El Paso herald. (El Paso, Tex.) 1901-1931, 1915-10-27

greatest tnln8 IN lue World IS lu-
man interest To create interest
the human side of things must De al
ways present. Humans are interested
in humanity. Therefore. the picture of
a man working is more interesting
than the mere picture Of . work bench
What is seen through someone else's
eyes is far more interesting than some
thing merely looked upon By the
camera
Interest the Spectator.
In other words, TO build human IN
terest. the writer must build a picture
in such a form that the spectator viii
be interested in the industrial cOndi-
tons Of FL Paso for the reason that
some human interest character IN the
scenario is interested in them. For
instance, a scenario depicting the fact
that the Commercial Club takes a day
off and looks over the city wouldn't
be screamingly exciting for the reason
that the public doesn't care If the Com
mercial Club takes day off or not
But suppose that you had seen the pic
tUre Of man in the slums OF New
York, who struggled for food for his
starving family. Suppose you suffered
with him as his agOnies were depicted
on the screen
Where the Interest Comes In.
Then suppose you should see him
transported into FL Paso. placed into
a good job. l-Orked up until he could
dream Of power-then have him look
at the city with the great Outsuretch-
ing desire for power and wealth You'd
be interested then. interested because
that man was working toward an ideal
and YOU would be working toward
that ideal with him That's human in
teresL
or. to illustrate again: Just suppose
that a gang Of bandits should decide
to destroy FL Paso- Just suppose that
in the early part of the picture some
little detail had been shown to display
the fact that in their hearts they did
have a wee bit Of the milk Of human
kindness. Just suppose they should
come TO Fl Paso. look at its factories.
go through its parks, peer at its great
buildings and industries
You'd BE Interested.
Wouldn't you be interested in all
those things2 Certainly you would,
because the realism Of the screen
would bring TO You the fear that they
were to be destroyed Then suppose
that the beauty Of the city, the Won
ders of il, the legends Of it and every
thing else about it that tends to TO-
nance should create a Revision OF feel
ing among the bandits-and they
should decide 10 let thing OF beauty
live Wouldn't a feeling of happiness
come to life in your heart? Certainly.
Human interest again. It is the thing
which every studio, ever scenario,
every director Is Crying LoE- UeE-lIlE
for. It is the thing that has made Da-
vid Griffith the greatest director OF his
time Human interest It's synonym
is success
Bring Out the Human Side.
And so. when you write your scenario
about FL Paso and its Industries, do not
make the thing merely display OF the
buildings and parks and industries
Anyone can look at a packing house
as he passes it on a street car and
think nothing Of il except that il pos
sesses q disagreeabie Odor. But ii a
young man and a young woman. about
TO De betrothed, look at that packing
house-and see there the means OF
wealth and happiness for the future,
then. quite happily. the odor Of hogs
and watts and lard rendering and skin
ming processes and smoking hams quite
magically dies out Human interest
Put Human Beings First.
Therefore. put human beings into
your scenario Let them see all the
things which FL PasO has TO offer; let
them look upon them all weaving into
the scenario q little story that VIII
carry with il the hopes and joys and
disappointments and fulfillments that
come into the lives OF Us all Let the
characters live and breathe-and let
the industries come secondarily- They'll
shine out Just the same and with
primary interest that works through
the subconscious brain and into mem
DRY by a hack door method It's the
surest method Of bringing the point out
clearly and in an interesting manner
MANY CAPTAINS WILL Be