his little family to a nearby theatre, seeks not a preachment upon the world's ills: he has his own troubles. The woman who steps into a matinee at a downtown picture theatre does not go to witness someone's personal grudge against life, as projected upon the silver sheet. The youth of the world, which forms no inconsiderable proportion of motion picture audiences, is not entertained, instructed nor edified by horrible tragedy, even though the pages of life's book may be full of tragedy.
If you would make theme valuable to you in photoplay writing, make your themes understandable. Make them the kind that get to the heart and tug at its cords. Make them themes that will be just as thoroughly understandable in Chinese or Polish as in English or American. Then you can make theme work for you.
When one begins to predict the trend of motion pictures, he is treading upon quicksands. For the trend of pictures is based upon public mind and public demand. For me to attempt, in a lecture such as this is intended to be, a forecast of what the coming demand will be, might be misleading. It may safely be said, however, that the development of the cinematic art is all toward the strengthening of theme and characterization, and away from the "slapbang" plot of former days. That may be regarded as axiomatic. Strive for strength of theme, virility and humanness of characterization, and the story will follow if you possess any of the imaginative and dramatic qualities of mind.
There are some things, however, which should be impressed upon the mind of the student of picture technique, relative to the selection and the use of theme. We have begun by saying that this is a discussion of theme, and its necessity and value. I have endeavored at the outset to show what is meant by theme. I have then tried to impress you with the necessity of theme. Now I am going to try and tell you how to make themes work for you, how to utilize themes to best advantage, and what
