Writing the Photoplay Part 16

This is a very close view of the boy's hands, but it cannot be called a bust because of the fact that it is an action scene. The close-up compares with the bust in much the same way that any painting with supposedly human, moving figures compares with those pictures which come under the "still life" cla.s.sification.

This ill.u.s.tration of the use of the bust and the close-up is taken from an actual script, prepared by one of the Vitagraph Company's staff writers. It will be noticed that the "description" of the scene following the bust scene is "44--Back to wide-angle of room," instead of "44--Back to 42," which it would have been had this Vitagraph writer followed the same rules of technique as were used by the writer of the script from which the example on page 159 was taken. The Vitagraph writer follows the same rule in writing the description of close-up scenes, also. Either form is correct, and it is optional which you use. There are certain technical terms as well as methods of writing for which there are no hard and fast rules, and this accounts for the fact that some writers will say "leader" when others use the term "sub-t.i.tle," and so on.[18]

[Footnote 18: Compare the Vitagraph-made working scenario in Chapter XX with the one-reel scenario reproduced in Chapter V.]

Shortly before one of the present writers was appointed scenario editor for the Edison Company, Mr. Bannister Merwin, who for several years was one of Edison's chief contributing writers, gave up his work in this country and went to England to live. He is now active in the British film world and also a director--or "producer," as Mr. Merwin still calls it--for one of the largest English motion picture manufacturers. The present writer found that Mr. Merwin's work had left a considerable impression upon the methods of work of the various Edison directors, and, indeed, he has always been regarded as one of the leading authorities on photoplay technique. The three paragraphs which follow are taken from a letter written by Mr. Merwin to Mr. Epes Winthrop Sargent, and published in _The Moving Picture World_. Several important points in connection with the scenario are briefly but interestingly discussed. In connection with what we have just been discussing--the close-up--it may be said that, as Mr. Merwin himself says, all writers make use of the close-up at certain points of different scenes; but what this author-director says in addition may be taken as another warning against the _over-use_ of this effective technical device:

"My present notion of the best construction for long feature stories follows somewhat the lines of the stage play. The line of climactic development should be a series of ascending waves. After each crisis or climax there should be a slight lull. And the first few hundred feet, like the first ten minutes of a play, should be devoted to getting your audience acquainted with your characters and their relations.h.i.+ps. To place a very important action in the first few hundred feet before the audience knows who the characters are or what they are to one another tends to create confusion. People will later say, 'Oh, was _he_ the one who did that?' Of course the characters must do things in these first few hundred feet, but they should be things that express their characters interestingly rather than things that have important significance in the plot development. Perhaps I put the point a little too strongly, for there are always exceptions, but you will know what I mean.

"The thing is to look at one's own work from the viewpoint of the audience, and continually ask one's self such questions as, 'Is it clear? Can I follow it without confusion of mind? Does it constantly keep my interest stimulated?'

"Now the question of breaking one's scenes with close-ups and varied shots from different angles. Of course, we all do this in preparing our scripts. But lately I have wondered whether it would not be better to leave the breaking up of the scene to the producer, except in very obvious cases. You see, I am now speaking as a producer as well as a writer. The value of the close-up almost always is governed in practice by floor conditions. I mean by this several things. For one thing, if the cast is not the ideal cast you have had in mind when writing the play the character you have set down for a close-up may not be able to express what it is essential to express in that particular close-up. The producer must then find some other means of punctuating the situation. For another thing, no producer is likely to build a set and handle his people in it in exactly the way you have conceived. For that matter, no two producers are likely to handle the set and the characters in the same way. It follows that very often the producer can secure a natural close-up in the course of the action where you have called for a special close-up scene. And on the other hand the producer may find that he needs a special close-up scene at a point where your conception of the movements of the characters has not made it appear necessary. Anyhow, the close-up is an interpretation.

If, as I hold, the producer is an interpreter, would it not be better to leave this matter of close-ups to him, and write your scene straight, with emphasis on the points that should be brought out most strongly? I don't say that this surmise is right; I merely am wondering. In any event, we do not want to see the close-up overdone.

