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 principal 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 Reception of King Robert of Sicily by His Brother, the Pope—a Historical Photoplay Produced in the Essanay Studio, Chicago
Same Set, with Players Getting Ready for Action. The Three Poplar Trees are Real, while the Rest of the Background is a Painted Drop
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.
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 assembled, 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.
Same road, farther on, 20.
Exterior of Dr. Turner's house, 21.
Interior of Sheriff's office, 24, 26.
Rear of Sheriff's office, showing corner of building and side wall, 25.
Bust of Jess's right hand, holding photograph, 29.
Here, it will be seen, there are four interior and thirteen exterior sets, or backgrounds. Scene 14, the interior of the cave, was counted as an exterior when giving the number of interior and exterior sets following the title in writing the synopsis. This was because, although in the picture it would appear to be taken inside a rocky cave, the chances are that it would really be made in some recess of a rocky cliff-side, where there would be enough light to make the photography distinct, without allowing the rays of the sun to cast any shadows that would make it seem unnatural, since the cave was supposedly dimly illumined from the daylight outside. At any rate, it would not be a studio setting—whether the stage was an indoor or an open-air one—so it would be classed as an exterior.
After the cameraman had taken Scene 3, which shows Freeman and the Doctor riding to the ranch, he could probably find a suitable background for the scene showing Steve riding toward the town, by merely turning his camera half way around. Thus Scene 18 might be taken after Scene 3; after which, by again moving the camera only a short distance, a suitable spot might be found in which to take Scene 12. Scenes 19 and 20 were intended to be taken on a fairly well-kept piece of roadway, supposedly on the outskirts of the town, and it might be necessary to travel some distance to find the desired spot. So it will be seen that the order in which the scenes are written has nothing to do with the order in which they will be taken. Scene 29, so called, is really a part of Scene 28, being simply a bust of the girl's hand holding a photograph. The words written on the back of this picture have an important bearing on the action which follows; therefore it is important that they should be read by the spectators. So, the much enlarged bust picture is introduced, in which, as has been explained in the [preceding chapter], the hand with the photograph is held so close to the camera that when the picture is shown on the screen the writing is easily read. In writing out the scene-plot, never omit mentioning the bust picture, if one is used, and give it a number as if it were a distinct interior or exterior, but when giving the total number of interior and total number of exterior settings (which follows your title in writing the synopsis), do not include it as being either one or the other. It is not even necessary to say "One bust picture." On the other hand, close-ups are regarded as regular interior or exterior scenes, and must be counted as such and so mentioned when giving the number of scenes, as described.
5. How the Director Provides the Sets
The director having gone over the author's scene-plot to aid him in preparing his own diagrams of the various settings, it is merely necessary, so far as the exteriors are concerned, to go out himself, or send out his assistant, to pick the natural settings required. In fact, in most modern studios, an elaborate card index system of listing locations, sometimes situated miles from the studio, is maintained. Unless an exterior scene calls for a log cabin, church front, or some building of special construction other than such real buildings as may be easily found in the neighborhood of, or within a reasonably short distance from, the producing plant, he does not have to draw a special diagram-plot for the scene. Even when a new building is needed, it is only necessary to instruct the carpenters to build, say, a log cabin of a certain size on the location he points out, with a door, windows, etc., as determined by him for the requirements of the scene.
With the interior scenes it is different. The sets for these are planned by the director to obtain the very best stage- and scenic effects possible from the standpoints of architecture, lighting, and arrangement of properties.
6. The Director
A first-class company will employ from four to ten, or even twelve, directors. Frequently a new director is recruited from among the actors in the stock company. "Director" and "producer" mean practically the same thing in photoplay parlance; a man will direct the acting of the players while engaged in producing a picture. As a rule, if a man is known as a "dramatic" director, he adheres to that kind of work, just as a first-class comedy man will seldom touch any other kind of production.
There is always a certain amount of friendly competition among the directors in any studio, since they constantly vie with each other in obtaining the most artistic settings for the various scenes of their respective stories.
7. Writing the Scene-Plot
The actual writing of the scene-plot should come after the scenario has been completed. One way of doing it is to go over the scenario and write out the various settings, and then give the numbers of the scenes played in each. This, however, is a very roundabout and tiresome method. The best and simplest way is to keep a slip of paper, similar to the one on which you make note of the characters when writing the cast, and jot down the settings as you come to them, adding the number of the scene. In this way as you work on the scenario you have before you a list of every setting used, and can see at a glance what scenes are played in each different setting. Then when your scenario is finished you have simply to slip a fresh sheet of paper into your typewriter and make a neat copy of the complete scene-plot. As a safeguard, it is better, before recopying, to check up so as to make sure that you have every scene accounted for, by counting from "one" to whatever may be the number of your last scene.
In writing the scene-plot it is only necessary to give a list of the exterior and the interior settings; at the same time, it is sometimes advisable, especially in the case of exterior scenes, to add a few words that will help the director to understand just what the setting is intended to be without having to refer to the scenario, where such details would naturally appear.
The following example is selected from the scene-plot of "Sun, Sand and Solitude," a [scene-plot diagram] from which we reproduce on a succeeding page. The theme of this story is the discontent of a young wife, caused by seeing, month in and month out, the sun-baked stretches of the Arizona desert.
Exterior, showing desert, 17. For this scene, select an extremely barren and unpleasing bit of desert landscape.
Another exterior, 24. A stretch of desert landscape; if anything, more barren and solitary than 17.
Another exterior, 28. While still typical desert landscape, it is much less barren and desolate than either 17 or 24.
There is no law of writing, and no studio rule, to compel you to do any of these little things to help a busy editor or an earnest director, but, just because they are busy men, why not try to help them? So long as the "help" is not overdone, and is intelligent, clear, and concise, it is sure to help your script toward an acceptance.
The scene-plot diagram reproduced on the opposite page is the author's original diagram for the "Living room of ranch house" setting in his photoplay, "Sun, Sand and Solitude." With a little study of this diagram the reader will be able to judge just how the scene would appear in the picture on the screen. Of course, it is neither customary nor necessary to send such a diagram as this when you are submitting your script. There is a possibility, however, that the producer might use the author's diagram as a guide in preparing that particular setting, should the photoplaywright send one similar to the one here reproduced.
The dotted lines show the dimensions of the enlarged stage for special very large sets. Since the line E represents the background of this enlarged stage, it will be seen that it is almost twice as wide as the background for the interior setting here shown. By "background" is meant the space on the diagram between B and D, not the "desert backing," which, if the scene were taken inside the studio, would be simply a painted background, taking the place of the "drop" which would be used on the regular stage. It will be noticed that, although there are a couple of steps leading to the veranda, there is only one post indicated on the diagram. This, of course, is because a post at the other side of the steps is unnecessary, that point being "masked" by the piece of scenery representing the back wall of the room. The open door shows a portion of the veranda railing and the post on the left of the steps. As the scenario shows, Dean is carried up these steps, and into the bedroom on the left, after he has been thrown from his horse. To the right of the door, and looking out upon the veranda, is a bay window, forming a window-seat. Attention is called to the fact that what is so frequently called a "bay window" is, properly, a "bow window," the three sides of a bay window being at right angles to each other. The sideboard at the right of the stage is absolutely essential to the climax of the plot, though only half of it—enough to show the upper left-hand drawer distinctly—need appear in the picture.