis on a
It is
the
the determination
few
for
and
words,
that
Douglas
famous
ever-ready to
good nature
his
by
always
wreathe
the
stand
to
that prompts
you
in the studio."
reason
comes
he
and
superhuman
be my
is very
strength of
these
good humor,
not
Samson
as
expect
time
meal
with
that
good healthy
giants, capable of
want
digestion to
my
I
strong
anyone
physicalcondition ?
physicaltrim, unless
you
a
your
strength,but
than
can
life,where
to
have
of
the value
on
digestion.
"How
par
stress
may
feats of
poor
success.
fit. The
his face.
certain
that
And
his
Fairbanks
smile
of
explains to
his.
Always
in
assist the
banks
worthy. Mr. Fairprimarily because of the fact
look of the chronic
dyspeptic does
why ? Because, as he tells you,
digestionis good,
then
he
"goes
ahead."
"To
you
know
be
successful
what
I
mean
in life
by
we
must
exercise
101
when
all
exercise.
I say
this ?
But
do
There
in
Opportunities,
102
are
exercises,such
set
any
by
mean
I do not believe in
advocate.
I
What
strong men
exercise,then emotional exercise
exercise.
to
ways
many
the
as
exercise is mental
However
physicalexercise.
and
then
I
"Take, for instance,any act of mine on the
depictedas takinga hazard, or risk of any
am
exercise for
music
forms
Or
me.
music
sort.
where
That's
of the divinest
easilyone
"
screen
arts
;
the acme
of emotional
exercise for me.
It
stimulates the finer thoughts that lie deep in all of us.
To
feel the power
of these thoughts and assimilate their beauty
that's what I call emotional exercise.
"
"A
Without
good book provides mental
the development of the mind
for anyone.
exercise
there
be
can
no
ening
broad-
of the faculties in any sense.
"Then
lest I forget it, a good old-fashioned laugh.
That's another form of emotional exercise,and not the least
important. Indulge in both
emotions
to play.
a chance
Never
"_
forget. All
work
of them
Have
and
and
you
no
will
you
giveyour
this ?
thought of
ever
play makes
Jack
dull
a
""
boy.'
In
have the ideal type of virile,
Douglas Fairbanks, we
healthy,athletic,fun-lovingAmerican.
He
has
gained his
principles.
him
play
of his
laurels because of the absolute soundness
To
visit with him, listen to him converse,
watch
with his pets, observe the manner
in which
he idolizes his
stars
wife, and the simple way he lives though of all screen
in having every
he is surely warranted
luxury his heart
"
could
desire
is to know
"
what
being a
successful
American
means.
film players and who of the vast
prospective
people who visit the motion picturetheatres has
"If
of
some
army
"
time
or
other
cherished
the
ambition
to
not
at
become
a
realize the fact that without health they
player
confident
I am
cannot
go very far in their chosen profession,
for
do all in their power
to fit themselves
that they would
I could easilywrite a volume
the subjectof
the work.
on
film
"
would
fitness,but since it all
there
is
no
sums
of
need
down
it.
to
Watch
having
your
and the audience
director will watch you
But one
work.
thing is certain you won't
unless you are fit."
"
"
a
tion,
good diges-
digestion
"
will watch
reach
the
the
your
screen
1C-4
Opportunitiesin
3,000 theatre
than
more
themselves
to
the
and
for their
insure
the
banded
togetherto protect
publicagainstbusiness oppression,and
patrons a steady supply of high-class
owners,
entertainment.
through
contract
produce picturesourselves, but we have,
arrangements, first call on the productions
of
men
Marshall
We
do
such
not
Neilan, Thomas
Tourneur, R. A. Walsh,
as
Sennett, Maurice
John M. Stahl, J. Parker
O.
Davis
and
H.
Ince, Mack
Allen Holubar,
Read, Jr.,J. L. Frothingham, H.
others.
Stars whose
tional
picturesare distributed through First Nainclude Charles
and
Chaplin, Pola Negri, Norma
Constance
Anita
Richard
Stewart,
Talmadge, Charles Ray,
Keaton,
Barthelmess, Buster
Katherine
Ben
MacDonald,
ton,
Turpin, Wesley Barry, Dorothy Phillipsand Hope Hampbesides others appearing in independent productions
that
submitted
are
Until the
to
pictureis made,
First
Associated
with
to
do
is
after
forth,
"
us.
