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THE NEW ART
7
You need a fanciful ear. The backgrounds of your story now cry out. The tale is filled with noises. And every least sound adds a unique quality to the total effect.
Do you show us a young bride in her new kitchen? Will it heighten the emotional effect which you aim at if you let us hear the breaking of egg shells and the sputter of bacon fat, as she prepares her darling man’s breakfast? Or will all this turn a serious situation into a ludicrous one? Are you fashioning a melodrama of simple life back on the old farm? Will you bring to the ears of your audience the lowing of kine, the bark of the shepherd dog, and the clatter of the mowing machine in the hot hay field? Then, first of all, you must understand whether, in the given scene and action, the moo of a plaintive cow will make your listeners giggle or mourn.
Here is an unwritten chapter in psychology. It will find form chiefly through slow experiments in the studios. But some authors will early develop a feeling for sound effects and will profit enormously thereby.
The would-be writer of stories may wonder why we drag in such a bewildering array of technicalities as color photography, the mechanics of sound reproduction, the cutting of film, and so on. Our answer is simple.
There is only one ideal way to make a picture. The man who conceives the story should direct its production in the studio and, above all, should assemble the various scenes after they have been photographed. In other words, a motion picture should be singly visioned and singly executed, just as a great painting or a brilliant novel. It ought to be the expression of a creative personality.