Writing the Photoplay Part 19

Same road, farther on, 20.

Exterior of Dr. Turner's house, 21.

Interior of Sheriff's office, 24, 26.

Rear of Sheriff's office, showing corner of building and side wall, 25.

Bust of Jess's right hand, holding photograph, 29.

Here, it will be seen, there are four interior and thirteen exterior sets, or backgrounds. Scene 14, the interior of the cave, was counted as an exterior when giving the number of interior and exterior sets following the t.i.tle in writing the synopsis. This was because, although in the picture it would appear to be taken inside a rocky cave, the chances are that it would really be made in some recess of a rocky cliff-side, where there would be enough light to make the photography distinct, without allowing the rays of the sun to cast any shadows that would make it seem unnatural, since the cave was supposedly dimly illumined from the daylight outside. At any rate, it would not be a studio setting--whether the stage was an indoor or an open-air one--so it would be cla.s.sed as an exterior.

After the cameraman had taken Scene 3, which shows Freeman and the Doctor riding to the ranch, he could probably find a suitable background for the scene showing Steve riding toward the town, by merely turning his camera half way around. Thus Scene 18 might be taken after Scene 3; after which, by again moving the camera only a short distance, a suitable spot might be found in which to take Scene 12. Scenes 19 and 20 were intended to be taken on a fairly well-kept piece of roadway, supposedly on the outskirts of the town, and it might be necessary to travel some distance to find the desired spot.

So it will be seen that the order in which the scenes are written has nothing to do with the order in which they will be taken. Scene 29, so called, is really a part of Scene 28, being simply a bust of the girl's hand holding a photograph. The words written on the back of this picture have an important bearing on the action which follows; therefore it is important that they should be read by the spectators.

So, the much enlarged bust picture is introduced, in which, as has been explained in the preceding chapter, the hand with the photograph is held so close to the camera that when the picture is shown on the screen the writing is easily read. In writing out the scene-plot, never omit mentioning the bust picture, if one is used, and give it a number as if it were a distinct interior or exterior, but when giving the total number of interior and total number of exterior settings (which follows your t.i.tle in writing the synopsis), do not include it as being either one or the other. It is not even necessary to say "One bust picture." On the other hand, close-ups are regarded as regular interior or exterior scenes, and must be counted as such and so mentioned when giving the number of scenes, as described.

_5. How the Director Provides the Sets_

The director having gone over the author's scene-plot to aid him in preparing his own diagrams of the various settings, it is merely necessary, so far as the exteriors are concerned, to go out himself, or send out his a.s.sistant, to pick the natural settings required. In fact, in most modern studios, an elaborate card index system of listing locations, sometimes situated miles from the studio, is maintained. Unless an exterior scene calls for a log cabin, church front, or some building of special construction other than such real buildings as may be easily found in the neighborhood of, or within a reasonably short distance from, the producing plant, he does not have to draw a special diagram-plot for the scene. Even when a new building is needed, it is only necessary to instruct the carpenters to build, say, a log cabin of a certain size on the location he points out, with a door, windows, etc., as determined by him for the requirements of the scene.

With the interior scenes it is different. The sets for these are planned by the director to obtain the very best stage- and scenic effects possible from the standpoints of architecture, lighting, and arrangement of properties.

_6. The Director_

A first-cla.s.s company will employ from four to ten, or even twelve, directors. Frequently a new director is recruited from among the actors in the stock company. "Director" and "producer" mean practically the same thing in photoplay parlance; a man will _direct_ the acting of the players while engaged in _producing_ a picture. As a rule, if a man is known as a "dramatic" director, he adheres to that kind of work, just as a first-cla.s.s comedy man will seldom touch any other kind of production.

There is always a certain amount of friendly compet.i.tion among the directors in any studio, since they constantly vie with each other in obtaining the most artistic settings for the various scenes of their respective stories.

_7. Writing the Scene-Plot_

The actual writing of the scene-plot should come after the scenario has been completed. One way of doing it is to go over the scenario and write out the various settings, and then give the numbers of the scenes played in each. This, however, is a very roundabout and tiresome method. The best and simplest way is to keep a slip of paper, similar to the one on which you make note of the characters when writing the cast, and jot down the settings as you come to them, adding the number of the scene. In this way as you work on the scenario you have before you a list of every setting used, and can see at a glance what scenes are played in each different setting. Then when your scenario is finished you have simply to slip a fresh sheet of paper into your typewriter and make a neat copy of the complete scene-plot. As a safeguard, it is better, before recopying, to check up so as to make sure that you have every scene accounted for, by counting from "one" to whatever may be the number of your last scene.

In writing the scene-plot it is only necessary to give a list of the exterior and the interior settings; at the same time, it is sometimes advisable, especially in the case of exterior scenes, to add a few words that will help the director to understand just what the setting is intended to be without having to refer to the scenario, where such details would naturally appear.

