But with the rage for picture palaces the whole business underwent a transformation. The public, having outlived the era of curiosity, and having shown by its patronage that it regarded the picture palace in the same light as a theatre or music hall, grew more and more critical. It demanded stronger plots, improved mounting and acting, as well as better photographic quality. As new firms entered the producing field, competition became acute, and the whole photo-play industry automatically transferred itself from the pioneer to the accomplished master of stage-craft. The producer, unable to prepare his scenarios himself, sought the assistance of the amateur playwright, just as the editor of a periodical solicits contributions to fill his pages.
It was a golden opportunity for the unknown struggling dramatist. Foiled hitherto by lack of chance, the power of the privileged few, and the absence of enterprise displayed by theatrical managers, he handed his work to the upstart rival, the picture-play producer. It was a wise move. The dramatist did not, indeed, secure that measure of publicity upon the screen which might have been his lot upon the boards, but the financial returns were more regular. As he developed his inclinations, and his work became appreciated, he was able to anticipate a comfortable income, owing to the steady demand that arose for his handiwork. To-day the embryo dramatist never bestows a thought upon writing for the stage; the cinematograph will absorb all that he can produce, and as rapidly as he can complete it.
No longer need a budding genius starve unknown and unappreciated in a garret. If his work possesses any merit the cinematograph will turn it to profitable account. About three hundred picture-plays are placed upon the world's market every week, and consequently the consumption of plots is enormous. What is more important from the author's point of view is the expanding nature of this market, where supply cannot keep pace with demand, and the proportionate improvement that is manifest in the scale of remuneration. Ten years ago a plot seldom fetched more than five shillings or a dollar; to-day the same material will command anything between £5 and £50—$25 to $250. In this field of activity reputation counts for nothing. The play and the play only is the thing. The picture palace is the poor man's theatre, and this class of play-goer is relentlessly emphatic in condemnation, and equally enthusiastic in praise. It appreciates novelty in plot, and that is the one point the author has to bear in mind. So it is clear that the unknown playwright has everything in his favour; in fact, his work is generally preferred to that of the skilled writer. It contains the very best efforts of its creator; the other is probably of poor quality, because the man with a name does not realise what the people want, and thinks that for the cinematograph anything is good enough.
By permission of the Motograph Co.
Exterior View of the Dummy Cow used by Messrs. Newman for taking Moving-pictures of Wild Animals, showing Door at Side.
By permission of the Motograph Co.
Mr. Frank Newman and his Camera hidden within a Hollow Tree Trunk.
The utmost concealment is necessary to secure wild-life under natural conditions.