National
the
the
that
all laboratorywork
and
does
not
have
of these
pleted,
com-
anything
and
stars.
product
producers
is
complete titled, printed,and
picture
"
we
in
come
as
the
It
so
distributors.
have branch offices,
we
"key" cities,
than thirtyin number.
These
or
"key"
exchanges, more
of the various States and of
cities are the populous centers
Canada.
Each
is a complete "store" in itself,
with a large
In what
staff and
call the
warerooms,
and
manager
a
projectionroom
we
the
offices for the
and
his aids.
accept a productionas
this acceptance being made
by
When
"
we
members
of
the
suitable for
an
executive
our
bers
mem-
committee
order
a
organization we
of "prints,"
as
copiesof the originalnegative
given number
these "prints"are
called. Then
are
shipped to the several
allotted to each being based on the
exchanges, the number
stance,
of theatres in the respectiveterritories. For innumber
in the metropolitandistrict of New
York, representing
the largestgroup populationin the country, the greatest
of printsis employed; in smaller cities,
lesser alnumber
lotment
elected
by
"
Motion
As
of
matter
a
in
transported
105
Industry
self-defense
and
in
municipal
regulations,
metal
containers.
fire-proof
and
state
Picture
obedience
these
eral,
fed-
to
"prints"
are
The
prints are
thoroughly inspected before they leave
the
technical
laboratory, to insure
perfection and
proper
added
maintain
in
assembling, but as an
precaution, we
each
foot
exchange
an
inspection department, where
every
of film is inspected before
it goes
theatre
and
after
out
to
a
it returns
the exchange.
to
This
is necessary,
if a
because
film
broken
in running
were
through a projection machine
in
other
be a menace
or
injured, it not only would
any
way
the next
theatre
it was
to
to which
rented, but it might also
be imperfect as
entertainment.
an
The
turned
over
prints are
from
theatres, a receipt obtained
usually by automobile
There
turned
to
they are
over
he
booth,
and
the
last
the
show
returned
to
outlined
the
first
evening's
your
"
the
runs
film
truck,
or
the
is
"show"
where
the
ready
in
in
ported,
trans-
is
and
the
through
chine
ma-
After
you.
its containers
it goes
proof
fire-
his
projection
for
the
theatres.
the
to
operator
into
reel
is rewound
exchange,
of
representatives
them
and
they are
to
routine
above.
of what
is known
briefly,you have the mechanics
is no
about
"distribution
of pictures." There
as
mystery
of
kind
it.
It is simply the
efficiency that applies to the
other
business.
other
of
distribution
product, in any
any
of
methods
all the
The
are
large distributing companies
There,
the
about
There
there
to
the
same
is
as
man
come,
or
involved
nothing
is considerable
I have
those
detail
woman
apparently
who
from
to
outlined
about
it that
sits in
nowhere.
the
as
the
our
work,
probably
theatre
own.
although
occurs
never
and
sees
tures
pic-
PRODUCTION
THE
CLARK
By
Production
O
N
have
At
to
the
the
Thomas
Manager,
used
are
with
of
a
in the
chief
distinction
seems
his
neck.
The
who
refuses
to
for
other
everything
be
to
Owing
reasons
production
suffer
other
"
manager.
else
the
that
that
is
insistence
genius of the director
bursting for expression
"
The
production manager
who
permits the directors to
on
poetic nonsense.
who
production
wouldn't
give an
who
spends
The
every
with
studio
a
of
some
You
into
still such
idea
are
talk
men,
as
hard-hearted
if he
who
art
business
do
away
scoundrel
starving, and
were
a
shut
to
way
all
be
to
intimate
in
107
the
a
act.
business
with
artists
men
then
you
to business
it is like to
and
can't
to
continually trying
thing
money
talent.
tried
ever
of what
business
a
to
firm's
trying to figure out
real
dreamer
star-eyed
all the
chance
lot of boneheads
tried
ever
a
scope
with
his
he
falls
fish who
is the sentimental
manager
fills up the
luck
and
story in the world
Brethren, if you
if you
the
is the
actor
face
production
sillyhard
fool
full
cents.
is also
manager
all of his time
in the
doors
and
dollars
upon
The
unfeeling money-grubber
is the
manager
the
allow
to
poetry
wretched
art
around
of the
case
production
for the
get
picture
They
emotion.
does.
goat
for
motion
a
goat
rope
and
rope,
Nevertheless, he has
the
of
common.
the
present
high price
methods
in
Studios
without
a
pass
much
is tied
goat
Ince
H.
manager
could
too
THOMAS
W.