We don't want too much of the Griffith staccato. It leads to what a certain friend of mine once called Tom Lawson's method of muck-raking--'The method of universal emphasis.'"

It is interesting to note in the first paragraph of the quotation from Mr. Merwin's letter that he advocates giving, in most pictures, "the first few hundred feet" to a proper introduction of the characters and to laying the foundation, as it were, for the story proper. This is in marked contrast to the method of a few years ago, when one-reel pictures were the rule, and when very little footage could be spared for such introductory scenes. Today, with very much longer pictures, there is no excuse for any writer's ever feeling himself cramped for room in which to make clear everything that the spectator ought to know in connection with his characters and his plot.

Finally, in connection with the _story_, as written by you, and the _picture_, as put on by the director, we again quote Mr. Sargent:

"If you _need_ a close-up, write it in, numbering it as a separate scene. If you do not need a close-up, don't write one in, even though you see innumerable close-ups used. Let the director make these as his fancy or judgment may dictate. He can see just where and how the use of the close-up can help the _pictorial_ quality of the picture. You are apt to concern yourself only with the narrative value of the close-up, employing it only where it is necessary in order to get the _story_ over clearly. You cannot possibly imagine the scene exactly as it will be set up or played, therefore you cannot tell where and how _pictorial_ close-ups or other effects will be useful. Leave that to the director and he will handle the numbering according to his special system. Number _your own_ close-ups, because they are separate scenes even though they are in reality a part of other scenes."

What this critic means by the director's "special system" of handling the numbering of close-ups that he may decide to use after the story has been placed in his hands is simply that such added close-ups will be inserted into the working script in this manner (40 and 41 being your original scene numbering):

40--(a) Henderson steps forward to give his prisoner a better view of his face.

(b) Close-up of Trask and Henderson. In the stronger light, Trask recognizes his old enemy and his face is convulsed with hate.

(c) Henderson steps back, laughs, and holds out the handcuffs, etc.

41--This scene as originally written.

It will be seen that the action contained in (b) is the inserted close-up action. In what remains (c) we get the end of the scene as written by the author.

_13. Visions, Memories, Dreams, and Other Devices_

We have already referred to the old method of obtaining certain effects in so-called fairy-tale pictures by "stop-camera" work, or by simply stopping the character at a certain point just prior to the scheduled appearance of some supernatural visitant, having the other characters hold their positions while the witch or the fairy character walks into the scene and takes her proper position in it, and then starting the camera again, the result on the screen being that the supernatural figure stands, in the fraction of a second, where nothing of the kind appeared before. Today, stop-camera work is used very seldom--as a rule only to obtain ludicrously sudden and unexpected effects in certain types of "slap-stick" comedy. A far more artistic effect, when it is desired to introduce visitors from other worlds, is obtained by "superimposure," or by taking the picture twice, as it were. On the first "take" the characters go through the business already rehea.r.s.ed, and the director keeps careful track of just when each important move is made by counting while the cameraman turns the crank. If, at the count of "Eleven!" one character registers surprise and points excitedly at an unoccupied corner of the room, it is the first step in introducing the fairy, or the spectre, who is to appear there in the picture as shown on the screen. After the scene has been gone through with, following this rule, the film is run through the camera a second time, the "stage" being empty of players up to the count of "Eleven!" at which point the unearthly-visitor character is brought into the scene at the proper place in the setting, either appearing quite suddenly or being more gradually dissolved in, different studios having different methods of accomplis.h.i.+ng this. The point is that visions of this kind are obviously written into the scene proper, just as you would introduce any new character. If it is a ghostly visitor of some kind, you simply say: "Harding looks in horror (at whatever point of the room or location you desire). Vision of Blake, standing quite still and pointing an accusing finger at Harding." Or, if Tom is in the city and has reason to believe that Frank, back on the farm, is taking advantage of his friend's absence to win his sweetheart away from him, write the scene down to the point where Tom straightens up in his office chair and stares (perhaps directly into the camera) with a worried expression, and then say: "Vision-in portion of the apple orchard, with Frank making love to Mary as they stand beneath one of the trees."

