Evening public ledger. [volume] (Philadelphia [Pa.]) 1914-1942, 1916-07-08
The Art of
Doing a
Keystone '
The Famous Comedies Seen
in Process of Manu-
facture

The method of making comedy from
the time the Idea is conceived until the
finished film is ready to be shipped to all
parts of the world is the subject of Hampton
Del Ruth, managing editor and assistant
manager Of production Of the Keystone Film
Company, in an interview, which, at the
same time explains why the rejection slip
of the famous comedy company is so we'll
known to scenario writer's
Although the scripts purchased by the
keystone Film Company In the last two
years can be counted on the fingers of one
hand, Mr. Del Ruth deplores this fact, and
expresses the wish there were some way he
might be in such close touch with the FREQ
lance, some way by which the outside writer
might know the requirements Of the Key
stone scenario 30 perfectly, that the COM
pany would be one of the largest instead
Of the smallest in the buying market
Although still in the prime Of life, Mr..
Del Ruth has had world of experiences
both with the Keystone and other large
companies In selecting material for the di-
rector. Slight in appearance, with face
on which the lines of care have not be-
gun to show, Mr.. Del Ruth has succeeded
IN supplying the many keystone directors
with comedy scrips by system all his
own.
Perhaps an idea of his method will illus-
trate why so few outsiders have received
keystone checks. As O rule, the idea or
basic part of the plot is conceived by Mr.
Del Ruth, sometimes in the form of n mere
incident, perhaps from something the man.
aging editor has Just seen, for Mr. Del Ruth
Is close student of human nature
This decided, Mr., Del Ruth send for two
members of his picked staff of writer's
This conference is usually very short The
writer's are both given his idea In a very
Few words, then his characteristics "See
what mean7' closes the conversation and
the two members of the stan work out
the plot separately as best suits their fancy
=. 1t may be day later or even two or
three, before the same two men will be
again called into Mr.. Del Ruth's office His
smile and We'll, boys" is the signal and
each man reads synopsis of his concep-
tion OF the plot.
The first man through, the second man
reads his synopsis. AS a rule, the ideas
conveyed In the two synop5es are good but
after they are read and the writer's COM
plimented, should their work deserve IL, the
mind of Mr.. Del Ruth begins to suggest
change and readjust.
AT this point shorthand man is called
IN ana reports the words of Mr.. Del Ruth
as he reviews the plot with his writer's, as
carefully as any presidential inauguration
ADDRESS was ever taken. Mr. Del Ruth,
after going over the details with Mack Sem
nett then selects the cast.
The synopsis typed, the director who ia
TO have the story, his assistant and the
cast are called together At this meeting
the director, assistant and cast are only
an audience. as shorthand man once
more takes minute notes, while Mr. Del
Ruth rehearses the story
The director then takes his COMPANY and
the synopsis as rehearsed and goes over
It alone with his company. This may take
day, two or three, and sometimes many
more The director satisfied, the manag-
Ing director Mr. Sennett and Mr.. Del
Ruth are called in to review its rehearsal.
Again the shorthand man is present and
as thoughts are suggested. notes are made
Tor the continuity The director is then in
structed to follow this continuity, and asked
TO estimate when he will have the picture
finished.
$50 you see." Mr.. Del Ruth smiled. "i,
is rather hard TO find a script in the OUT |
SIDE market which will fit our require
ments' This is another reason why you
never see the name of the author on Key |
stone comedies. We are all the authors |
and l try to find the time to work with
star" '
The general supervision of Mr.. Del Ruth
ooes not stop when the director begins to |
produce the story Strangely enough, he |
spends much of his time In the projecting |
and cutting rooms. There he watches the |
story unfold on the screen, again making |
sussesuons' changes and eliminations. But |
MS own words are the best.
My anxieties do not stop there" he |
said Il am frequently tapped on the shoul. |
der and asked advice concerning business
IN that same story while under course of
production. 1t Is sometimes amusing to
have to pause 10 recall just what story this
one OF our directors is referring to-
The cameramen carry out their instruc-
lions and turn in photographed stun each
evening, which makes 1t possible for their
sfrorts to be reviewed in the projecting room
he following morning. This generally hap
pens during the hours when our friends are
,nJoying an excellent dinner.
I'm the course of the rough film proJec-
ton, notes are again made. II often hap
'ens that pieces of business have not been
'arried out with the original plan. There
ore, retakes are sometimes necessary
When the story is photographed 1t repre-
ents a negative length of several times the
eleased length required. A cutting sheet
S then dictated and the cutter follows in
tructions in the assembling. This film
5 run several times, and, at each projec-
ion, its length grows several hundred feet
horter, until the desired footage is OBJ
aimed, whereupon title notes are taken,
s all gather for the final projection.
1T Is my task TO call the spots In the I
rojection where titles should go, and these1
otes are taken by my side. after which the
writer's are assembled, and each given a
heet upon which is marked title PLACES
nd the disposition OF same This is TO
uide them in their efforts to secure suitable
tiles for the film."