PRODUCTION
studio
that
MANAGER
"
production
drive
to
a
few
artists
world.
"
may
manager.
ideas
that
about
there
is
Opportunitiesin
108
picturestudio
motion
A
is
the
atelier in the midst of
an
a
factory.
of the old
Most
rise from
phases of
that anomalous
You
have
production
manager's life
a
fact.
have
close
production,
and
so
as
factory efficiency,
running
on,
nail factory. Yet you are always dealing not with
a shingle
shinglenails,but with very sensitive,temperamental people.
to
as
eye to cost
if you
were
an
"
artist is
Generallyspeaking,an
grew
up
And
does not
this dream
The
whose
bane
who
never
of
"pretend."
"pretend" most emphatically
who has a thirst for
distressing
person
of
is "show
motto
me."
of the
fact that
consciousness
minutes
world
a
world
include that
and
figures,
The
stilllives in
who
"
somebody
productionmanager's existence is time.
reverberates
most
resoundingly through his
is the fact that there are
only sixtyof those
in each
of those hours.
It isn't big salaries,
or
into money
run
time
that wrecks
And, it
to
that
big sets, or expensivestories,
in a picturestudio. It is the consumption of
profits.
hurry
You
tempers.
in
hiring a
to
room
of
gang
another
men
to
room,
you
lot of
a
carry
pretty safe
are
their
the limit of your voice and
can't damage anything but plaster.
to
up
and
unduly pressingmen
who
women
work of creative art, you are
causing the cake to "fall,"in the process
in
difficult thing
most
is creative art.
If you
are
from
chairs
one
in hurrying them
But
saying,the
without
goes
a
danger of
baking.
in
much
of
gaged
en-
are
the other hand, you fall in with the business men
devious intention and dubious
method
sometimes
who
On
trying to
I
sell
once
production
things
to
heard
manager,
a
a
band
of
are
you.
motion
as
picturemagnate
one
unreasonable, wilful, grown-up
and
of
who
had
children
organizedpirateson
to
on
speak
stand
the
the other.
of the
between
one
hand,
Picture
Motion
I
that
fear
the
However,
sackcloth
and
the
and
are
always
You
have
phases
with
the
plowing
the
he
knows
is
of
in
the
the
all
not
ing
interest-
most
whole
of
range
of
all
life
on
and
but
and
daily,
you
get
friendly
terms
best
of
all
"
"
clever,
temperamental.
imaginative,
of
problems
of
industry
satisfaction
willing
touched
are
remain
time
fresh
new,
world.
the
soil.
virgin
tingling
problems
artist,
are
that
manager
one
with
dealing
yet
"
Last
who
fact,
possible
commercial
same
You
can
is, in
fascinating
most
of
artists
creative
It
continually
are
newest
best
admit
must
some
life.
You
You
I
from
emerged
production
a
positions
satisfying
commercial
the
of
life
ashes.
and
Still
just
109
like.
is
job
the
had
gentleman
session.
tough
particularly
what
the
Industry
to
in
starve
thrill
the
three
that
life
interesting
have
made
only
comes
family
is
concerned
that
meals
the
is
the
garrets.
square
with
with
goes
life
your
activities
some
your
that
lived
"
even
a
to
day,
the
and
butcher.
among
if
people
they
are
the
Opportunitiesin
112
the fields,attending to the various duties of the pastures.
had
in him
the blood of the old Castilian ConquistaHe
with a love for riding on
dores; a wild, untamed
spirit,
for the copper-coloredbeauties
horseback, and a weakness
of the
countryside.
It would
conquests
have
taken
keen
a
numberless
over
hearts
feminine
with the Indians
his encounters
in the early days when
contend
he
than
his
decide whether
to
guess
with
was
as
greater
were
whom
poor
he had
to
as
of
any
his peons.
At
with
times
cruel,at others kind, he tempered his tyranny
and
gentleness,
Madariaga
better than
moments
any
at
loved
and
feared.
his business
had succeeded
because he knew
other man.