Everyone who has attended the motion picture theatres has seen dozens of examples of "visions," produced in one or another manner, and it should be easy to distinguish between "visions" and "thoughts" or "memories." The latter _may_ be introduced as part of another scene just as the vision (using the word in the sense of "apparition" or "supernatural visitant") is introduced; but it must be borne in mind that the photoplay spectators have in the past few years been gradually educated up to a rather perfect comprehension of what results different technical devices produce--even if they do not quite understand the technical why and wherefore; and for this reason it is best when writing action in which the characters are supposed to show what they are thinking about or describing to use the fade-out and fade-in device, as the meaning of this is now very clearly understood.

The spectators are quite used to seeing the picture fade out, or "go black" at the end of certain scenes, just as they are familiar with the use of it at the actual end of the photoplay. Apart from these two uses, they have come to a.s.sociate the fade-out with the thought of the immediate introduction of a "memory," either related to others or silently indulged in, or a mere thought, or, if the character is seen going to sleep, of a "dream."

If the fade-out is used, it means three scenes instead of one, of course, because following the introduction of the "memory," or whatever it may be, you return to the scene proper, just as you go back to the wide-angle view after using a bust or a close-up scene.

They would be numbered, for example, 17, 18 and 19, and you would write the action as follows:

17--Library, same as 6.

Fenton continues to make love to Beverly, presently ending what he is saying with an impa.s.sioned plea to fly with him at once. For just a moment she seems on the point of yielding; then she starts back and shows that she is thinking of what it would mean. (Fade out into--)

18--Bedroom, same as 8.

Dean, lying in bed, wakes up and calls out, as if calling to his wife. Then he falls back again on the pillow, exhausted.

(Fade back to--)

19--Back to 17.

Fenton reaches out to grasp Beverly's hand, but she draws quickly back and urges him to stop pleading with her, at the same time crossing etc.

If you are using the "dissolve" or "interpose" (see definitions in Chapter III) you introduce the device in the same way as above; but bear in mind that the dissolve is somewhat harder to accomplish than the fade, and, again, while it merges one scene into another in an artistically beautiful manner, it is not so readily recognized by the spectator as an announcement, so to speak, of what is to follow.

The diaphragm (in or out), as the definition in Chapter III states, is used to indicate a lapse of time in the action of a story without using a leader. Also, in scenes between which there is supposed to be only a very brief interval, but which nevertheless call for a definite break of thought, the diaphragm is resorted to. Some directors will say "Circle out!" that being the effect on the screen--the oblong picture changing to a circle, which gradually becomes smaller and smaller until the diaphragm of the camera is entirely closed and the film "goes black." The reverse of this, of course, is called "diaphragming in."

As several critics have pointed out, the fade and the diaphragm should never be used to denote synchronized action. Action occurring in two places at practically the same moment should be cut one into the other, for this is the primary function of the cut-back. At no time should the diaphragm be used in this connection, either as a means of fading out or to reduce the field, for this robs the action of any suggestion of immediate change. Here the use of cutting back is imperative, and no other device should be subst.i.tuted.

As has been indicated, photoplay terminology is, even yet, only in process of formation. The terms given and defined in Chapter III are the terms in common daily use in the majority of studios, but there is no ancient precedent to compel any writer to adhere to any of these terms if he is in the habit of using others. There is too great a disposition on the part of amateur writers to split hairs over the correct technical term. A matter of far more importance is to turn out a good story.

_14. Camera Tricks and Special Effects_

With the way most trick-effects are produced in the studio the average writer need be little concerned except as a matter of interest.[19]

The object of discussing them here is to show how certain plots, or parts of plots, are made possible as a result of knowing how these things _may_ be accomplished, whereas without this knowledge the writer with a good idea might fear to include it in his story in the belief that it was impossible of production. It may be remarked that what is said here has a bearing on Chapter XV, in which is discussed the matter of expense in picture production. Some of the very companies who a few years ago were warning the beginning writer against introducing action that would necessitate too great an outlay of money are today producing features seemingly regardless of expense.

