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8
THE ART OF SOUND PICTURES
Hence, the ideal story writer is he who, after having dreamed the tale, can cast it upon the screen effectively. First, he writes his story in brief narrative form; he then prepares its continuity, down to the minutest detail of set and sequence; next, he selects his cast and supervises the stage carpenters, the scene painters, and the company rehearsals. He arranges the lights and instructs the camera men as to the best angles and distances of shots. The photography done, he assembles all the shots, so as to produce most accurately the effect at which he has been aiming. Then, and only then, has he expressed his story.
No such ideal story writer has ever appeared — in Hollywood or elsewhere. Several circumstances have conspired to block him from birth onward. Above all stands the insuperable difficulty of dominating the hundreds of people in the immense organization which makes the picture. No other art has ever been overwhelmed by such a horde of indispensable subordinates, any one of whom may, by accident, whim, or malice, wreck a picture. Actors are temperamental folk. Stage carpenters may be as dumb as driven cattle. Wardrobe managers can all too easily delay production enough to turn financial success into failure. And so on, nuisances without end.
The second difficulty lies in the artist himself. To create a complete screen story, he must know ten times more than any novelist, painter, or dramatist. He must understand the management of people, the effects of outdoor light, the composition of interior sets, the effect of dialogue, the manipulating of incidental sounds, plot, character, film cutting, and heaven knows what not. Only one art can compare with it, and that is architecture.