Movie Makers (Jan-Dec 1953)

97 Photographs by Silvio Di Loreto NARRATOR at left has mike, script and lamp in proper position for easy reading as prompter presses his arm for a cue. Mike above is in side position to reduce sibilance. NARRATIVE TECHNIQUES An able movie maker and experienced announcer, the author gives calm counsel on audio techniques for the amateur WARREN DOREMUS, ACL, Station WHEC, Rochester, N. Y. NARRATIVE, when combined with a motion picture, must first of all be functional. Which is to say it must be needed. It should not duplicate in words what is already evident on the screen. With this in mind, there are (it seems to me) a number of functions which narrative can perform to amplify the effectiveness of a picture. One of these, if not the most important, is to help guide the thinking of each person in the audience along the same channel of ideas. In other words, pictures by themselves are subject to individual interpretation. But, add narrative to them, and you convey clearly one special meaning. Another function narrative can perform is to supply pertinent information not supplied by the pictures. For example: "These scenes depict a civilization long thought to be non-existent." A third purpose of film narrative is to supply continuity. In other words, it provides transitions from sequence to sequence, just as subtitles do — but with far greater ease and less interruption of the film's flow. Next, I should like to outline the structure for writing a narrative. Frankly, this is not an easy thing to do. It compares with trying to explain to someone how to write a book! Nevertheless, I shall begin by saying that before you write anything at all, time your picture with a stop watch. Determine, according to the length of each sequence and the reading speed of your narrator, how much narrative can be used. Keep in mind two things. First, a scene should be established visually before the narrative starts. And, in correlation, the narrative should conclude before the scene ends. Allow for these margins in your timing. Write no more than that which can be delivered in an unhurried manner. Second, make your narrative as esthetically interesting as possible. Use factual matter and statistics with more than a degree of restraint and subtlety. A little romanticism is sometimes quite pleasant. And, occasionally, narrative may even consist of poetry. In physical format, all narrative should be doublespaced in its typography — or even triple-spaced if you find that more legible. Secondly, it is helpful to place the left margin of your typed narrative about halfway across the space of the page on which it is written. This will provide room for important notes on timing, cues, pauses and emphasis. An example of this format will make its composition clear. l. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. NOTES Begin with NATIVE at doorway SLOWER with "There is the . . ." PAUSE after "eyes . . . HOLD Begin with WOMEN WASHING clothes at river bank NARRATIVE Here in Karango, more so than at any other place since this journey began, one feels that we are a world-apart from all those things which we of the Western Hemisphere take for granted as comprising our civilixation. There is Hie structure of the city; the smells of the market place; the slowed movements of the people, and the relaxed look in their eyes . . . And there is the river . . . In our world a river is used for commerce . . . Here, however, it becomes, etc., etc. In this format the numbers at the extreme left will indicate the number of lines of narrative to the page and will be useful in estimating the relative delivery speed of one's narrator. It is not possible, of course, to suggest how you may acquire the natural voice prerequisites with which to do your own narrating. But it already has been noted that narrative ought to be delivered in an unhurried manner. Also, an evenly modulated, almost conversation-like tone is preferred, because such a delivery is better understood, more pleasing to the ear and more easily recorded. But above all, seek to employ the type of voice and delivery which is suited to your subject matter. The professional polish of the trained radio man is not always the ideal voice for a simple and sincere amateur film. It may, by its very training, be too polished, too slick and therefore seemingly insincere. Furthermore, do not insist on using your own or your wife's voice if it does not, in the opinion of objective observers, seem to record happily for the subject in hand. Several examples of selective choosing of the right narrator have been cited recently in these pages; we feel sure that these Ten Best award winners were solidly aided by this impartial discrimination in the selection of [Continued on page 109]