Daily Kennebec journal. [microfilm reel] (Augusta, Me.) 1870-1975, 1924-03-06
WRITING MOTION PICTURES
by
JACK CUNNINGHAM

JACK CUNNINGHAM
Adapter Of 1.-THE Covered Wagon"
which will be shown at The Haines
Theatre, Watsrviiie, March 10.11,
Augusta Opera House, Augusta
March 1918.
The writer of these articles has
been in the hazardous position of
scenario editor four times. The title
is misnomer. but never mind.
The scenario editor is the studio
executive who most often comes in
touch with aspiring writer's from the
outside" unless his employer Is
charitably inclined and permits him
to hire an assistant to guard tho
outer portals.
I used to see q great many appli-
cants for positions In the depart
ment. since--contrary TO the general
belief among ambitious youngsters
motion picture studio executives hon.
estly want to find new blood" They
often fail to recognize the real talent
and they often fancy talent In latent
where 1t Is not. Probably every stu
dio executive has done SO. My ex-
|<perience was quite interesting.
This is the test we applied to the
applicant for scenario honors.
Here Is a novel which we IRE
going to make Into a picture before
very long" I would say. You tako
this home and bring an idea OF how
YOU would tell It in terms OF motion
pictures. Don't do the whole thing.
just fifty to seventy-fve scenes. If
any OF your ideas are worth using,
we will pay you what they are worth.
II the scenes you have written are
worth using. we will hire you to do
the entire scenario at regular rates"
The applicant would take the novel
and retire.
But not one OF them ever came
back with the fifty scenes
Later / would find the novel re-
turned via the desk of the depart
ment secretary.
My conclusions are that q greater
share OF those who are seeking an
entrance to scenario departments
think they are headed for Il we'll
paid holiday. They hear about enor-
nous salaries and fees paid motion
picture writers--and. being certain
they could do as we'll IL only they
could attach themselves to some
producers payroll. they hurry to
make application with no thought
of what experience il necessary.
How did those who are writing
pictures today get in?
Some OF them were studying mo-
ton pictures in the much advertised
days of the 'industry's infancy" and
got the ''hunch." or whatever you
want to call 1t. that here was field
in which it might be good thing
to be pioneer. Some of them failed
to keep up with the progress from
one and two-reel comedies and dra-
M Axya ar1
pictures. Others stuck and mas
tered the technique OF telling tho
longer story.
AS a matter OF statistics. 1t Is prob
able that today you will find very
few new names added to the roster of
those who were turning out photo
play manuscripts five years ago.
Others got in by chance, through
hearing OF a friend or acquaintance
who had found interesting, absorb
ing and sometimes lucrative employ
ment in the new field of endeavor.
Some of these failed and some are
still writing.
You may ask another fair ques-
ton: How can the ambitious as
pirant break In today?"
First and foremost: by writing
good story. Everything gives way
to the good story. Numerous in
stances could be cited Of writers
gaining entrance through writing a
good story. Some OF them remained
because thew liked it. Others found
all inspiration gone when once sin.
side" and departed hence bent on
writing other good stories outside"
Second. and good: Impress some
studio executive that you have an
Unsuitable desire for work and then
60 hA
actor, a property man. carpenter,
electricians assistant. camera mans
assistant, anything--then. study the
work from that end. Instances could
be cited of entrance by that method.
Third. but not SO easy: Do not
attend a motion picture show and
then go home with q fresh. origi- |
nal" idea engendered by the film |
you have just seen which you feel !
you must write at once before It !
gets away from you. Ninety per !
cent. of the manuscripts received in ,
scenario departments are only the !
rewriting Of recently produced mo-
ton pictures slightly twisted by the |
unskilled hands Of amateurs. Ad- /
mitted, that Ii one way not to break /
in-but you stand much better /
chance of breaking In IL YOU refrain /
from the habit of rewriting familiar /
plots than II you become addicted !
to It. ~ ~
Fourth Get your story published
in some magazine Of general circu-
lation. If 1t Is At for picture pro-
duction you will have very little |
while to wait.
In the above there IL. of course, a
mixture Of comment on both types
OF writer's who now .tnfest the mo-
ton picture industry. The one, the
trained employee who works pur-
chased material into screen form:
the other, the free lance who writes
a story designed for screen presenta- /.
ton. They both must be considered !
when discussing the writing of mo-
ton pictures. Anyone who processes
the creative arts wants to get as
near to the form In which his crea-
ton will See the light OF public ap-
prevail as he can.
Therefore, It seems patent to me
that the future writer for motion
pictures IL going to get Nearer and
nearer to that point where his work
lakes on its dnal form and stature.