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your film expositionally, syinphonically, lyrically, or by any other method, according to the aspect of the subject you have chosen for the theme. These methods are by no means mutually exclusive; each is used where and when it is wranted, according to the requirements of the theme. The writing of the treatment is another selective process. The main work in it is the seeking out of those visual aspects of the available material which best express the theme. You will probably concern yourself first with the "chunks" of the material which will go to form the sequences of the film. There may be many such chunks available for shooting. But which of them are relevant to, and best bear out the theme? Which of them readily lend themselves to movie construction? Then, when the chunks are selected, in what order are they to be used, to give the best form to the finished film? These considerations must be carefully weighed, and the chunks selected and ordered into the sequences of the film. Next, you will take each chunk separately and analyse what goes on inside them. These analyses, when built up into visual terms, will form the shots and combinations of shots within each sequence. In determining how to treat the material in each chunk, don't merely look to surface appearances, or you will get a smooth, easy, meatless tale. Surface exposition and surface drama may be well and useful in its place, but it is not the business of films to record the obvious. Look behind the surface for drama more closely allied to the essence of the chunk you are interpreting; the use of latent dramatic references brings more power to the film because of their closer intimacy to the material. Take, for instance, a telephone exchange; there is drama, obvious drama, in the fact that the exchange is the hub of the city's communications. But go closer, and you will hear the separate voices of the city, each deep in its own affairs, each telling a story of its own. And from these isolated stories vou can cross-section the life of the city, the drama of commerce, of industry, of homes. Perhaps the best way of going about this analysis is to catalogue systematically all relevant observations, and to start lines of co-ordinative thought from spontaneous details of people and things. These details often give valuable clues to the best way of treating each chunk of material.
Direct observation leads to the consideration of two elements in any given happening or event: what and who. First, consider the what. Look not only for what is happening, but also for the attendant circumstances of the event, which will orientate it and stamp it as that particular event and no other. For example, a big business man dictating in his office: perhaps the attendant circumstances which best stamp the scene as "big business" are the beflagged map on the wall behind the man, and the imperious buzzer on his desk.
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