During recent years cameramen, property men, authors, continuity writers, artists of brush and of pen and ink, actors and business men from varying lines have become identified with the art of motion picture directing. The law of averages has declared that many of these should fall short of success. Many have. But others have succeeded, have succeeded even beyond the expectations of their sponsors. Therefore it may safely be said that the gates to the field of motion picture directing are ready to open to all-comers, provided that the aspirants have the inborn abilities and personal makeup that are rigidly required.
These abilities, essential qualities and characteristics are dealt with in the following chapters by the undersigned who has spent nearly ten years in the motion picture industry, serving in the capacities of critic and continuity writer.
These abilities, essential qualities and characteristics are, therefore, set down here as first hand observations. But they are never intended as lessons that will produce immediate results in the way of lucrative positions. No reader of this volume can go dashing home to his eager wife with that much advertised greeting: “Dear! I've got that job! The New York Institute's book on directing produced 100 per cent results!”
It is hoped, however, that it will give those who have the patience to peruse it something of an insight into the tremendous responsibilities that rest on the shoulders of the conscientious director. At present most people seem to believe that that line on the screen: “Directed by ——” just stands for a lucky fellow having a grand and glorious fling within the walls of a motion picture studio.
Peter Milne.
With grateful thanks and appreciation for the views expressed therein by Marshall Neilan, William C. De Mille, Rex Ingram, Cecil B. De Mille, Frank Borzage, Edward Dillon, Ernst Lubitsch; and the representatives of D. W. Griffith, Thomas H. Ince, and other artists herein referred to, whose co-operation has made this book possible.
Chapter I
THE GREAT AND THE LESS GREAT
Emotional experience and the capacity for enduring and retaining mental pictures of such experiences—these constitute the chief asset that distinguishes the master director from the rank and file. Practical explanations and a word of warning
Chapter I
What is the fundamental asset that makes the great motion picture director? The requisite that distinguishes the real artist from the rank and file? It is really the same asset that distinguishes the great artist in any walk of art from the less great.