Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1915-04-03

The playwright Of the motion pictures
is an artist OF comparatively new origin
He writes action and nothing else when
he calls for a lake the lake must per-
form some service, and II Is identlcally
the same with other items. Incident is
his watchword; realism the slogan.
His profession. which came into being
half dozen years ago with the popu-
iarity OF the motion pictures, has as
suped great Importance. In fact Il has
been placed on par, within few short
years, with other branches OF the cen
turies-old profession of literature.
The playwright of the motion pictures
must unlearn most of the accepted rules
that have guided him in his profession,
He cannot paint Words In the films; he
must, Instead. paint action. He cannot
write dialogue, description and padding
to make out his picture play plot He
must condense, have action. meaningfu
action. in every line In other words, he
must boil down instead OF padding out
The completed motion picture manu-
script unlike book or short story. does
not read well in manuscript. n properly
prepared. It will act well on the screen.
The terser and the more illuminating
the action the better the scenario. The
manuscript is so written that the director
meaning-brins into life the thoughts and
words of the writer
The profession OF writing for motion
picture shows has become dlguihed, too.
IN the last few years. Literary crafts
men in all walks OF life have turned to
the new field of literary endeavor and
are prospering therein. Novelists, short
story writers, playwrights. newspaper
men, all have entered the new literary
game Even so brief period as two
years ago certain fiction stars viewed the
motion picture writing game with some
thing akin to contempt. They did not
think the new profession merited their
best endeavors ANY old plot will do for
the movies" was their seeming conten
tIon. That point of view has undergone
a radical change.
1t has been discovered by these authors
that their best literary efforts are none
too good for motion pictures; that there
is real art contained therein; that plots,
instead of being weaker must be stronger
and more consistent for the motion pic
ture screen II they are to be purchased.
When these facts finally were realized
by the writer's of fiction, work of better
class became more common. The novelist
who was saving choice plot for ultimate
development into best seller and
who just dashed orr something and
rushed It to the motion picture editor
finally realized that the choice plot would |
perhaps be acceptable for the pictures,
but the plot "just dashed off, was
promptly rejected.
With an understanding of the require
ments OF film editors, with more fraternel |
relationship with the editors, came mu-
tual efficiency which has resulted In plots |
of high class. After all, the story is the |
thing; it is the rock foundation of the
plctureplay production. II the story is
weak, far-fetched, Illogical. no matter
how convincing the acting or how beautl
full the backgrounds. the entire production
will not be complete.
Authors are being given credit on tho
screen; they are paid prices commensu-
rate with their abilities and talents. and
the best of them have recognized the art
of motion picture writing as a true and
digni1ed art. and one that furnished yet
another lucrative branch to the literary
profession