CHAPTER III

Here we do not want that mechanics of motion which labors and creaks, revealing the machine; but rather that poetry of silent action which translates itself emotionally into visualized motive and visible drama.

Parts of the Photoplay and TheirPurposes

TITLE; SYNOPSIS; CAST OF CHARACTERS; AUTHOR’S REMARKS; SCENARIO; SCENE; SCENE-PLOT.

WE find the presentation of the photoplay in manuscript differing widely from that of both fiction and stage drama, in that it represents a mechanical point of view. Whereas the entire fiction manuscript is submitted verbatim as it will appear before the reader, and the stage play manuscript contains every word as it will be heard by the audience, the photoplay manuscript contains only a few lines of captions and possibly several insertswhich alone of the actual manuscript will appear on the screen.

The first item that appears on the manuscript, the title, is coming more and more to be regarded from its literary and story-fulfilling point of view. We must ever bear it in mind, however, chiefly as a commercial asset. First, will it attract and reach the pocketbook of the hesitating public and add a drawing power to the poster displayed in front of the theater? Second, will it successfully compete with the ever-increasing number of releases brought to the attention of the exhibitor to choose for his daily or weekly change of program? Third—and in a lesser degree—will it appeal to the photoplay editor because of its promise of high-class literary or dramatic material? It is possible in nine cases out of ten to combine all these desirable features, but not without careful thought.

The synopsis of the photoplay is something more than a mere synopsis, it is an abridgment, a condensation of the scene contents. To write a perfect synopsis requires the exercise of rare literary skill. By this is not meant rhetorical flow, but the power of sucha choice and command of words that enables the writer to reduce possibly several thousand words of instructive scenario to a few hundred words of suggestive synopsis without missing a single essential point. There must be a style of telling the photoplay story that is terse, crisp and suggestive. There is a studio convention that seems to have limited the length of the synopsis to 250 words. It is unfair to make a hard-and-fast rule governing the synopsis, for the reason that most aspirants get an erroneous impression. Experience demonstrates that most clean-cut, vivid plots may be perfectly delineated in a synopsis of even less than 100 words. On the other hand, the power of the slight play made great thru pure dramatic artistry would suffer from a too brief synopsis. The refined emotional play free from all the coarser strain of exaggerated melodrama and sensational spectacle would sacrifice its finer points if it did not touch upon them and reveal their beauty in the synopsis. Employ as few words as you can to amplify and completely tell the abridged story of your play!

The synopsis is designed primarily for theconvenience of the editor or reader who takes up your manuscript with a view to its acceptability. The synopsis is its recommendation. If it does not tell him all its dramatic possibilities in a brief space, its opportunity is lost, for the editor seldom has time or inclination to peruse the scenario. Should the manuscript meet with acceptance, the synopsis is thereafter used as a guide for the director.

(EXAMPLE 4.)Showing how little side-lights are thrown on character, and shades of emotion may be revealed in the synopsis: “Frail, piquant Rosalie, with whom Malcolm is in love, is often piqued because he never comes to the point in anything.... Malcolm prefers to sit on the porch and dream of his coming deed.... Douglas is a doer of things and immediately carries out the music in his heart in appealing words.”

The cast of characters should mention individual characteristics if possible and clearly show the relationships at a glance. The cast is for the convenience of the director in computing the number of players necessary, in selecting actors for the parts according to their talents and personal characteristics.

(EXAMPLE 5.)MALCOLM FRENCH.... (Lead).... In love with Rosalie; Artist, Dreamer.ROSALIE.... (Ingénue-lead).... Piquant, impatient, frail, flirtatious.

(EXAMPLE 5.)MALCOLM FRENCH.... (Lead).... In love with Rosalie; Artist, Dreamer.

ROSALIE.... (Ingénue-lead).... Piquant, impatient, frail, flirtatious.

Characters that appear singly should be mentioned singly; those appearing in groups, or mobs, described en masse, so that the director may form at a glance a comprehensive idea of outlay in characters, costumes and possible character props.

