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aware of all the possibilities of sets and lighting, so that he may exploit each of them to the full.
With regard to the set itself, the first law to be laid down is that it must be built to be lit. That is to say, you must never look upon a set as having an existence independent of the lighting which will reveal it. The set, not as it is, but as it will appear, is the thing. The films of Vidor, Dreyer and Chaplin are uncommon for their understanding of the first principles of set building. In Chaplin's Woman of Paris the excellence of the sets was due almost entirely to their full response to the lighting.
The failure of art directors to reckon enough with light has prevented them from adapting their ways of building sets to the changes which lighting has undergone as cinema has developed. The hard white arc lights and the mercury banks of the early cinema gave maximum contrast and hardness to the photography. With the coming of panchromatic film and wide-angle lenses a softer incandescent light is used which gives a much less defined image. This change should have been followed when necessary by a harder and more rigid construction of set. Instead, through lack of enterprise on the part of art directors, all sets now appear with a uniform and monotonous softness.
Similarly, in its lack of adaptation to the changes in camera technique, set-building lags behind. In the early cinema the set confronted the camera as a stage confronts its audience. The camera, stationary and at eye level (its only variants being a cut from long-shot to mid-shot, mid-shot to close-up), demanding a complete stage set with its three walls. Since that time the camera has lost its immobility. But nothing has been done in set building to exploit the possibilities of the modern camera with its new battery of pans and trucks.
Sets could be constructed which wrould give the camera far greater freedom of movement. But they cannot be, till art directors fully appreciate the camera point of view. The use of special angles should also be properly appreciated by art directors. They might then consider the possibility of making sets of floors and ceilings, with the back light coming in one case from above and the other from below. They still unfortunately hug the side walls only and are, to that extent, as firmly glued to stage tradition as the theatrical people themselves.
The question of scale is also important in set building. The relation of scale between parts of the same set must be considered, and, what is less obvious, the scale of one set as compared with another. It is a very common fault for exteriors to bear no relation to their corresponding interiors, particularly when interior sets are used in conjunction with real exteriors. Small house exteriors are fre
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