Will it pa.s.s the Censors?
Even if it does, will it offend even one spectator?
Do the synopsis and scenario match properly, or have I hinted at action in my synopsis which is not adequately worked out in the continuity? On the other hand, does the synopsis tell everything that happens in the scenario?
Is it impracticable for the camera?
Have I introduced scenes that would cost too much to produce?
Is the cast too small?
Is it too large?
Finally, some anonymous writer has said: "Don"t let go of your script until you are positive that you have made every detail clear, that your layout of scenes has told the story in self-explanatory action, and that you have answered every prospective "Why?""
CHAPTER XI
THE SCENE-PLOT AND ITS PURPOSE
It has been said in an earlier chapter that it is optional with the writer whether to submit a scene-plot with his complete script; nevertheless, we believe that it is advisable.
_1. Why Prepare a Scene-Plot_
The reason is a plain one: Until the writer has become known as a professional, it is the spirit in which the scene-plot is sent rather than its actual value to either editor or director that counts in his favor. It indicates his willingness to help both these busy men so far as lies in his power; further, it shows that he is willing to do at the beginning of his career that which he would never for a moment think of leaving undone after his complete scripts are once in demand; but, most of all, it shows that he has enough confidence in his work to believe that--provided the story is acceptable--it will be produced essentially as he has planned it.
Naturally, it often happens that the director adds scenes to those planned by the author, and even oftener some of the author"s scenes are cut out; in either case, however, so much of the scene-plot as remains unchanged will have its value. The author may feel that the director"s alterations are unwarranted, but that functionary rarely makes additions or cuts unless he works an improvement.
The writer sends the scene-plot along so that, in case no drastic changes are necessary, the director may have all ready his list of scenes arranged in proper chronological order. From these he will prepare his regular scene-plot diagram, which the carpenters and mechanics will use in building the scenery, and by which the stage hands and property men will be guided in setting the scenes and placing the furniture and other "props."
_2. The Scene-Plot Explained_
Let us now explain the difference between the _only kind of scene-plot with which the photoplaywright is concerned_ and that which the director means when he uses the same term.
Practically all directors have had experience as theatrical producers, or stage directors, or stage managers, before entering the moving-picture field. What is known as a scene-plot in regular theatrical work is a list of the various scenes, or sets, showing where the different "hanging pieces" (drops, cut-drops, fog drops, foliage, fancy, kitchen, or other borders) are hung, and how all the various pieces of scenery that are handled on the floor of the stage, as wood and rock wings, "set" pieces, "flats," and "runs," are to be arranged or set. Almost every stage carpenter has, in addition to this list, a supply of printed diagrams showing the exact position on the stage of everything handled by the "grips," or scene-shifters, as well as the proper arrangement on the set of the furniture and larger props. Both the list and the diagram are usually printed on one sheet, and this, known as the scene-plot, is sent ahead to the stage managers of the theatres in the next towns to be played. At the same time, a "property plot," being simply a list, act by act, of the various props not carried by the company, is sent to the property man of the house.
Now, the princ.i.p.al difference between the regular and the moving-picture stage is that, in making photoplays, _natural_ exteriors are used, in almost every case. Consequently, landscape and other exterior drops are almost unknown in moving-picture work. As actual drops they _are_ unknown; when such painted backgrounds are used, they are usually painted on canvas or a sort of heavy cardboard, which is stretched over or tacked to a solid framework. So that even in making out his working scene-plot diagram, a director finds that there are many technical terms which he constantly used in his theatrical work but seldom or never employs in his capacity of photoplay producer. Nevertheless, he still uses a scene-plot diagram, drawing it himself on regular printed forms.
As may be gathered from the foregoing, the scene-plot diagram for a photoplay setting is entirely different from the diagram of the setting for a scene on the regular stage. The former shows, printed, the comparative shape and dimensions of the "stage," and gives, in figures, the depth of the stage and the distance from the camera to the "working line," below which (toward the camera) an actor must not step if he wishes his feet, therefore his whole body, to show in the picture.
To say "the depth of the stage" is to say that the printed diagram is marked off in a scale of feet from the camera"s focus. The figures at the right side of the sheet indicate the distance in feet from the camera, while those at the left show the width of the field, or range of the camera lens, at different distances. Only that portion of each piece of furniture which is marked a solid black in the diagram is supposed to show in the picture. Thus half of a table may be "in" and half "out" of a picture, or scene. This diagram-form is made out by the director for virtually every set that shows an interior scene, and he frequently draws one also for exteriors, where a building, or even what appears in the picture to be a complete, permanent structure, is set up by the carpenters and mechanics out of doors. Such a scene-plot diagram is reproduced at the end of this chapter.