Yet most concerns are really exercising a wise economy and getting some wonderful results with cleverly planned trick-camera work.

[Footnote 19: See Homer Croy's _How Motion Pictures Are Made_.]

For example, in one episode of the Wharton serial, "The Eagle's Eye,"

the German conspirators in New York, seeking to injure the cause of the Allies and lay the blame on the American 'longsh.o.r.emen at the same time, arrange to have a train of freight cars, crossing on barges from Manhattan to Jersey, dumped into the North River by removing the means by which they are held in place on the tracks of the barge and "letting 'em slide." The effect on the screen is wonderfully like what a long-range photograph of such an actual event would show. All that was needed to produce the scene was a tank of water with a miniature barge pushed along by a tiny tug-boat, the latter steaming up very realistically. When the toy barge and tug-boat were right in the middle of the "stage," three or four toy freight cars were allowed to slide off into the water. Above the tank, as a background, was hung some white or light colored cloth, making everything from the waterline up a white blank. Against this blank was superimposed, by running the film through the camera twice, a picture of the New York sky-line as seen from the Jersey sh.o.r.e. The unruffled surface of the water in the tank--so unlike the wavy North River--was almost the only thing to show certain of the spectators that the scene was not the real thing. In another episode of the same serial, after the German spies have caused an Allied grain s.h.i.+p to be loaded on one side only, so that she will turn turtle as soon as released from her moorings, another very realistic scene shows the s.h.i.+p actually turning over, as much as the comparative narrowness of the slip will let her, after they have cut the ropes holding her to the dock. Here, again, a model vessel in a built-up miniature slip supplied the means of obtaining a startlingly realistic effect. The scene lasted only a few seconds, so that little opportunity was given the spectator to see how it was worked, but the effect of the brief scene was very convincing.

In scores of feature productions models or miniatures of various kinds have been resorted to to obtain startling or novel effects, and have saved the outlay of thousands of dollars in the production of certain pictures. Double photography, or superimposure, is a ready ally when the director wants to get an effect showing a specially arranged fict.i.tious scene played against a real and frequently well-known background, as in the North River scene just described. In the same picture, "The Eagle's Eye," the Whartons, who produced it, displayed a new feature in photography--a genuine photographic device rather than a trick--in what they described as "the triple iris"--three diaphragms opening at once and disclosing the heads of Boy-Ed, Von Papen and Dr.

Albert, and then fading and showing a scene in which these three characters were seen grouped in conversation.

Another effect which might, perhaps, be cla.s.sed as a trick was used in the Mary Pickford feature, "Amarilly of Clothes-line Alley." It was in reality merely a clever scene intended to take the place of a leader, while being also an improvement on a leader because of the fact that to almost everyone in the audience it instantly "put over" the idea back of the action at that point of the story. At the time that Amarilly's good-hearted but socially impossible mother, with her little brothers and sisters, are being entertained by the rich hostess who desires to shame the little girl from the tenements in the eyes of her son, there is flashed on the screen, against a dark background, an empty gla.s.s gold-fish bowl with the fish themselves wriggling and gasping on the table beside it. The idea of "fish out of water" was very apparent to the spectators. Later, when the tenement-bred family had returned to their humble home, another picture showed the gold-fish contentedly swimming about in a well-filled bowl. It is such an effect as this that any clever writer might think of suggesting in his scenario, and it is legitimate in every way--far more so, in fact, than some of the tricks of diaphragming and fading so frequently made use of by certain directors.

A startlingly novel effect was shown some time ago in the Vitagraph Company's production of Arthur Stringer's story, "Mortmain." Just as Mortmain was put under ether the scene proper faded out, giving place to a dull blur in which the faces of the doctor and his attendants were brought right up to the lens of the camera and then withdrawn for several feet, the action being extremely rapid, and being repeated several times, by means of the camera mounted on a truck, as already described. This was accompanied by another dark-background strip of film, across--or rather down--which shot fiery streaks, like the tails of discharging sky-rockets. The whole effect of anaesthesia was vividly reproduced, and the effect on the audience was most marked. The idea of what Mortmain experienced in his last conscious moments "got across" in no uncertain way. Especially startling and realistic--to those who have been there--was the effect of the patient's feeling himself dropping, dropping, dropping through s.p.a.ce into--oblivion.

