As an example, take a woman in tears. She should go through the same action that she would if it were happening to her in real life, using the handkerchief and hands and all gestures that accompany it. Struggles should be gone through in the same manner. To make the effect more complete, the breaking of a glass or the shooting of a revolver or a gun, or slapping the hand on a table to bring out a convincing point in an argument should always be done by the person speaking the line.With such a setting, we can see that such a performance would require a rather extensive investment of labor (and transportation), and these costs more than anything else probably caused the the practice to disappear once the novelty had diminished sufficiently that receipts no longer warranted the much higher expenses.
The writer of the article, [W. Stephen Bush] “The Human Voice as a Factor in Moving Pictures,” in the last issue of the Moving Picture World, brought out some useful facts, but leaves himself open to slight criticism, in regards to talking pictures produced by people behind the drop. He states in his article that the illusion cannot be made perfect. He is right to a certain extent, but if judgment is used in selecting the reels to be used as talking pictures, a great deal of difficulty can be overcome. Certain reels which are very good for a lecture (a point I will take up later in my article) will not be suitable for talking pictures. If details and effects are to be brought out in talking pictures, the actors and actresses must use judgment in regard to placing the voices of the character in speaking from the center of the drop. The line should be read directly behind the character that he or she is impersonating. This will apply either to the right or the left of the center. At all times, in talking from behind a drop, try to keep as near to where the character is standing as possible. All letters and titles, before scenes, should be taken out, so that the story will not be told before the actors and actresses have read their lines, as this will have a tendency to kill the dramatic climax. The operator must also be drilled carefully and thoroughly in regard to the running speed of films, of struggles, horses galloping, battles scenes, which must be run very fast, while scenes in offices and homes must be run at a certain speed to bring out the desired effect of the character, and to give the necessary illusion. But many will ask, How can this be brought, not alone by explanation, but by having everyone act the character thoroughly, as if he were appearing on the stage, without being hidden by the drop. As an example, take a woman in tears. She should go through the same action that she would if it were happening to her in real life, using the handkerchief and hands and all gestures that accompany it. Struggles should be gone through in the same manner. To make the effect more complete, the breaking of a glass or the shooting of a revolver or a gun, or slapping the hand on a table to bring out a convincing point in an argument should always be done by the person speaking the line. A great deal of thought and consideration must be given when selecting a company. I have found that people with stock or repertoire experience, that are bright and can think, usually make the best talking picture actors and actresses, as they study the script much quicker than the others, and sometimes they have lines which are much better than the ones which you provide for them. Still, I do not advocate or advise rehearsing the people too much, as they lose a certain amount of interest in the subject, and as well all know they are compelled to do anywhere from four to ten shows daily, it is a hard matter to keep them interested, and if they lose interest they lose the effect which you are after. Talking pictures can and will receive applause from the audience for speeches and climaxes, the same as a traveling theatrical company, providing the proper spirit is put in the work. Applause will also be given to characters when they are shown on the drop, like the late President Abraham Lincoln or General Grant, or any other will-known character. The only fault that I have found with this is that the actors do not impersonate the characters with the dignity and bearing called for. They all seem to think that they should shout to be heard through the drop, which is wrong, as we all know the voice will carry much better when spoken in an ordinary tone. The actors and actresses back of drop must watch every minute, so that they will not be talking when characters are not seen before their entrance or after exit. No doubt a great many will wonder what subjects are best adapted for talking pictures. This will depend a great deal upon the clientele to which you are playing. War pictures are always sure fire hits. Melodramatic ones are always very good, providing they are not too sensational. Plays like “East Lynne,” “Camille” and “The Two Orphans” can be made to stand out with proper attention to the minor details. It is advisable in plays of this nature to follow as near as possible the original script. Any subject of a historical nature must be one that your audience is familiar with, or else it will not be a success. Comedy reels are also good, providing that you can keep up swift action. The talking pictures are only in their infancy, and they will grow and get better, and the people are going to like them more every day, providing judgment is used in these suggestions. An audience will sit and listen to good grammar and proper pronunciation, and stories with some logic, but they will not stand for fake lines and people back of the drop talking about something that they do not understand. If the artists will put their heart and soul into their work they will make this part of the moving picture line as much a success for themselves as for their manager. In regard to lecturing upon reels, it will always be a success, providing it is handled in the proper manner and the lecturer uses judgment in his language. If he will use plain, ever-day English, and not words which he does not know the meaning of himself, and that the audience will not be compelled to have a dictionary beside them to find out what he is talking about, he will find that they will give him their undivided attention. If the lecturer will go right on with his lecture and not stop until he has finished he will find the applause of the audience will show him that they are satisfied with his efforts. As I stated early in this article, talking pictures are only in their infancy. The lecturer also is only in his infancy. I think the time is not far off when three and four-act dramatic productions will be produced in moving pictures by persons behind the drop. People themselves will get away from the idea that they are getting buncoed by five and ten-cent theaters, but are receiving more for their money than in any other branch of the amusement line. The recreation which they thereby receive will make them regular patrons of the moving picture theaters.
James Clancy, “The Human Voice as a Factor in the Moving Picture Show,” Moving Picture World 30 January 1909, 115.
