Writing the Photoplay

Renew：Part 44
Author：J. Berg Esenwein and Arthur Leeds
Update：08-15-2023
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Chapter List

Chapter 1
Chapter XI), as this part of the script will show the producer at a glance exactly what different sets are required to stage the picture, and how many scenes are "done" in each set. It is simply a little help extended to a busy man; for in particular it enables the editor to understand on first looking over your script how the scenes follow up and fit in with the action as described in the synopsis. At the same time, it is really a supplement to the ma.n.u.script, and our experience has been that it is more appreciated if written upon a separate sheet, and included with the ma.n.u.script proper. Naturally, the scene-plot is not to be included in scripts sent to companies that ask for "synopsis only."
Chapter XI.]
Chapter 4
Chapter 5
Chapter 6
Chapter XIII to the end, takes up the details of instruction and information in such a way as to supplement the main points before discussed--minor yet really important points which are sure to be of value to the photoplaywright in his work of turning out a script that will need little or no changing on the part of the director or the staff-writer.
Chapter 8
Chapter 9
Chapter XII.
Chapter 11
Chapter 12
Chapter VI regarding the writing of your scene-number at 0 (or 0 and 1, if there are two figures) on the scale-bar of your typewriter. In this way, if 5 is your left marginal stop, you will have almost a half-inch s.p.a.ce between the number and the description of the scene. Bridge this s.p.a.ce with the hyphen or short-dash character, and you will be sure that the director"s attention is quickly drawn to each change of scene.
Chapter 14
Chapter III, each of the sixteen tiny pictures that make up a foot of film is termed a "frame," and, the camera being masked as described, the light is permitted to act upon only one frame at a time. But within this limit of one inch by three-quarters of an inch another mask may be used, cut in any form that the producer may desire. It may be a key-hole mask, as in the foregoing example; it may be simply circular, to suggest that the scene is viewed through a telescope; or a mask with hair-line bars, which will suggest that you are looking through a window. We examined a script a short while ago in which a travelling salesman for an optical goods house amused himself in the interval before train time by watching through a pair of binoculars the street below and the buildings opposite his hotel window. The scene enacted in an office of a building not far away led him to believe that a murder was being committed, and the action which followed was extremely funny. The scene in the office, watched by the "drummer" through the binoculars, appeared on the screen as though viewed through a large and very round figure eight, lying on its side, thus: [symbol: figure-eight].
Chapter XX with the one-reel scenario reproduced in Chapter V.]
Chapter VIII: No matter what the length of the story, today, it is always run through--in all but the very smallest and most out-of-the-way theatres and towns respectively--without interruption, because two projecting machines are used, and another reel is started as soon as one finishes, there being no perceptible break in the action on the screen. For this reason, if you are writing a five-reel feature-story with, say, forty scenes to a reel, you start with Scene 1 and number straight through to Scene 200. There should be a series of rising climaxes, but no special forward-looking climax exactly at the end of each thousand feet.
Chapter 18
Chapter 19
Chapter X. It takes the form of the speech of one of the characters, being written in quotation marks. This device of throwing on the screen the supposed words of a certain character at the moment of action enables the photoplaywright to tell all that is necessary much better than he could by a long statement of what is going on--a point that is well worth remembering. Directors are now using the explanatory cut-in leader as much as possible, to the exclusion of the ordinary one which merely states facts. This does not mean that they are trying to subst.i.tute "dialogue" leaders, but that wherever the newer form can be used to advantage it is less objected to by the audience than is the bald statement-sub-t.i.tle--doubtless because it is in line with the illusion of reality in using the player"s words, and is not merely an insertion by the director or the author, as other inserts evidently are.
Chapter XI) will give a good idea of s.p.a.ce-limitations in staging the picture.
Chapter X, you will be able to see just what you can, and can not, write into a picture so that it will register. If it does not register, it might better not have been written. As Mr. Sargent once said, "Pretty nearly everything is possible to the camera, but not all things are practicable." In the same article, he gave a practical ill.u.s.tration of camera limitation that should guide photoplay authors in determining what not to write:
Chapter VIII.]
Chapter 24
Chapter VIII.]
Chapter 26
Chapter XVI regarding the introduction of crime into film stories, we would impress upon the photoplaywright the necessity for always having a fully sufficient, though not necessarily a morally justifiable, motive for any crime that is introduced in a story; besides, the introduction of a crime must be necessary to the action and not a mere spectacular scene. But remember that it is not sufficient to avoid "crime without motive;"
Chapter XIX.]
Chapter XVI shows, it is no longer serviceable for photoplay purposes.
Chapter 30
Chapter 31
Chapter 32
Chapter 33
Chapter 34
Chapter 35
Chapter III.]
Chapter 37
Chapter 38
Chapter 39
Chapter 40
Chapter 41
Chapter 42
Chapter XIV.]
Chapter 44