The art of sound pictures (1930)

SOUND EFFECTS 207 would be a shot in a scene in which we see two men standing on the deck of a boat and hear them talking about the scenes around them. The camera swings from object to object as it is described in the conversation; but the sound recorder holds fast to the conversation itself. An instance of the second method, applied to the identical situation, would appear with the camera held on a big mountainside, while the remarks of a dozen different people, all unseen of course, were picked up by the sound recorder. Over and above these two compound patterns, you may also use pictures alone and sound alone. Personally, we feel that the latter technique has been totally overlooked thus far. Why shouldn’t there be openings in a dark screen, from which talk or other sounds come? And why not similar passages between talking pictures? The public is thoroughly accustomed to this sort of effect in radio broadcasting. And the dramatic effects might be powerful. The nearest approach to this technique is in Dynamite, where you see everything go black while you hear the crashing of a great explosion. The effect is tremendous. From the author’s point of view, however, the limitations of sound are negligible. And they grow more so every day, as directors and technicians master the art of its use. The writer need only remember that his story can be so improved and perfected by the addition of sound to picture as to exceed immeasurably his fondest hopes. Every dramatic effect which you achieve in words will be vastly more powerful when portrayed with sound — and for better or for worse. Thousands of critical eyes