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use lamps. We paint with light. Instead of colours we have a scale in monochrome. But what our cameras record is what our imaginations create when we paint our sets with light."
E. D.: "To what extent do you control the sets themselves?"
C. C: "That is a matter of collaboration with the designer and director before shooting begins. We discuss the sketches and models."
E. D. : "But that scene you have just been shooting, with that broken gun-wheel you arranged so carefully upon the mound, does your script give you the details of that?"
G. G. : "Oh, no. Such a scene can be arranged upon the floor. Then I paint my sky-cloth with light to help the composition. That big ball-room set you saw us shooting the other day — every column of it has its roundness touched off by some specially placed light, so that the scene had form and depth and pictorial balance as well as the softness appropriate to candle-illumination. The lighting made it a composition."
E. D. : "What of the risk that shots with intrinsic pictorial appeal may distract from the thematic content of the film? Robert Edmund Jones says that he is most content with his stage settings when they fit a performance so perfectly that the audience does not notice them. Does not that apply to camerawork?"
G. C.: "The photography should enforce, not distract from, the thematic content. Selfish photography is like over-acting. The beauty of camerawork must be absolutely lap-dissolved with the mood of the story. It is like some vital part in the mechanism of a watch. The audience — members of the average audience — should never be aware of the camera.
"For instance, the camera's angle of vision is more limited than that of the human eye, so that if we wish to convey the impression of the unhampered movements and gestures of George Arliss we have to follow him with pan and track and keep him always 'trained' by a moving focus. We must not allow him to be the prisoner of the frame. But the audience is not aware of that constant camera movement. When the audience feels that anything is technical then it is bad. So with angles. The right angle is the natural angle. When a technical trick is so good that the audience does not see that a trick is being used then it is artistic camerawork.
"Look at that set in there. A sound-stage lumped with ioo tons of dirt and turned into the battlefield of Waterloo. 30 electricians and 7,000 amps to light it. An artificial sky within a few dozen feet of the foreground. Yet the camera will give you a perfect illusion of miles of depth. Shafts of sunlight touching the stone walls and the branches of the tree. Every blade of grass almost with its separate lighting. The impression of an exterior rendered in the studio by artificial light!"
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