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10
THE ART OF SOUND PICTURES
material, as well as in handling the material chosen. You will be surprised at the strange variety of episodes, character traits, and scenic effects which cannot be used under prevailing trade conditions. The censors bar many. Cost bars others. Time factors exclude another group. Limitations of visual perception in your audience make others impossible. The human ear forbids thousands of words and phrases which are admirable on the printed page. And so on. Medium and method are your masters here. They shackle your free fantasy far more than you realize at first. So, if only to avoid wasting your time and energy, you ought to know as much as possible about every stage in the producing of a sound picture before you attempt to write.
But this is not all. There is a positive advantage in grasping the larger scene. The camera and the sound recorders cramp your style in many ways, to be sure; but they also offer you opportunities undreamed of. You can seize these opportunities only after you have comprehended the mechanics of the business. The more you know, the better will be your strategic position with editors and directors.
And the more you know, the surer you become of the startling fact that your medium is not the story idea. It is not the words with which you record this idea on paper. Your medium is the studio and all its people and paraphernalia. A man may be almost illiterate and still become a marvelous picture director. And conversely, the cleverest fiction writer in the world can all too easily fail in Hollywood, if he persists in the illusion that the ideals and rules of fine writing are the basis of fine pictures.