"The age of motion pictures is generally conceded to have begun at the end of the nineteenth century with the invention and subsequent patenting of a device called a Kinetoscope, developed by Thomas Edison. This device allowed a series of transparencies to be recorded sequentially onto a single strip of negative film. When developed, printed and replayed at the original recording speed, it created a moving picture. Prior to this time, most so-called "moving pictures" known to the general public were available only in penny arcades and consisted of machines that would flip a series of still photographs one atop the other at a rate sufficient to create the illusion of motion.

"As soon as the process of making motion pictures became relatively bug proof, the entrepreneurs moved in. In short order, arcades offering nickelodeons-machines similar to their still-photograph predecessors but using Edison's newly developed technology -- began popping up across the country. To avoid paying the going rate for Edison's newly patented device, many of these entrepreneurs built variations on the camera equipment he pioneered, pilfering his work and his techniques without paying either royalties or the least attention to the patent laws. In the interests of accu- racy and fairness, it should be mentioned, however, that not all producers of early films adapted the technology of Edison's cameras; only about a third of those in the business built and adapted the technology. Another third purchased the equipment legally and in strict adherence to U.S. patent laws. The remaining third just said the heck with it, went out and stole the equipment. Such is the nature of progress.

"Edison took everyone who violated his patent to court and invariably won. He was appropriately ruthless in the defense of his patent, and as a result, many early filmmakers decided to rethink their positions, It made no sense for these filmmakers, all based on the East Coast within spitting distance of Edison's lawyers, to steal from him. Logic and morality told them that at that kind of proximity they would only be caught and fined.

So they did the smart thing. They left town.

Groups of filmmakers fled the East Coast and headed west to avoid inspection by Edison's agents or government officials. Since California was pretty much as far west as they could travel without getting their equipment wet, that's where many of these filmmakers decided to set up permanent camp. In time, legitimate filmmakers also ventured westward, lured not by escape but by the tantalizing prospect of making films all year long, thanks to California's sunny climate (useful for the slow film and poor lighting conditions) and mild winters.

J. Michael Straczynski, The Complete Book of Scriptwriting