ITS RELATION TO ACTION; IMPORTANCE OF VOCABULARY; LITERATURE; TO REGISTER; INTERPRETATION; IN TERMS OF EMOTION; THE PART OF IMAGINATION.
TECHNIQUE and rules, idea and action are as chaff on the threshing floor of the photodrama compared to visualization, which is the precious kernel to be sought. Visualization is both the key and the keynote of all photoplay-writing.
Hitherto, too much emphasis has been laid on the importance of action, with but a half-formed idea of the true technical definition of the term, which is “the connected series of events upon which a piece depends; the main subject or story, as distinguished from an incidental action or episode.” Too often has the novice had in mind the violent, whirling, feverish and physical action, familiarized by the “going into action” of the battlefield. Such action is always dynamic and spectacular, but not necessarily dramatic or interpretive. Everything is on the surface. It is all a matter of primal passion and primeval emotion. It is the stuff that melodramas are made of. But the deeper, more powerful and moving emotions of a civilized people are not surfacial. Their true interpretation is not expressible in immediate violent action. Culture and civilization are recognized and realized thru their repression of passion. Even the savage and the dumb beast have their refined emotions, expressed most vividly thru unwonted inertness or carefully concealed cunning.
(EXAMPLE 25.) The eternal mother-heart broods in dark corners over its dead offspring; it softly croons over and gently caresses its babe; deepest hate is manifested by the savage or sage thru cunning, soft-footed revenge and veiled thrust.
There are two sides to the technical difficulties that confront the photoplaywright. Given the conception of an idea worth while, he must first have the power to visualize its phenomena to himself; he must then be able to represent its dramatic development visibly in terms of action and symbols of emotion. The power to visualize a story to one’s self can neither be taught nor learned; its exercise lies in the gift of imagination. The ability to represent this story in a form that may be readily interpreted depends on a practical assimilation and a working knowledge of dramatic construction and photoplay technique. It resolves itself into the task of telling the story indirectly with “business,” instead of by direct discourse.
A careful examination of the conditions of photoplay acceptance has revealed a curious and valuable piece of information. An unusually large percentage of the manuscripts received by producing companies contain good ideas, but they are very often rendered unacceptable because of imperfect and unilluminating expression. The editor, the director and the actor must understand from your scenario exactly what action, interpretation and suggestion your words are intended to convey. Many big ideas, striking situations and splendid scenes never see the light of the screen because of the photoplaywright’s poverty of expression.
A broad vocabulary hesitates at no flight of inspiration, no matter how transcending; it falters at no wave of emotion, no matter how profound; it pauses at no thought, no matter how beautiful. “Beyond words,” “inexpressible” and “indescribable” are confessions of literary and dramatic weakness that disappoint editors and bring manuscripts back by return mail. There are human words to express every impression that the human mind records. The language of the heart, of the soul and of the photoplay is the language of the dictionary. Familiarity with words begets fluency and accuracy in their use. There is but one word to express one situation under a given condition; do not be content until you find it. That diligence alone will make the finished and successful writer. Given inspiration, the right words to express it will carry it to production, perhaps fame.
Perfect visualization, then, demands an exquisite command of language capable of nicely interpreting the finest shades of pathos, the deepest wells of passion, the most delicate waves of emotion, and a thousand grades of feeling.
Passing from the literary construction of the manuscript and play, we must become familiar with the mode of translating ideas, which must be clearly indicated by the writer. The three possible modes are by means of psychological action, suggestive attitude and mimetic expression. These are the elements of the new mimetic art of the photodrama just as the notes and keys are to music; words and sentences to literature; pigments and brushes to painting.
The secret of visualization lies in the nice employment of symbols of emotion. The danger lies in over-emphasis, which the writer can forestall by using an indirect or relative method, which means a constant exercise of repression.