There should be a distinct part of each photoplay manuscript known as “Author’s Remarks.” These should be brief and contain such helpful suggestions as a mention of the period of the play, its locale, where ideal locations may be found near particular studios, the need of extraordinary properties and where they might be obtained (possibly the author might have in his possession a coin, MS., or oddity), maybe the suggestion of specific actors whom you have in mind for important parts. Confine these remarks to 50 words or less.

The part of the manuscript next to appear is the scenario, or enumeration of scenes, including the respective action taking place in each. After numbering the scene, a single line is devoted to the description of the scene ofsetting. This is the only space permitted the writer for description, and one or two words are supposed to suffice unless he wishes a certain arrangement of setting that will have dramatic bearing on the development of the action.

(EXAMPLE 6.)Scene 3—FRONT OF SHOP (Window plainly lettered: J. CADWALLADER—ANTIQUE JEWELS).

Despite the fact that it is the same in name as a division of stage drama, a photoplay scene is by no means identical with a stage play scene. An apt parallel may be drawn by saying that while a stage scene is all that is seen and acted in one setting without dropping the curtain, a photoplay scene is all of the setting and action that is photographed without stopping or changing the position of the camera. If the position of the camera is changed an inch, or if we should return to the same scene a score of times, viewing it from the identical point, it must bear another scene number and be treated as a new scene. There is one exception to this rule. When a scene is broken by an insert or a close-view we “continue” the scene, for the reason that the scene is not interruptedat all in the taking, the film being cut to insert either close-view or other inserted matter.

(EXAMPLE 7.)Scene 24.—INTERIOR PAWN-BROKER’S. Broker takes necklace from case, examines it, eyeing Douglas all the while, examines jewels with jeweler’s glass, then turns, with shake of head: INSERT 4.... “I DON’T RECEIVE STOLEN GOODS. GET OUT OR I’LL CALL THE POLICE!” Scene 24—(Continued). Douglas slinks out with a scowl.

It is presupposed that every scene set down in the manuscript is absolutely necessary, and by necessary we mean essential to the cumulative advancement of the play. The contents of the scene itself consists of the writer’s process of visualizing his story thru appropriate directions for the movement of the characters and a description of the resultant action, vividly, tersely and suggestivelytold in the present tense. The same economical care should be practised in the selection of only essential material and the rejection of unessential details as one observes in the construction of the short story. While the writer is supposed to tell only what is to be done and not to presume even to suggest how, yet thereare many subtile emotions the perfect interpretation of which he may have in mind. A happy suggestion may often save the busy and hurried actor or director time, and express exactly what the writer has in mind instead of making it necessary to guess at his thoughts.

As the writer plans the effect to be produced by his completed play, so he must keep in mind a desired effect to be accomplished by each scene. The length of a scene is determined precisely by it attaining the single effect for which it was created. Thus a scene has a unity of its own which is comparable with that of the complete play: Introduction, or establishment of relationship sufficient for the audience to grasp the significance of the action; rising development; pronounced climax, which is the signal for its termination—for a scene never has a denouément. The succeeding scene always carries the play a step forward or higher.

(EXAMPLE 8.)Scene 52—ON THE BALCONY. Malcolm singing with his whole soul in his expression. Scene 53—JEWEL ROOM. Douglas still kneeling before the cabinet, suddenly pauses, his face contorted with painful memory.

Much confusion would be eliminated, and clearness and precision affected, if there were a change in terminology calling scenes “acts,” for they are distinct units of action and definite and complete acts in the development of the play. The scene, as its etymology indicates, has primarily to do with the scenery or setting. The same scene is repeated over and over again, tho it always bears a new number. The same act is never repeated (except in facsimile in the vision scene), so that the consecutive numbering of acts from beginning to end of play would have a specific value, just as the consecutive numbering of repeated scenes is decidedly confusing.

SPECIAL NOTE.—In Part IV of this volume will be found one complete photoplay, embodying all points discussed in these chapters, and from which, in the main, illustrative examples have been chosen. A Glossary contains a modified definition of all technical terms employed.

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