The following example is selected from the scene-plot of "Sun, Sand and Solitude," a scene-plot diagram from which we reproduce on a succeeding page. The theme of this story is the discontent of a young wife, caused by seeing, month in and month out, the sun-baked stretches of the Arizona desert.

Exterior, showing desert, 17. For this scene, select an extremely barren and unpleasing bit of desert landscape.

Another exterior, 24. A stretch of desert landscape; if anything, more barren and solitary than 17.

Another exterior, 28. While still typical desert landscape, it is much less barren and desolate than either 17 or 24.

There is no law of writing, and no studio rule, to compel you to do any of these little things to help a busy editor or an earnest director, but, just because they are busy men, why not try to help them? So long as the "help" is not overdone, and is intelligent, clear, and concise, it is sure to help your script toward an acceptance.

[Ill.u.s.tration: [diagram]]

The scene-plot diagram reproduced on the opposite page is the author's original diagram for the "Living room of ranch house" setting in his photoplay, "Sun, Sand and Solitude."

With a little study of this diagram the reader will be able to judge just how the scene would appear in the picture on the screen. Of course, it is neither customary nor necessary to send such a diagram as this when you are submitting your script. There is a possibility, however, that the producer might use the author's diagram as a guide in preparing that particular setting, should the photoplaywright send one similar to the one here reproduced.

The dotted lines show the dimensions of the enlarged stage for special very large sets. Since the line _E_ represents the background of this enlarged stage, it will be seen that it is almost twice as wide as the background for the interior setting here shown. By "background" is meant the s.p.a.ce on the diagram between _B_ and _D_, not the "desert backing," which, if the scene were taken inside the studio, would be simply a painted background, taking the place of the "drop" which would be used on the regular stage. It will be noticed that, although there are a couple of steps leading to the veranda, there is only one post indicated on the diagram. This, of course, is because a post at the other side of the steps is unnecessary, that point being "masked"

by the piece of scenery representing the back wall of the room. The open door shows a portion of the veranda railing and the post on the left of the steps. As the scenario shows, Dean is carried up these steps, and into the bedroom on the left, after he has been thrown from his horse. To the right of the door, and looking out upon the veranda, is a bay window, forming a window-seat. Attention is called to the fact that what is so frequently called a "bay window"

is, properly, a "bow window," the three sides of a bay window being at right angles to each other. The sideboard at the right of the stage is absolutely essential to the climax of the plot, though only half of it--enough to show the upper left-hand drawer distinctly--need appear in the picture.

CHAPTER XII

THE USE AND ABUSE OF LEADERS, LETTERS AND OTHER INSERTS

A full reel contains approximately one thousand feet of film. The ordinary five-reel feature is therefore somewhat less than five thousand feet in length. With far less stress laid upon the admonition to "Make your leaders and inserts brief" than formerly, the writer still must keep in mind the fact that the major portion of a five-thousand-foot film must be devoted to _scenes_--to action which the spectator merely watches--and that the inserts, of whatever nature, must never be allowed to crowd this action-part of the picture.

At the same time, any story with the average amount of plot-complication can be told--the action-portion, that is, can be fully worked out--in from 3,800 to slightly over 4,000 feet; which means that something less than one thousand feet of film may be, and frequently is, given up to the various inserts.

This matter of footage is one which demands the attention of both director and cameraman. On the side of the motion-picture camera is an indicator, by which is computed the exact number of feet exposed each time the cameraman turns the handle. At the conclusion of each scene the director cries "Cut!" The cameraman stops turning, looks at the indicator, and announces "Seventy-five!" or whatever the number of feet used. In some cases it is necessary to take the scene again, altering the "business" slightly or hurrying the action a little to reduce the footage consumed in a certain scene. A point worth noting is that the director can seldom figure in advance the exact amount of footage a certain scene will require--even after it has been rehea.r.s.ed and timed several times; whereas he _can_ always tell the exact number of feet he must give to each of the various inserts, because "insert footage" is reckoned in advance, a certain number of feet being allowed for each word.

Photoplay audiences have gradually been educated up to an appreciation of sub-t.i.tles, or leaders, when they are all that they ought to be (a point which we shall presently discuss); and less attention is paid to the rather selfish cry of the illiterates in the audience who insist that "they came to look at pictures, and not to read a book." As one of the most prominent theatre managers in San Francisco recently said in the _Motion Picture News_: "In many pictures the big scene is 'put over' by a sub-t.i.tle. The wording of a sub-t.i.tle in a big situation can make or break a picture, and it is therefore false economy to allow this work to be done by any person other than one with real literary talent, who is thoroughly conversant with the art of expression."

We have already pointed out that in most studios the work of writing leaders and inserts is now attended to by one specialist--the "sub-t.i.tle editor," as he is usually called. Just as much care is put into the preparation of everything in the nature of an insert as attends the making of the scenes of the picture.