He had only to look for a few
herd
a
both
was
of
cattle
to
know
its number.
He
sick
glance,see which of any given herd were
and needed to be separatedfrom the healthyanimals.
Long
of
with
the
and
heat
elements, drought, cold
striving
years
had given him an
imperturbableserenity.
And all the while he became
richer,buying,at ridiculous
tivated
prices,herds that were
dying of hunger in others' uncul-
could,
at
a
fields.
But
the
diamond
of
his
opulence had a
grieved because
Madariaga was
unhappy and
grandson to take over and worthily manage
after
he
should
be
gathered
to
flaw
he
in
had
grew
Madariaga had
had
run
away
the
now
was
ranchman
two
with a
mother
daughters,Luisa
German
employed
of
with
growled
replicasof
three
no
the vast plains
his fathers.
The
thought
in him, and he became
discontented.
He
have none
but he would
of them.
grandsons,certainly,
heir like himself in spirit.
wanted
an
and
grew
it.
young
disgustwhen
and
on
sons.
he
had
He
Elena
Elena.
the estate and
But the old
passed
them
by.
spectac
their father, whom
he disliked,beThey were
little youngsters,
tow-headed
and
precocious,
of
without the spunk and life he expected in a descendant
his.
Luisa
managed
by
him
had
the
because
wed
Marcelo
Desnoyers, a
of old Madariaga, and
estate
he had strengthof character
who
liked
Frenchman
who
and
was
was
a
splen-
Motion
Picture
113
Industry
better than
could handle the estate even
did executive who
saved the life of
Madariago himself. Desnoyers had once
the ranchman
during an altercation with a peon, when the
latter's knife had almost reached the old man's breast.
Luisa
childless.
was
Another
son
told the news,
was
"And
you,
born
was
his
to
fury
knew
Madariaga
bounds.
no
hulk," he
great useless
you
When
Elena.
stormed
at
of a wife of yours, you
Desnoyers, "and that weak cow
live
dare to
a
tranquillyon without giving me
grandson.
that
is
will finally
overwhelm
Ah, Frenchy,
why the German
You
here.
bandit
has
while
That
see
it,right
a son,
you.
*
*
of marriage *
nothing. I
you, after four years
grandson! do you understand
Seven years passed,and the wife
want
a
about
was
with
become
to
nothingto
was
he wanted
a
son
mother.
The
news
Desnoyers at last
filled Madariaga
him
that he
of Marcelo, and
alreadyhad grandsons
he
"
was
confident
he would
one.
"It will be
need
a
of
joy.
It
have
that?"
"
one
a
It shall
so.
I
"because
positively,
be named
Julio."
with
event
curiosity.
ill-suppressed
boy." he
declared
the
awaited
Karl Von
the least interested and troubled was
And
not
son-in-law, treated like a gringo by
Hartrott, the German
dirt
the centaur, subjected to vile abuse, looked upon
as
beneath
Madariaga's feet, and tolerated only because he
felt it was
Von
Hartrott
the turnmarried
to Elena.
was
All
liked by
his life,for if Desnoyers, who
was
Madariaga, had a son, all the expectationsof acquiringthe
old man's estate would
be shattered once
and for all.
in
point
in
boy was born, and Madariaga was overwhelmed
happiness. The child had the black hair and eyes and
A
skin of
a
with
olive
brunette.
grandfatherexclaimed.
Juliogrew up, and became a favorite with his grandsire.
When
only two years old, Madariaga used to take him along
in making the rounds
of his land, showing him off to the
colored populace with pride. The lad grew
up to be
copper
the
famous
a
equestrian,and could whirl the lasso over
"This
is
a
grandson !"
the
Opportunitiesin
114
the
of the saddle
old veterans
way to make
marvel.
Desnoyers tried to give his boy a good schooling,
to the home, but it was
impossible,
bringingspecialmasters
for old Madariaga had a way
of coming in and dragging
he
So when
the lad out for some
wild prank on horseback.
of steers
horns
was
As
in
a
eleven years old, his father sent him to
time went
on, the boy, like a faithful
Aires.
