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Secret People !
INTRODUCED BY THOROLD DICKINSON
An example of the difference between theory and practice in the construction of a film
I want to make two points in these notes.
First : in the publishing of film scripts, it is becoming the habit to print what is technically known as the release script, which is the verbal description of the film as shown to the public, rather than the shooting script, which is the written script as delivered before production. One can understand a layman finding pleasure and interest in recapturing the flavour of a favourite film from reading a transcription of the film as he has seen it on the screen. But the student of film writing can, in my opinion, find a deeper interest in comparing with the film the shooting script from which that film was made : he can thereby learn far more about the construction of the film, particularly if the film contains sequences of a cinematic nature, as opposed to sequences v/hich might be equally effective in a stage or television production.
Second : there is a growing tendency to believe that the function of film editing is less creative in sound films tha-n in silent. And this is true in films which derive directly from stage plays or in films in which the dialogue carries the burden of story telling more than the visuals and sound effects. But the more a subject lends itself to cinematic treatment, the more creative can become the contribution of the film editor.
Secret People was conceived as a film, and the sequence which I have chosen to illustrate these two points remained unaltered
* Producer: Sidney Cole for Ealing Studios. Director: Thorold Dickinson. Script: Thorold Dickinson and Wolfgang Wilhelm. Director of Photography: Gordon Dines. Art Director: William Kellner. Editor: Peter Tanner. Music: Roberto Gerhard. Leading Players: Valentina Cortesa, Serge Reggiani, Charles Goldner.