Excerpt from On Picture-Play Writing: A Hand-Book of Workmanship
Again when I see a somewhat mature and fat hero, playing a cowboy, gotten up as no human outside of moving pictures ever appeared, when in company with others or alone this somewhat mature and fat hero rides. Uphill and down dale, forward and back, around and around, mounted bravely on a dis carded street car nag, and when this continues for the full twenty minutes without end or object, mean ing or direction, I can't help but think that picture play making is the art of horse-back, hide and seek, or a game of chase the wind.
Most of all, when I see a moving-picture of the peculiarly virtuous and otherwise insipid young man, pursued and persecuted for thirty or forty scenes by a particularly villainous villain, I am minded for the time that our picture-playing is the art of weaving a web of false evidence around an all too innocent person, and I come away with the uncomfortable notion that maybe after all our prison house at Ossining and other such establishments throughout the country are filled with poor innocents unjustly accused.
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