[...] agony of the dog to that boy. It may seem like a Marcovan
theory, but we should study psychology and emotions.
Q. When we walk into a theater, we are prepared to accept
things that we wouldn't accept in real life.
A. That is true. Therefore we should present our ideas for
that kind of mind, rather than for the sophisticated.
Q. In the experiment with the boy and the dog, did you mean
to infer that it took longer for the drama to sink in and register,
than it did for relief?
A. Yes. It seemed that the mental process was slower in accepting
the full knowledge of his loss. However, in the second experiment,
when he heard the yelp of the dog, he cried at once.
Q. This leads back to what Perce said about Snow White endearing
herself to the dwarfs, If the dog hadn't been one the boy played
with and learned to love, he wouldn't have cried, If I cried
at all at Snow White it was because of these little men, more
or less belligerent at first, who had been brought around to
loving her. It could have been built up more.
A. With sufficient build up beforehand, you don't have to
be convinced in the individual scene -- you know how touched
the person is.
Q. As it was, since we had failed to build up the affection
between Snow White and the dwarfs to any great extent, we had
to have the dwarfs put on an act to convince the audience.
Q. I believe Snow White's offstage dying could have been
handled better, too -- the dropping of the hand and apple, and
the reaction of the witch. She might have made some sound or
said some line with a lot of feeling in it.
Q. There could have been a sustained silence, even on the
part of the witch, with the realization of what has happened.
It might have been more dramatic.
Q. One of the big improvements we make will be one that we
see in motion pictures now. We laugh at old movies now, because
they didn't lead us along with their story, so they had to over-act
to compensate for it. Even in death-bed scenes in the old pictures,
we laugh at the over-acting. Nowadays, they build along with
the character, rather than trying to overcome lack of story
building with a lot of contortions and exaggerated facial expressions.