The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-10-17

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far Of when the photoplaywright will
receive just as much credit for his cree
atiors as the writer of the spoken
drama.
ITO be sure the photoplay has hard
ana fast limitations. As a distinct dra-
matte type the photoplay differs fun
damently from the stage play. and re-
sembles the old fashioned pantomimc
in that IL caches us entirely through
the eye. 1t cannot draw on the almost
inexhaustib,c riches Of language. nor
can II utilize the amazing gamut Of in
depreciation by the human voice. DIR.
Freeburg paused FOR a moment.
But has not every art form its limi-
tations"" ! suggested. Sculpture must
reveal the artists conception without
the aid OF color or movement. Paint
ing has only two dimensions. The
written tale must rely solely upon the
eader's ina gination. And music is
formless."
Absolutely" the play wright replied.
Even though the p%hotoplay cannot
revel in subtleties of character" can
tinued. taking the argument from him
for a moment, may 1t not have
~ pNeb'N "iiu FiitlllI@ltN vi NpIVek arr
with all its imperishable charm and
nobility? Tolstoy defines simplicity as
tine greatest artistic achievement in his
What is Art" That should he a book
of especial interest in relation to the
~photoplay. for he preached that all
great art is simple enough to be un-
derstood by the people,
Exactly" DIR. Freeburg nodded.
When you write a photoplay YOU are
appealing to audiences composed
largely of the middle and lower
classes. people who drop in with their
children for an hours or an evenings
easy and inexpensive entertainment.
They are not OF the world weary,
blase or cynical type. Their tastes
are not faded or overrefincd. And
they are not likely to open their
purses and clap their hands at the
prospects Of neurasthenic or medical
exhibitions They want large, cie-
mental. throbbing actualities that ap-
peal to the universal emotions. They
will laugh at the broad comedy Uf
everyday life. and will she'd u teal
over a dying child. They are UNI
sophisticated enough To enjoy an inno-
cent low story. They will be stirred
by exciting adventure and will 20
home pleased over a happy ending.
The photoplay differs from the
stage play in certain respects which
may be utilized to advantage by the
ambitious writer" pointed out DR.
Freebure. For example. instead
Of painted hills and canvas castles
with their failure to produce the de.
sired illusion. he may use "A natural
background. whether mountain. des-
ert. sea or city. In this background
OF reality his action may have IA tire.
mendous scope. 4 battle need not
he limited To two dozen men thirty
feet apart on a tioor in front of q
swaying drop scene. lie may have the
wide swept terrible battlefields in
The Birth OF a Nation instead.
Furthermore. an action may bs
staged in natural lighting instead nj
in the artificial glare of electricity.
A twenty minute stage play has
too. a single setting which o ma,
not leave except in im%aeinatiou. bu
a twenty minute ~photoplay may brin.
before your eyes, quick az thought
a dozen different settings. Here i
swiftness OF action and the possihil
ity Of artistic pictorial combination.
Al the outset | shall lay emphasis
on the need for better plots. d'
not think novelty one of the crea
essentials, though many of the pro
ducers do. Even an old plot may he
come a fresh play in the hands u
la skilled play wright. Shakespeare
was not novel in his plots, nor lbSen
hut they are probable, convincing an,
. true to life. | think the cause fo
many of the photoplay plots being -
thin and Worn lies in the producer
themselves. They have thought /
enough 10 hold the camera UP L
+ nature. to cliffs and surf, to tropica
junsles. and cowboys dashing throusl
The Arizona saEebrush. They hav,
been carried away 10y the Scent