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CHAPTER TWO METHODS OF WORKING OUT THE SCENARIO
1. THE PRODUCTION SCENARIO
f CINEMATOGRAPHIC production is closely bound up with a highly complicated technical process. The organisation of the shooting process ^^A occupies 90 per cent of the total time occupied in making a film from art to finish.1 If only for this reason, the organisation of the camera-man's eative process calls for great systematisation and intensive thought.
In the ideal case, namely, when we are working in a creative group in which rector and camera-man have been associated in uninterrupted work for many iars, the camera-man does, in fact, take part in the creation of the film right om the moment that the author's intention is formulated in the scenario, ogether with the director he collects and considers the material for the direc>rial scenario, together with him he decides upon the chief objects of each shot, id their character. For the camera-man this is essentially the most valuable age of the preparatory work, for it is during this period that it is easiest for him ) come to a clear, mutual understanding with the director.
However, such creative groups, built up in the course of long association, ire very few in actual cinema practice. In the present-day system of production lie camera-man begins to participate in the preparatory work only when the irector has completely finished his plans for the film.
In the interests of our further conclusions we must here give a brief definition f the process of working out a scenario according to its various stages.
In future we shall use the term ' literary ' or ' author's scenario ' for the xposition of the film content in its abstract literary distribution into shots.
By ' director's scenario ' 2 we mean the exposition of the film content with Irecise directorial distribution into shots, which also include indications of the lethods by which the director intends to carry through each shot (the director's :>lution).
By the term ' production scenario ' 3 we mean the exact production project f the future film, which is drawn up as the result of the collective creative activity f the director, camera-man, art director, and sound recordist. The production
1 Such thorough preparation is accorded in the Western cinema only to ' super ' and ever to ' programme ' productions. — Ed.
2 Nearest Western equivalent — the first ' shot script \ — Ed.
3 Nearest Western equivalent : final shot script plus ' dope-sheets '. — Ed.
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