It is extremely unlikely that this work will be made use of by anyone who has not visited the picture theatres often enough to have seen ten times as many camera tricks, special effects, and examples of the use of different technical devices as are herein described. But if you _are_ taking up photoplay writing without having seen many photoplays on the screen, you are but half equipped, notwithstanding all the help you may receive through text-books and trade-journal articles. In other words, we urge upon you the wisdom of keeping in mind that the real finis.h.i.+ng school for screen writers is the picture theatre itself.

_15. Dual-Character Double Exposures_

Undoubtedly, the gradual perfecting of the double exposure (superimposure) device in motion-picture making has made possible the screening of innumerable good stories which would otherwise have been almost impossible of production. When only a few years ago the Vitagraph Company made their very creditable production of Charles d.i.c.kens's "A Tale of Two Cities," the two leading male characters, Sidney Carton and Charles Darnley, were played by two different actors--the final action of the plot turning on the fact that these two were "doubles," for this fact makes possible Sidney Carton's supreme sacrifice for his friend and the woman he loves. There was a fairly close facial resemblance between the two actors who played these parts--enough, with the aid of the wigs they wore and other make-up, to make the picture convincing. Today, no director would think of putting on such a picture with two different actors in the dual roles of Carton and Darnley. When, in 1917, the d.i.c.kens cla.s.sic was released as a William Fox feature, William Farnum played both roles, and some really remarkable results were obtained in scenes where both characters were present at the same time. Almost everyone has seen pictures containing examples of the possibilities offered by double exposure in making pictures of this nature.

In the first place, when two characters are supposed to be "doubles,"

it is certainly more convincing to have one player portray both roles.

Again, any additional trouble that is attached to making pictures of this kind, on account of the double exposures involved, is confined to those scenes in which both characters are present in the scene at the same time, and even then the difficulty is minimized by the use of close-ups.

For example, to show Carton in one scene where Darnley is not present is simply to take an ordinary scene in an ordinary way. Then, suppose you wish to show Carton seated in a chair at one side of the room while Darnley leaning against the table at the other side of the room talks with him. In pictures of this kind the director frequently uses more close-ups than usual merely to avoid the necessity of making double exposures, in connection with which the greatest trouble is always the keeping track--by counting, for instance--of the moves of the two different characters. But it is a much easier matter for the dual-role actor, made up as Carton, to be photographed singly in one part of the room as he goes through with the action of one or more scenes, after which, dressed as Darnley, he goes through the synchronized action of that character. Synchronization--or harmony of movement in time--of course demands that the action of both characters be properly matched--to use a common and easily understood term--but it will be seen that when the spectator watches only one character at a time there is not the need for the _perfect_ synchronization of action that is always demanded of the wide-angle double-exposure scene, in which one man, playing two different characters, must face himself and keep the action natural and convincing at all times.

Very few things in the development of motion picture art have advanced so noticeably as this trick of portraying dual characters on the screen by means of double exposure of the film. Theoretically, it is extremely simple. There is a middle--or at any rate an arbitrary--dividing line to the stage. A mask being placed over one-half of the camera lens, the film is run through and the action of Carton in a certain scene in which he is supposed to face Darnley is taken. Careful track is kept of just what important moves he makes at different stages of the count. Later, after he is made up as Darnley, the first half of the lens is masked in the same way as before, while the second half is exposed and the action of Darnley is gone through with, with the gestures and other action properly timed to synchronize with the action of his "double"--and that is all there is to do. But the skill of the director is tested in his timing of the moves of the characters, just as his knowledge of lighting and backgrounds is tested so as to avoid showing the line where the two differently exposed parts of the film join. Then, too, certain directors have, of late, procured some "double" effects which well deserve to be called wonderful, as when in a certain William Fox film the two different characters, played by the one woman, are made to meet and kiss each other most naturally.