Buenos
understudy
of
Madariaga, betook himself to wild adventures, and it was
not
long before his studies were
only a cloak beneath which
Julioenjoyed life. He knew the tango better than his books,
and night after night,could be found
in some
wild cabaret,
riskingthe cold steel of a stiletto for a possiblecaress.
His
strength,acquired in
him in good stead,and
stood
adversaries
One
of
his adventures
and
the
he
life of the
plains,
was
by the chance
escapades brought him.
occasion
exemplifiedthe
satisfyinga chance impulse
cabaret
hardy
feared
risks he took for the sake
whim.
He
entered a
or
and
seated himself beside a table.
He
was
spicuous
conthe
other
his
men
by
dashing, handsome
among
his
to the manor
commanding air as of one
appearance,
born.
The
realized
for
women
quettish
it,
they began castingcoat
eyes
him.
But
he
was
indifferent
"
theirs
were
the old, old tricks. Suddenly his attention was
flashingvision of beauty dancing in the center
riveted to a
of the floor,
in a specialnew
All stopped to gaze at her, and she
dance.
had the dancing area
to herself. A glance decided Julio.She
be his dancing partner.
would
No
up
the
to
had
sooner
couple, as
he made
they
were
up
his mind, than
executing some
he
strode
dextrous,
lithe dance movement.
Again he looked at her, this time
the sparklingdancing eyes of the girl intoxicated
nearer;
tapped the male partner on the back, but the man,
after lookingaround, ignored the intruder like a cow
ing
whiskbothersome
his
a
fly. Julio paused a moment,
away
brow
furrowing with impatience. Again he strode towards
the couple,this time puttingmore
meaning into his tap. The
couple paused ; the musicians stopped playing. The man
him.
made
He
a
Julio from
his
toward his belt,but not
fellinghim with a well aimed
movement
place as
the
beauty'sdancing partner.
in time
to
blow.
Juliotook
prevent
Picture
Motion
115
Industry
though
AlMadariaga died.
he was
eighty-fouryears old, nothing could deter
his plantationson
back;
horsehim
from
continuingto traverse
he resented the imputation that he was
gettingtoo
old for such an
occupation. One evening his horse came
home
at this unusual
happening,
slowly alone. Alarmed
his kinspeopleimmediately went
to seek him.
They found
him dead on the slopinghighway, where he had fallen from
Not
after this adventure,
long
"
his horse.
Once
the
again
rival families
in excitement.
thrown
were
would
left each; to whom
the old man
The Von
fall the major part of the vast wealth and land?
Hartrotts,mindful of the rebuffs and insults suffered in the
What
had
past twenty
years,
took
pains
no
They expected nothing, for
hated
Karl
Von
Hartrott
They gathered in
as
old
the
as
The
a
and
a
read, and
enormous
an
anxiety.
venomously
brood.
Spanish notary,
"
was
had
man
his tow-headed
and
room
relieved, for while
been
old
deceased, read the will
firstpart
bequeathed
the
their
conceal
to
Karl
a
and
voluminous
Elena
were
almost
ment.
docu-
what
some-
wife of Desnoyers had been
share, the other daughter had not
the
forgotten.
Then
eighty-sixlegacies. These
came
his old
were
his children, and now
sake,
receivingthe last paternalremembrance.
Julio,his nameleft the plantation.
was
and
tenants
retainers,believed
Immediately, envy
and
be
to
distrust
reared
i"elf
in
the
the fact that
of the Von
Hartrotts.
They resented
but small
been left a sum
of money
largein itself,
compared to what the Desnoyers family had been bement.
at small
queathe. They were
pains to hide their resent-
bosom
they had
"
Elena
as
though
After
to
her children now
seeingthem in a new
and
the
reading of
establish himself
freelythere.
The Desnoyers
in
a
sumptuous
wealth.
During
moved
house in
looked at the other group
lightfor the first time.
cided
deHartrott
the will, Karl Von
in Europe and spend his wealth
living
Argentiniancapital,
with
their
newly-acquired
keeping
to
the
the year, their
the
relatives,
Von
Hartrotts,
in
Opportunities
116
the
wonderful
of their
accounts
letters in which
were
activities in Germany, their brilliant climb up the social
Karl was
ladder, and how
investinghis legacy in German
the
lands and industrial enterprises.The
reports about
sent
children
were
less
no
glowing.
atmosphere of disquietudeand rebellion was
erated
genthrough these letters. Dona Luisa, Marcelo's wife,
Were
wanted
to live in Europe.
they not richer than the
their
Von
Hartrotts?
