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cinema too seriously. In any case, did not H. G. Wells say years ago that on the screen "a more subtle fabric of suggestion, a completer beauty and power, might be possible than any of our tried and trusted equipment could achieve"?
WORDS AND MUSIC
So far the film may have had little influence on the development of contemporary music, but the ideas Alfred Hitchcock discusses in this issue of Cinema Quarterly may ultimately have far-reaching effects. For some time the virtue of the spoken word has been in doubt. The hundred-per-cent. talkie is no more, and even Hollywood is beginning to use words selectively and even impressionistically, instead of in the name of realism. Hitchcock did this in his first talkie in the early days, and if his ideas on music when put into practice create a like sensation, there is no saying what may happen. Whether music and film are made to march in the same rhythm, or whether speech, sound, and image are used to build up an orchestrated unity, the music must be specially composed, and it is likely that the musical director of a film will soon be of primary, if not of paramount, importance.
May all the gods forbid the filming of classical opera. A sixteenstone Romeo trying to embrace a voluminous Juliet is bad enough on the stage — spare us the close-up! There is, however, enormous possibility in the development of true cine-opera as an entirely new medium, conceived as a whole and executed in unity of sound and image. This is an exciting subject to which we hope to return later.
Meanwhile, who would not give all the mighty Wurlitzers to have Fischinger's musical abstracts established as the entr'acte?
SUB-STANDARD PRODUCTION
Correspondents continually ask how to gain practical experience in film-making when opportunities of entering the studios are so slight. The obvious and soundest reply is: Buy a sub-standard camera or join a group engaged in sub-standard production. Learn to handle film, to know the smell and the feel of celluloid : get hold of a pair of scissors, and cut and splice, cut and splice till you can make the frames march in rhythm. Xo amount of theory is of value unless backed by practice of this sort. Get it at any price.
Norman Wilson.
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