As a striking example of how unusual and—from the standpoint of what may be artificially arranged—seemingly impossible scenes may be used in photoplays, consider the following—and then avoid the introduction of such scenes unless you know absolutely just how your effect may be obtained.
The Vitagraph release, "A Wasted Sacrifice,"[25] more fully described in the [next chapter], contained a scene in which a young Indian woman, stepping upon a rattlesnake, was bitten, and died. One scene showed her walking along, with the papoose on her back, all unsuspecting of the danger that threatened. Then came a close-up showing the rattler coiled with head raised. The next full-sized scene showed the woman just about to step upon the snake concealed in the grass. In the second close-up which followed, showing only the snake and the woman's moccasined feet, the reptile struck with startling swiftness and savageness. The whole effect was thrilling in the extreme—and we do not doubt that more than one young writer was tempted to write a story with a similar scene. But how often would a producer be able to obtain such an effect? It seems obvious that the scene was in stock and the play built around it, but the truth is that the scene was specially made. The snake was caught, and its poison extracted, and then the scenes were taken. In the close-up scene the snake was inside an enclosure stretched on the ground. The first close-up showed the snake, coiled. In the second, the girl was in the enclosure with the snake. But the close-up did not show the enclosure, of course. And rattlesnakes are not readily obtainable "props"!
4. Animal Actors
Another mistake frequently made by the beginner is in writing stories that require the assistance of trick animals. We know one motion-picture actor who, at the time when he was on the extra list of a well-known Chicago company, wrote to a New York producer that he would furnish the working scenarios for two or three plays in which his trick dog could work provided that he himself were allowed to direct the scenes in which the animal took part. He was told to go on, and carried out his part of the contract as offered. The result was several very exceptional pictures in which his dog's clever work was featured. But how many writers are prepared not only to write the script but also to furnish the dog and direct its acting? It is better to leave the writing of such stories to some member of the company owning the trick animal.
The Selig Company maintains a large menagerie, as does also the Universal Company; and a script in which caged animals are used might be accepted by them. Even a story requiring animals that were unconfined might "get by;" but it would be advisable, in either case, first to try to find out whether the director who would take such a picture considered the story worth while writing. That is, we think the photoplaywright would do well—although no such suggestion has been offered by either company—to send a short synopsis of the story he intends to write, showing just how the animals would be made use of. We have no doubt that the editor would let you know if he considered the idea a good one; and if he did, you could complete your script or detailed synopsis. It would be understood, of course, that his approving your idea would in no way guarantee the acceptance of your script. But of one thing you might be sure: if your idea were not purchased, it would not be used at all, as every reputable company pays for everything they use.
5. Child Actors
What applies to animals applies equally to child actors: it is always best, before submitting a story in which a child plays an important part, to be reasonably certain that the company has such a juvenile player, or that they can procure a child with the necessary ability to perform the part. Several concerns have as members of their stock companies child actors of marked ability. In some studios, however, the director finds it necessary to "send out" for clever children of whom he may know—sometimes the child has acted under his direction before; sometimes he has heard the reports from directors of other companies—and if there is doubt in the director's mind that the child can handle the part, your story may be rejected as a result.
6. Costume Plays
In the [chapter] on "What You Should Write" we discuss the question of writing historical dramas, which come under the head of costume plays. It should be said here that, merely as an economical consideration, you should always avoid sending scripts calling for special—and therefore expensive—costuming to any company unless you know that they are in the habit of producing plays of that nature. By studying the pictures you see on the screen you can easily learn what companies go in for costume or historical plays; such companies are always glad to receive really strong and interesting stories of this character from outside writers.
7. Lighting