[1] The photoplay has come to have a language of its own, which we must observe even when, as in this case, we lose somewhat in finer word-values. In their lists of releases (photoplays released or made available for public presentation at a specified date), manufacturers usually classify as "comedy" subjects all photoplays which are without any serious dramatic moments or situations. Thus, in the lists of releases published in the various trade journals, what are obviously "comedy-dramas"—some of them, such as certain of the Douglas Fairbanks productions, even bordering on farce—are classed as "dramatic" subjects, and this, apparently, because they are strongly dramatic in certain scenes. Thus, again, genuine farce (as distinguished from "slap-stick" comedy), social comedy, burlesque and extravaganza are all classed under the head of "comedy," just as comedy-drama, tragedy, melodrama, and historical plays are classed as "dramatic." These two broad classifications will be used throughout this work except where finer distinctions are needed in order to treat varieties of subjects. The regular spoken play naturally invites these distinctions more than does the photoplay, at least at present. In preparing your manuscript, however, you will be taught to follow the accepted form among photoplaywrights and, in writing the synopsis, after the title, specify the class of subject, as "dramatic photoplay," "farce," "comedy-drama," "historical drama," "society drama," etc.
[2] "What Chance Has the 'Outside' Writer?" by Arthur Leeds, Moving Picture Stories, October 5, 1917.
[6] A discussion of the present-day requirement of "synopsis only," as announced by some companies, will be found in Chapter VIII.
[7] This story was originally entitled "The Love That Leads Upward." After being accepted by the Universal, for production by the Nestor Company, the title was changed to meet with some necessary changes in the scenario. The scene-plot for this story is reproduced in Chapter XI.
[11] The student is advised to read The Plot of the Short Story, Henry Albert Phillips; and the chapters on plot in the following treatises: The Short Story, Evelyn May Albright; The Contemporary Short Story, Harry T. Baker; A Handbook on Story Writing, Blanche Colton Williams; Short Stories in the Making, Robert Wilson Neal; The Art of Story Writing, Esenwein and Chambers; and Writing the Short-Story, J. Berg Esenwein.
[13] Louis Reeves Harrison, in The Moving Picture World.
[14] The scientific inaccuracy of this statement need not now be considered.
[15] Meaning scenes 9 and 11. Of course, you can only make this arrangement after your scenario has been blocked out, scene by scene.
[16] Herbert Case Hoagland: How to Write a Photoplay.
[17] Epes Winthrop Sargent, The Technique of the Photoplay.
[18] Compare the Vitagraph-made working scenario in Chapter XX with the one-reel scenario reproduced in Chapter V.
[19] See Homer Croy's How Motion Pictures Are Made.
[20] Note the introduction of occasional bits of dialogue in the "action" portion of the O. Henry story in Chapter XX.
[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.
[22] "Editing a Motion Picture," by Frank E. Woods, in The Moving Picture World.
[23] Epes Winthrop Sargent, Technique of the Photoplay.
[24] "Company," as here used, refers to the group of players working under a certain director, several such groups making up the stock company maintained by the film manufacturing concern.
[35] Used by permission. Copyright, 1918, by the Vitagraph Company of America. All rights reserved.
[36] In Mr. Van Buren Powell's new book, The Photoplay Synopsis, published uniform with this volume in "The Writer's Library," he explains why this title was changed.
[37] It will be observed that Mr. Powell uses now and then slightly different methods of type-arrangement and nomenclature from those used by Mr. Leeds. These are all unimportant variations.
[38] Bill is the interpolated character, whose purpose will be seen in script.
[39] Nothing important happens here, but the scene is devised to gain sympathy for the girl at once.
[40] Continuing atmosphere of sympathy for Florence, and beginning story in leisurely manner in harmony with its lack of dramatic opening.
[41] Ella definitely introduced; relationship of the girls established. Note characterization in leader.
[42] Note planting of tenement name in leader—bringing forecast of atmosphere.
[43] Three scenes contain "human touch." Note the "close-up" as differing from "bust" used later on.
[45] We are handling O. Henry's incident now, and must use his leader-material, so the next situation must be broken into various "close-up" views to prevent having too long a scene and too irksome a run of spoken matter in one scene.
[46] Contrast to Blinker; also forecasts by association of ideas the coming together of characters; hints at plot.
[47] The close of one incident and beginning of another, no leader being required.
[48] This scene-sequence develops character, with contrast of the two leads; also registers that Florence's future conduct is influenced by Ella—not voluntary.
[49] Note the progressive series of leaders to emphasize Florence's characteristic morality.
[50] The boat- and amusement-park scenes can only be lightly sketched in, as much depends on the director and his locations, so skeleton action is given.
[51] The technical "interpose into" and its resultant "back into" are technical devices to indicate the merging of one scene into another—and the effect here noted, as well as the following one, while very significant if well done, must not be taken as models—they were specially planned with the knowledge that a director could and would secure them adequately. See definition of "Interpose," Chapter III.
[52] Here Bill is not introduced by leader, but is allowed to characterize himself in action.
[53] It is, of course, clear to the spectators that he is not telling the truth, though not so to Florence.
[54] Compare the present scene and the one following, in respect to varying treatment of conveyed information. Here the girl merely indicates what she intends to do, and her statement of the fact is not given as dialogue-in-scene, since the next scene will make clear her unregistered words; but see how dialogue-in-scene is employed in the scene that comes next, emphasizing in the briefest way just what the player feels by what she thinks and unconsciously forms with her lips.
[55] Sketchy, because in this case, "O. Henry" leaders are the important thing—and they give sufficient clue to the action required.
[56] Sketchy, as this sort of material has to depend on boat, crowd, director, etc. Continuity only required.
[57] Necessary departure from O. Henry, to build up Blinker's good qualities, and achieve a preparation for new finish.
[58] Purposely uncompleted to give suspense strength to hold over into next—slowing—episode.
[59] Observe how girl's fate is withheld till disposition of less important characters is shown.
[60] This is the script before it reached production. If you see the picture you will no doubt observe directorial alterations that came up during production. In that case you will have valuable experience in seeing the difference between the original—the script-writer's conception—and the directorial interpretation.
