Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-06-07

| FTNHE preceding article explained how to
| i introduce the characters in an imagin-
airy protoplay, and now we come TO the
development of the story proper
II is of primary Importance that we
should have perfect continuity. Continuity
| of thought continuity of idea development
and continuity of mechanical development.
If you miss any of these you have a
Jump" either mental or mechanical in
your picture
For example: In a recent big picture
man is shown in the North woods. Then,
without a subtitle. without any Intervening
scenes, we find him in Broadway, in diff
ferent suit of clothes and in different
atmosphere.
The director was reminded of this as the
picture was being run in the projection
room but he remarked that any one could
see that he must have come to New YORK.
and that intervening scenes were unneces-
sary.
give the audience credit for intell-
gence," he said when the criticism was
made
or course this is very fragrant violation
of the rules of continuity. The director
mentioned above is now out of job. His
pictures were full of "holes."
Coming down to the more difficult cases
we will cite another example. a man Is
shown in his bedroom upstairs He Is
shown going downstairs and out of the
house.
If we have nothing else to "cut" to 1t Is
necessary to show him leaving the bedroom
and appear in the room from which he VIII
make his exit outside. Then we can pick
him up outside If it is necessary to the
story
We should not show the man leaving the
=. tnI,, gH, 70 i'm In
an exterior going out of the house. or
course this may seem to be carrying con-
tinuity to extremes. yet to our way oil
thinking. continuity cannot be carried too
far The clever scenario writer, II ne IL
Obliged to show mechanical action, such as
a man walking through several scenes In
order to get to a location. where some par
ticular action is to take place, will cut to
action of some other character and return
to pick the man up at his destination
We know directors who insist upon per-
feet continuity. If they have two scenes
of action between scenes depicting man
leaving his house and arriving at his oi1ce
in reel one they will have two scenes, or at
least an equivalent in footage, If this same |
action transpires in any subsequent reel 1t |
IS a matter of actually feeling the dis
cordant note caused by the too abrupt |
transition.
If YOU call n friend up on the telephone
over to your house you know that GER
tain length of time must eapse before he
can arrive. If the street car runs past
both houses you may allow 10 minutes III
il is in the country and he must walk you
will have to allow him more than 10 MIN
utes in order to cover the distance
That is the essence of continuity. Give
your characters time-dont Jump them.
Continuity of idea is something else again
Tell your story in a straightforward man
ner from beginning to end. If you Jump
pack and forth It is difficult to hold atten-
ion and the audience will lose all interest
n your tale. What you should have is
smooth free-running story that tells itself
In the endeavor to give perfect continuity
We are apt to lose sight of character de-
'elopment, contract, surprise, etc, These are
If primary Importance and all the contin-
lity in the world will not atone for in
lerent weakness or inadequate development
If plot.
we are now going to suggest method
" which you can develop your story, get
Ii your big scenes and build up your struc-
ure so that continuity will take care of
tself
In order to make this clear we will give
, synopsis of one-reel drama
A thief has finished his time in prison and
lie is let out but is unable to find work,
is the police notify all prospective en-
,loyers that he is an "ex'jailbird. one
Law he saves the life of the police captains
wife while she is in bathing She is very
grateful.
Unable to care for his sick mother, he
determines to steal Fate leads him to the
louse of the woman he saved. The police
aptain has a large amount of money in the
louse. The wife puts her little daughter
o bed and the child, unable to sleep, goes
downstairs in search of her little dolly She
nds the money and takes it with her for
Ter dolly
The burglar breaks into the house and
) confronted by the woman he saved. He
5 crestfallen to think that the one woman
Who respected him has now lost her respect
or him. and he leaves While he is down.
tairs some second-story men break In and
teal the money but as they are going out
he robber attacks them and takes the