Chichi,
daughter, led the attack,
which
succeeded
Desso
marvelously well that Marcelo
d
ecided
leave
South
America
behind
to
him,
finally
noyers
and begin life anew
in Paris.
Desnoyers bought an ostentatious house in Paris,and a
chateau in the drowsing valleyof the Marne.
He became
of antiques,literally
a collector
papering his walls with the
of all ages and styles. His
art
treasures
family lived in
luxury, but the majority of the expenditures really went
into the curios and
works
of art which
rare
Desnoyers
with
hand.
a
prodigal
bought
In his castle of the Marne, Desnoyers made
the acquaintance
of a neighbor,Senator
Lacour, an aristocrat of
the new
regime. The acquaintance rapidly ripened into
Marcelo
friendship,and Don
was
proud of his intimacy
with the "grand man."
rants,
restauJulio took to the night life of the Montmartre
An.
and
beingan artist. At first he was serious
about followingpaintingas a profession; but it soon
became
but a caprice,and that he loved the
apparent that it was
models
much
than his art.
The painterwas
more
a better
fencer than artist,
and it was
well so, for Julio's
nocturnal
the card,
escapades often led to a sharp scuffle,
a quick slap,
the duel. He began to spend most
of his time in his studio,
and particucoming to the familyresidence on flyingvisits,
larly
when his funds were
at a low ebb.
He gambled much,
lavishingwealth on his friends and fancies. He began to
consider
played
at
his father
a
miser; his father, in turn,
was
raged
out-
the dissipations
of his son, his heart heavy with the
It was
not
reports he heard.
long before Julio and his
father quarrelled,
and the lad was
reduced to pleadingwith
his loyal mother
to sell more
preciousjewels or heirloom,
at
to
providehim
with
enough
money
for his riotous
living.
118
Opportunitiesin
the
he sensed a tenseness
in the air. He turned
guerite
around, Laurier was bending over the divan on which Marhad been sitting,
and which
she had hurriedlyleft
on
hearingthe knock at the door. A glove had been left
there
his wife's glove!
Suddenly
"
Further
and Julio could think of
futile,
nothingbut facingbravelythe outraged husband. His father
shocked and scandalized.
Then
Laurier stepped up to
was
Julio and gave him the conventional slap in the face. It
meant
a
evasion
was
duel.
alarmed
Marguerite,hidden in the alcove, had grown
She had been
her husband
in the room.
was
realizing
upon
But her hopes were
hoping that he would go quietlyaway.
quicklycrushed. Laurier, after discoveringhis wife's glove,
and
insultingJulio,turned around and spied the tapestry
folds. Something told him
his wife
them aside, revealinghis wife.
was
Then, in the midst of the scandal,came
and
stem
hand
there.
He
drew
the great
prise.
sur-
War
and
declared between
France
was
Germany,
Laurier
the
sent
to
was
front, to help
immediately
the onrushing tide of the Teutons.
if the
It was
as
of fate had
intervened
the
moment.
psychological
the gayest capitalon
All Paris was
changed. From
earth, the center where the talent,wealth and beauty of the
for a more
feverish enjoyment of life,
world had assembled
rible
it became
converted into a grim citythat had to see the terbusiness of war
through. There was gayety, yes, but
sadly chequered with the tragedy of partings. The poilu
at
the blare of martial trumpets, down
decorated
his face as he thought of the
streets, a forced smile on
sweetheart left behind.
Mothers
embraced
their
frantically
and men
ashamed
their deepnot
to show
were
striplings,
marched
to
felt emotion.
in all this excitement, Juliohad no part. He remained
not
in Paris ; in it but not of it. For he was
a
he
this
The
felt
that
his
battle.
and
not
was
Frenchman,
m
eant
at
fever-pitch,
excitement,
nothing to him, and he
far as to share in the dilettanteism of his Bohemian
went
even
as
friend, Argensola, who declared that the war
was
that
in
fine
lifetime,
came
once
a
a
a
a
spectacle
spectacle,
And
spectacleto
sit back
and
watch
with
aesthetic interest.
