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your script upon which I am working now; the stage directions for the first scene read as follows: "A scene in the street of a Belgian town. It is fruit and flower-market day; the stalls are overflowing; people are lounging about and drinking outside a cafe." You know what I am doing for that, for you were there when the scene was taken.
'If you had been willing to do all that I did, so much the better for me, but as you did not, I should not have felt, and I do not think you would either, that you would have had the right to come along and make alterations afterwards.
'To try and put it more briefly — it seems to me that the author may go just as far as he likes, but where he stops he must let the other fellow carry on without claiming the right to vary. When the author has finished the producer begins. He takes what the author has written, and by the act of accepting it binds himself to adhere faithfully to it except that he may make such minor alterations as do not affect the sequence of the story, the characterisation or the atmosphere.'
I am greatly indebted to Temple Thurston for a considerable broadening of my own ideas and for long, profitable and pleasant conversations. We worked together happily and smoothly for a long time. Possibly we worked a little too closely and too continuously. We may have exhausted our mutual resources: got a little tired of each other. I had not been used to having anyone beside me in the studio when I was working — had always turned out anyone not actually engaged in the scene. Any whispered commentary behind me, any suspicion of what might be a criticism, was enough to put me off my stroke, and although there was no suggestion of anything of that sort from Thurston, his mere presence may have unconsciously irked me a little in the end.
But before we drifted apart we had had the advantage — or perhaps I should say / had had the advantage, for it is unlikely that he gained as much benefit from it as I did — of a great deal of happy and fruitful collaboration. The stories he wrote for the Government war-films were full of inspiration for me as well as being, I suppose, valuable propaganda. His ideas did not always work out as we both hoped they would, but that is perhaps only natural for we were working in an atmosphere which was new to us. At one time he enunciated the interesting theory that tragedy, for instance, might be equally tragic at all sorts of different levels.
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