The scene-plot which you as a photoplay author are called upon to prepare, however, is simply a list of the scenes used in working out your scenario. Here you must distinguish between "scene" and "set" (or setting) in photoplay writing. We know that the scene is changed every time that the camera is moved. One scene or ten may be taken, or "done," in the same set--that is, a half-dozen scenes might be taken successively in a business office without changing the set at all.
Therefore, although you have two hundred _scenes_ in your five-reel scenario, only twenty _sets_ may be needed in which to play them.
_3. How Scenes and Sets Are Photographed_
We know that a scene is ended when the cameraman stops "grinding;" we understand, also, that a change of setting is brought about by moving the camera, even though, in the case of taking two exterior scenes, the camera is only moved enough to take in a new "stage" three or four feet to either side of that shown in the last scene.
The word "scene" seems to be a stumbling block for some beginners.
Take for example the setting showing the bedroom in the ranch house, as listed in the scene-plot of "Without Reward," and given in this chapter. In doing the five scenes that take place in that room, Scene 4 would be taken, the camera would be stopped, and, in some studios, a large white card with the figure "9" painted on it in black would be held a few feet in front of the lens. About a foot of film would then be exposed, which would thus register the number _of the next scene_ to be taken in the same set.[21] Then Scene 9 would be done. This scene being ended, the numbering-of-the-scene process would be repeated, the next scene being number 17. Then, in turn, would come scenes 28 and 30--or, rather, although listed on the scene-plot as two scenes, 28 and 30 would really be photographed as one unbroken scene, for, as a glance at the scene-plot will show, Scene 29 is a bust scene, which means that the film would be cut at the proper place after the scene had been taken, thus dividing it into two scenes, separated by Scene 29 in the finished photoplay.
[Footnote 21: Different studios have different methods for recording the number of the next scene to be taken. Some use the numbered card system--as explained in the body of the text--in which a stand, or tripod, having a rack on top with cards numbered from 1 to 50, and other cards marked "Retake," etc., is placed on the working line between each scene. In other studios the film itself is marked with the number of the scene, just as one writes the name of a picture on the film when using an "Autographic Kodak" camera.]
[Ill.u.s.tration: The Reception of King Robert of Sicily by His Brother, the Pope--a Historical Photoplay Produced in the Essanay Studio, Chicago]
[Ill.u.s.tration: Same Set, with Players Getting Ready for Action. The Three Poplar Trees are Real, while the Rest of the Background is a Painted Drop]
Now, since Scene 30 is the last to be taken in the bedroom setting, let us suppose that the setting showing the interior of the sheriff"s office is standing on the studio floor right next to the bedroom set.
The camera is merely shifted over and set up as required to take the two scenes (24 and 26) done successively in that set, and the same process is gone through that was followed in making the five scenes in the bedroom.
This, then, is the one thing that the photoplaywright must remember: All the _scenes_ that are to take place in one _setting_ or location are made before the camera is moved an inch, and, in one way or another, according to the particular studio, the film is marked after each scene so as to show the number of the scene coming next. The reason is plain: because scenes 28 and 30 (which are subsequently divided by the bust picture) and scenes 4, 9 and 17, are all done in the same set, if the camera were not stopped and the film marked before each new scene with the number of that scene, the operators in the cutting room, where the different parts of the film are a.s.sembled, would--unless guided by the director--mistake _all_ that part of the film showing the bedroom setting for one unbroken scene.
_4. How Scene-Plots Are Handled by Directors_
The scene-plot for the writer"s story, "Without Reward," just referred to, follows:
Exterior of Sheriff"s office, main street of town, 1, 23.
Dr. Turner"s office, 2.
Exterior, Freeman and Doctor riding to ranch, 3.
Bedroom in ranch house, 4, 9, 17, 28, 30.
Corner of ranch house, looking toward stable, 5, 7, 16, 22, 27, 31.
Exterior, supposedly at distance from, but within sight of, Ranch, 6.
Kitchen of ranch house, 8, 10, 32.
At door of stable, 11.
Foothill trail, 12.
Rocky part of hillside, showing entrance to cave in side of cliff, 13, 15.
Interior of cave, 14.
Exterior, Steve riding to town, 18.
Road on outskirts of town, 19.