He
Motion
used
to
walk
through the
companions
all his boon
defend
Picture
their country.
streets, nonchalant
He
were
119
Industry
more;
no
felt out
of
and
lonely,for
they had left to
place,he, the blase
his way
wealthy spendthrift,a foreigner,as he made
to be
through thronged streets where everybody seemed
sayinggood-bye.
Sometimes
visit to the
above him, where dwelt a strange Russian, Tchernoff.
rooms
This
Tchernoff
he had
met
through Argensola, and he
listened to the Slav as with outstretched
hand
pointing to
he
invisible
Horsemen
beguiledhimself by paying a
the air, he described the advent of the
Four
in the sixth
of the Apocalypse,mentioned
The four horsemen
War
and
chapter of Revelations.
were
and
due to
Conquest and Famine
Death, and they were
some
thunder
sign in
the
over
earth, spreading their devastation
with
results. Juliowas
frightful
fascinated by the tense sincerity
and power
of this Russian
felt that the world
seer, who
in its last gasp, yet remained
detached and cold, a mere
was
observer slightly
puzzled by the rampant emotionalism.
Yes, Paris
the
same
changed. It had changed, never
Juliosought to communicate
again. When
was
Marguerite,he realized this. For she, too,
the call to duty; she had gone
to Lourdes,
had
wounded
for
and
Everybody
stricken
soldiers
sent
there
to
be
with
to
answered
the
nurse
treatment.
doing something.
was
loneliness grew intolerable. Finally,to end it all,
and to resume
his relations with Marguerite,he took a train
time he could not find her.
For some
to Lourdes.
Then,
and
he
beheld
in
trim
her,
one
apron
cap.
sunny morning,
back
her
He
her
was
immediately,although
recognized
But
when
her.
turned.
to
surprise
Julio came
up softly,
she
beheld
him,
placed a fingerof caution on
Marguerite
The
her lipsand moved
chair she had been
moved
They
the
the occupant of the wheeled
nursing.
a
littledistance,out
of
hearing range
of
patient.
"Do
you
see
what
the
war
has
done,0 she asked.
"It is
quiteblind for life."
She told him that her duty now
lay in beinga loyalwife
for love,
Julio had come
companion to her husband.
Laurier,my
and
from
away
husband.
He
is
"
and
were
disappointed. Greater
air, something vital
returned
in
the
Little
And
had
the
in
Opportunities
120
littlehe
by
it came
invaded
home
began
to him
though
upon
he
chateau.
was
see
with
the flowered
villageafter village.His
his chateau
to
than
forces even
and
forceful and
what
direct
the
mendous.
tre-
strugglemeant.
The
force.
Germans
valley of the Marne,
father
destroying
hurriedly rushed to
had
the Germans
remain
away,
learningthat
warned
love
to
All around, the air
heavy
was
near,
were
he
with
and
reached
his
the smoke
of
and
women
were
thundering guns; men
fleeingin panic,
dragging their personalbelongings,bed clothing,furniture,
Thunderous
children with them.
followed by the
pealswere
crashing and tumbling of houses.
his
In the midst of this confusion,Desnoyers made
of
him
The
to the chateau.
mass
a
was
villagenear
way
ruins, and he wondered
why they had not leveled their
the conspicuouschateau battlements
of the castle
cannon
on
littlehillock. His ignorancewas
eral
a
on
soon
explained. SevUhlans
to a halt before
gallopedup, came
Desnoyers,
and
informed
him
that his castle had been spared for the
of affordingquarters for the German
general staff.
purpose
Soon
afterwards, other soldiers arrived and began
cers.
making preparationsfor the receptionof their superior offiThey brushed the protestingDesnoyers rudely aside.
Valuable
broken, furniture which had been
antiques were
overturned, and in a
conveyed here with specialcare, was
short while the placebegan to assume
the appearance
of a
Then
the arrogant, supercilious
officers
superiorbarrack.
noyers
Desarrived, immediately assuming the role of masters.
tried to protest, but was
told that he should
himself fortunate in not being shot.
Fearful
he
of what
lingered about
desecratinghis home
could do nothing.
When
they might
the
was
do
to
place. The
like
a
his
consider
tion,
pricelesscollec-
malicious work
stab in the heart, but
of
he
he returned to Paris, for a short visit,
Desnoyers
the
aroused
shared
hate which
the very word
Boches
now
of
in the uniform
in the people. Then
he saw
his own
son
French
a
private. Julio,too, had caught the fever and
enlisted.
