Show Movies in the Making The liThe Working Script By Dy H. H M. M HORKHEIMER President and General Manager Balboa Company I f I I I Thought Is th the genesis of or every t photoplay pho topIA n nit it Is of oC everything else Re- Re Reducing Re He the tho thought to paper r In succinct form tonn so ro o that tho the director players player and participants participant can produce It It that that IM is enact It before tho the oom camera constitutes camera constitutes the working script It Its preparation re requires rn re- quires some omo tam familiarity lUa r It with scenario I technique Almost Almo t t ver r- r studio of DC consequence nowadays maintains a n staff Bentt of ot writers writer wh whose business it 1 t I. I to provide pro the thc material ma ma- to bo ho produced d- d Few Jew If IC any depend on contributions contribution from Crom tho out out- side aide thou though h all an read whatever cr Is 18 submitted sub Hub milted and buy If It anything suited to their needs Is la offered Writing for Cor the camera ha hb come to tobe tobo tobo bo be r recognized nl as Uti a R separate branch of oC Rutho authorship aa as Individual as doing tic fic tion plays play or novels noI A As A. In all an other lines linos the specialist I has baa th the b beat v t chance to succeed l. l S Scenario narlo writing must be ho hoIt It learned and tho the studio Is la the tho only place where the n necessary experience can enn be gained Hence the hopI hopelessness of ot the tho so 10 called outsider r developing a n pro pro- du cable script scrip t. t He lIe may have bo a ator story thAt Hint can be filmed 1 and In rare In Instance Instances In In- stances stance h he may chance to cast aut It In Inthe Inthe inthe the proper form but not nol often otten Therefore producing com companies 1 le find It JW pays to employ f experienced writers writer nt to develop their own meaning the technical scene ceno by scene Kne form with subtitles subtitle 3 Of Ot late lall experts oX In Inthis Inthis Inthis this particular line Une of ot work have developed devel devel- o They kno know the cameras camera por possibilities sl- sl I. I and limitations their studios studio policy bailey with regard rd to productions a as aswell well w a as a. the tho actors actor and locations location n. n available avail anti able aW and they write their stories to conform Corm to them While I t would not J like tn to discourage lilT guy aspiring h neither do I want ant to h hold d out any fal false Bat to succeed d In this new nw I brunch branch of at letters letter require m more than uan a 4 amere amere mere mero desire to writ rU for the K screen no mutter matter bo how bow touch J you may need n u the money mony 11 some M education 1 is I. necessary Au B A c Aary of ot alleged ay schools school to the contrary not not- and d our 3 tr spare time will III hardly batty suffice Script u it a abard hard bard cri triad J. J For every enry a d fU llA Idea Ad U M n. n needed to t b tn tOt and aAd It should be ho a u. u theme mf 0 Ith th Ih these e In mind th the pt plot t m moat t b be der developed d and characters character td with which la to work york It out oat It 1 U i. Important to keep kp upper upper- r. r moot met In Tour rated nits WI always alway to 18 coattails t the action around nd u. u the leading character char ebar meter acter After y hv de M j 4 d- d dot sit ot your OW story teo gained a an intimate knowledge o of th the peeps of at y roar phy sad know what 1 Is r going to Ie happen the the- rest rut 1 Is tNt Mitt as It may sound the t th hUMn e t of f c U ia hart hard work wark wank-tittle wank ben rt ot of actual labor It II M w a n r tt-r e t at f flute tbt and Ad andAll t All Uie th 0 time twee sea ran clAN clae yr nr eyes M IU and cS e every o me moss ye your eer r character make mAk you harrat ba Qt a firm fife grip mp MI en t the tory story Nat Hut If Ie yu yE A tk all aU that U Is needed I th then th-m n t 1 b ba to a the lb C action cr or picture nu tat I you see Dont Don't overlook o the subtitles I The beU better r companies are arc paying paIns more mora I and more moro attention to them Heart Inter interest U lIS t tho e strongest tronG appeal 1 In any picture Non on has hu ever cr failed tailed because of ot It Every writer should strive trl for tor it It for Cor It 1 Is I. far more moro popular than thun the unusual or bizarre It clings cling in memory memory- Studio experience Is la not necessary 80 to Inject heart Interest Into a n nB B story tOr Almost every t r person n Jn ha has at lest least one such n a tale If It you do put rut It on paper as you would t tell lIlt It to a 1 friend regardless regard regard- less of or scenario form and If It It still un seems m worth filming submit It In Just Jut that way Most studios buy synopses of ot nH merit and develop elop their own con con- Too many people are wasting their time trying to master muter photoplay technique without A story tOr- tOr tOrto to apply It to The Tho completed script Is In hAnd handed I to the tho director It is hi his hi plans plan and lJ specifications cl for Cor production and Immedi Immediately a lot of or P people get bu buy busy on the various steps step preliminary to filming Should any question arises arise It Is la advis- advis able abl for director and author to tn consult commit In the Interests of oC strengthening the tho production No o o ono one worker can enn cI claim m all the credit for tor a n. motion picture anymore An any anymore more because too many workers worker have hao havea a a. finger in the filming If It success crown crowns the effort there is III honor enough h for tor nil all |