Between these two extremes any possible degree of approach to the ideal is shown in the history of human arts.

It cannot be otherwise with the art of the film.

Even the clearest recognition of the specific demands of the photoplay cannot be sufficient to replace original talent or genius.

The most slavish obedience to esthetic demands cannot make a tiresome plot interesting and a trivial action significant.
If there is anything which introduces a characteristic element into the creation of the photoplay as against all other arts, it may be found in the undeniable fact that the photoplay always demands the cooeperation of two inventive personalities, the scenario writer and the producer.

Some collaboration exists in other arts too.