Motion
"Kill every
counseled
noyers
one
Picture
his
in
see
you
a
uniform," Des-
German
"Kill and
son.
121
Industry
do
not
hesitate.
Do
part."
your
The
that
the boy his blessingand rejoiced
terrible misdeeds.
his son
He could hardly
to avenge
was
Hatred
control his emotion.
was
running strong in him,
for he had seen
and unspeakablehorrors ; had seen
brutality
of simple,inoffensive peasants lined up against the
a
row
father gave
wall and shot like beasts. He had reared
and
the best thing that could happen was
offer himself for la patrie.
Julio
entered
trenches.
invaders.
He
he looked
the very
A
and
army
son
manhood,
for that
sent
was
to
the
to
and
to
son
front
became
of the millions that repelledthe
one
black curly beard covered
his face, and soon
image of his grandparent,the old
Despite his unkempt, dirty condition, he
centaur.
happy,
the
a
dead
was
when
his father came
to him, once,
to learn if
of his needs, Julio told him
that all
satisfysome
he could
well.
was
"All
you
The
father
need to
friends,"Juliosaid.
felt
is send
do
sure
his
boy
cigarsfor
would
It seemed
the end.
natural that other
lose their lives for their country, but
would
out of the line unscathed.
come
come
and
me
out
my
safe
in
should
his
felt that
son
parents'sons
he
thither by
his chateau, drawn
the soldiery and
He
watched
some
that
officers turn his rooms
into a condition that resembled
of a sty. With
he restrained himself, knowing
difficulty
of voicingempty protests.
the futility
Desnoyers returned
inexplicablepower.
to
and it
of his resentment
was
slowly filling
in a drunken
debauch, the
brimmed
over
one
day, when
The
officers dragged in the daughter of a servant.
poor,
the
and
forced
sit
in
their
to
midst,
as
was
frightenedgirl
wine flowed more
subjectedto abuse. The
freely,she was
much.
the spot. It was
too
officer tried to ravish her on
But
Like
to
a
her
the cup
maddened, infuriated beast of
rescue.
But
he
was
only
prey,
one
Desnoyers leaped
among
seized by a dozen
He
drunken
was
savages.
before he knew
it,imprisoned in a cellar room.
a
crowd
hands
of
and,
French
from
his
Paris,
the
thick
of
a
it.
Baches
and
of
to
gone.
under-
had
and
Julio
leased
re-
returned
he
experiences
in
with
the
depended
his
for
prayed
of
a
whom
came,
hero.
war
deprived
of
paused
DESNOYERS"
was
at
I
a
once
brave
soul."
the
resting
day
one
the
vision
other
of
two
father,
Julio's
And
seen
bearing
cross
bowed
knew
came
was
son.
strewn
the
was
the
loping
gal-
Apocalypse.
little
a
had
fighting
out.
each
crosses,
only
an
who
the
and
"Yes,
of
The
thickly
were
One
strength.
was
snuffed
there
his
knew
high-explosive
were
hillside
was
battlefield.
Julio
hillsides
tiny
engaged
of
ounce
the
lives
ploded
ex-
each
another
directions.
Russian,
horsemen
Both
both
such
one
last
Then
shells
Each
but
German
many
different
the
the
The
the
encounter.
illumined
wooden,
To
had
Tchernoff,
shell
and
of
from
figures
forth
in
himself
struggle,
cousin.
peace
thousands
death
was
Julio
as
found
It
happened.
and
battle,
Julio
and
other.
own
Marne
of
strenuous
nearer,
When
the
left,
life
a
each
at
plunged
with
height
exploding
an
was
shell
the
putting
on
looked
with
of
to
thing
strange
a
battle
and
German,
Suddenly
"He
victorious
Desnoyers
the
Then
At
right
weakened
spot
retreating
anxiously
by.
second
to
two
thought
rolled
at
with
life
the
the
safety.
Time
the
of
with
heavy
he
until
incarceration.
his
heart
And
heels
the
months,
for
the
at
came
him
was
remained
he
Here
his
in
Opportunities
122
their
your
the
name
"JULIO
heads.
son,"
Tchernoff
sadly
said.