The art of sound pictures (1930)

io8 THE ART OF SOUND PICTURES we are relatively unemotional, except in so far as we are eager to master the facts before us. But as soon as we crave to assert ourselves, or to coax somebody, or to give in to an enemy, or to comply with a friendly request, our emotional selves rise. The uniquely characteristic act usually involves both the intellectual and emotional varieties of behavior. The pair, in combination, reveal a man’s nature as deeply as any single aspect ever can. This is why, in a later chapter, we devote so much space to an analysis of the emotions. We would give equal attention to the intellectual life, but for the fact that it is less closely connected with the feelings. Thinking is a somewhat neutral operation. For many people it is downright unpleasant, largely because it is difficult. But motion picture audiences want to be entertained. Seeking pleasure, why should we force them to watch people go through intellectual acts? We get more fun watching other people take attitudes and do things than we get out of debates and arguments and elaborate discussions. So, in art, we concentrate on those characteristic acts which emerge most sharply in emotional instants. This, however, must not lead you into the error of supposing that the reflective delay should be left out of the picture. Simply bear in mind that, as a rule, it is too slow and too intricate to be well drawn; and that it lacks the pleasant feelings, both in the character and in the spectators. DIALOGUE And now we come to dialogue, which ranks next to the story itself in importance, so far as sound pictures go.