New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-12-21

youngest of scenario writer's. She
started to write ten years ago, more for
her own amusement than anything else,
and is still amazingly young for one
who has travelled so far. Her husband,
who used to direct and act, is now
working exclusively on scenarios. His
speciality is continuity. Working to-
rether they have done six scenarios for
Douglas Fairbanks, one for Norma Tai
madge, three for Paramount and four
for Constance Talmadgc.
II was born for the business" said
Miss Loos, who has a slow, deliberate
way of speaking that is attractive.
"My dad was writer. That gave me
heredity. And L was raised on the
stage. That gave me the surroundings.
So did not find it hard to learn the
technique although l was in scenario
work before any one took it seriously.
/ | didn't think myself at the time there
was any great future in it."
"The day has come when the scenario
writer is to be boss in the making of
motion pictures" put in Mr.. Emerson.
"1t's a new development, and a good
one. In the past the director has SIM
ply taken the writer's script and re-
written it to please himself. Now the
man or woman who writes the story
must follow the picture to it's compile
/
changes that circumstances demand
eyes and authors must do their own
script or else keep quiet when adapta
tons do not please Them supplemented
Miss Loos. "A director will pay $4,000
for the rights to adapt a we'll known
authors story and then he will turn
it over to some one in his scenario de-
partment who cannot write, and who
has no dramatic sense. No wonder the
authors raise a howl about the distorted
versions of their stories But | really
believe the time has come when writer's
realize that they must do their own
scripts. Rex Beach and Rupert Hughes
have gone in for it. thank goodness.
This is the only way to improve motion
pictures-to have brainy people work on
them. The demand is for writer's. and
I don't see much hope for high grade
productions unless first class writers
come through with their work.
"And it isn't enough to have people
with brains come in and think they
know all about it right at the start
like every one else | firmly believe
scenario writing is one of the biggest
careers in America. What is it Frank
Vanderlip says? If he were starting
out all over again in life he would choose
one out of three things: Export bust
ness, oil or motion pictures.
at must be tackled as a career.
Knocking about the studios is the way
to learn. butting in until they get tired
of throwing you out. Mr. Emerson
learned by making a thorough study OF
technique. For three months he did
nothing but study He took no salary
til he knew the rules Of the game. In
addition to knowing technique thor
oughly. good taste and understanding
are highly necessary and extremely
rare in the making OF motion pictures"
"And in seventeen years experience
of the stage and moving pictures | have
never known any one with real talent
who didn't get on added Mr.. Emerson.
"Heaps of people mistake desire for
ability. If you have nothing to sell
you are only buncoing the public when
you try to get something across. Ord-
nary. everyday efficiency is 50 rare
that it is grabbed wherever it appears"
GLOW have you managed to keep out
of pictures yourself?" We asked Miss
Loos.
81 think | hold the record of having
worked in the atmosphere for ten years
without ever appearing on the screen
myself" she replied.
ooh, she'd outvamp Theda Bara'
chuckled her husband.
1t is to be feared tina, Nh Emerson
inclines to vamps and funny people in
the pictures. He tried very hard to
josh US about his favorite stars, but
then, perhaps he thought we'd be fool
ish enough to give him away. AS he
says HIMSELF:
eve don't believe in taking ourselves
too seriously, you know. We are not
trying to uplift, but to entertain"