_1. Why Inserts Are Used_

Before the advent of pictures of five and more reels, with their consequent greater room for inserted matter in addition to the necessary scenes, the general opinion was that the perfect photoplay had no leaders and needed none. Certainly, such a picture would be ideal if a photoplay were to be a motion picture and nothing more than that, since it would be so perfectly acted and so self-explanatory that no inserted explanation of any kind would be necessary.

Practically, however, the only photoplay that can be made without the aid of at least a few leaders or other inserts--that is, that can be nothing but pictured action--is one on the order of the Vitagraph Company's one-reel release of several years ago, "Jealousy," in which the entire picture was made in a single set. In it Miss Florence Turner was the only actor, telling the whole story clearly, coherently, and with strong dramatic force, and making every phase of the plot clear, the only outside a.s.sistance she received being the momentary appearance of two other hands than her own--a man's and a woman's--through the curtains covering the doorway. This, of course, was pure pantomime, and most artistically performed; the woman's every thought, so to say, was portrayed, and understood by the spectator as if the play were accompanied by a printed synopsis of the story.

But it would seem to be impossible to produce a photoplay having changes of scene, plot complications, from six to a dozen or more characters, and lapses of action-time between the different scenes, without employing any inserts. Even in a small group of scenes it is often extremely difficult to make a certain important point in the action "register"--that is, show the spectator what is in the minds of the characters as the scene is worked out. In such a case, even though the scenario as planned by the author does not contain an insert at that point, the director may deem it advisable to introduce one to make the situation clear. The use of inserts, then, is necessary.

_2. The Over-Use of Inserts_

The over-use of them, on the contrary, is not only entirely unnecessary but a positive drawback to the director, and frequently one of the reasons why an unavailable ma.n.u.script is returned to the writer. A good rule is to employ inserts only when it is impossible to progress and still make every point of your plot clear and effective without their aid. This need for an insert of some sort at a given point may be inherent in the material and therefore desirable as well as needful, but do not admit such a necessity without serious thought.

Ingenuity accomplishes wonders. Remember, the use of a leader is in most cases a frank confession that you are incapable of "putting over"

a point in the development of your plot solely by the action in the scenes--you must call in outside a.s.sistance, as it were. A scenario written by a novice often contains many leaders which he considers necessary to tell his story, yet the same plot in the hands of a trained writer could be made into a photoplay with many less sub-t.i.tles. Like fire, the leader is a good servant but a bad master.

Once you discover that you are getting into the habit of introducing an explanatory insert before almost every scene, it is time to remodel your idea of what const.i.tutes proper technique.

But when a leader can be used to advantage, do not hesitate to insert it--it has a distinct value and that value must not be despised. True, _any_ leader halts the action because it destroys the illusion to some extent, and diverts the attention from the picture to the explanatory words. But it is also true that it puts the mind of the spectator in a mood to accept and appreciate the action which is to follow.

Therefore, use the leader, or any other insert--_discreetly_.

We have repeatedly advised the would-be photoplaywright to study the pictures as he sees them on the screen, and to gain therefrom a knowledge of what is required by the manufacturers. At this point, however, we would warn writers _not_ to copy the example of certain companies whose pictures are nearly always overloaded with sub-t.i.tles which appear to have been introduced for no other reason than to afford the sub-t.i.tle editor an opportunity to do some clever writing.

Many critics have a.s.serted--not entirely without cause--that the type of photoplay comedy-dramas originated by Douglas Fairbanks are less than one-half action, the rest being merely clever but often unessential sub-t.i.tling. While this criticism is rather severe, it cannot be denied that certain stories of the kind mentioned, featuring this star and others, have been far too dependent for their appeal to the spectator upon the humorous, epigrammatic sayings of the characters. True, it is usually after leaving the theatre, and reviewing the picture in retrospect, that the spectator realizes that the accent has been too definitely on the sub-t.i.tling and not enough upon the action, but when he does realize it, he feels disappointed--and watches the next release featuring the same star to see if it will be repeated. More than ever before, in this day of feature photoplays, there is a constant opportunity to use leaders and other inserts with telling effect. The point simply is that with more leeway than the writer has ever been given before, you should learn to take advantage of every s.h.i.+ning opportunity to work in a really effective sub-t.i.tle, while constantly guarding against the temptation to introduce one on the slightest excuse.

Let such inserts as you do use be phrased in clear, terse language.

The old example in the schoolbook, that it is simpler and therefore better to say, "A leather ap.r.o.n" than, "An ap.r.o.n of leather," holds good with inserts, and especially leaders. Short, clean-cut sentences strike the eye and penetrate the mind the most quickly and effectively. If you doubt this, look at a good advertis.e.m.e.nt. So do not only dispense with every needless insert, but cut out from each insert every needless word.