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82 CINEMATOGRAPHIC ANNUAL
path. The proper placing of these guiding objects constitutes the basic secret of composition.
It is possible to arrange a scene so that the vision is led or guided to any desired spot, and held there, suspended and waiting, even though action is taking place at another place in the same field of vision. It is the skill exhibited in doing this that differentiates the artist from the "crank turner." By composing the set and the actors on it, the skillful cinematographer can make identical action difficult or easy to follow. The cinematographer's ability to compose is often the means of clarifying otherwise difficult parts of a story.
To do these things, the cinematographer has almost unlimited resources at his command. On interior sets he has, in addition to the design of the set itself, the entire resources of the property department, which can supply him with furniture, plants, hangings, distinctive rugs, and every conceivable manner of inanimate objects. Furthermore, he has his living actors, whose places and movements can have a great part in making his composition. And, above all, he has the infinite possibilities afforded by the use of his lighting equipment, which he can control down to a very fine point. When you sum all of these factors up, you can begin to see how thoroughly the cinematographer can control the product of his workmanship.
In exterior scenes the cinematographer has many natural objects to work with; he may compose with trees, streams, fences, rocks, or even small bushes properly placed to guide the vision of his audience. Furthermore, in modern production cinematography, he has many artificial aids in composing his picture. Aside from the use of artificial trees, rocks, etc., which he can have placed where he wants them, he has at his command the photographic aid of filters, gauzes, diffusers, reflectors, and, more and more, of supplementary artificial lighting equipment as well.
The proper use of these aids and objects in composing a scene is almost solely the duty of the cinematographer. The director orders the words and actions of the actor, but upon the cinematographer rests the responsibility for capturing the vital points of the story in such a manner that it is easy for the spectator to follow the unfolding of the dramatic action. It would be next to impossible to read even the most interesting book if the printing were composed backward. One would be mentally worn out trying to read a single page, and would no doubt put the book aside without further efforts to absorb its contents if it were not for the fact that the printer has always followed the natural laws of optics. In exactly the same way the cinematographer must use that law to gain and hold the attention of the motion picture patron.
A pleasing story is seldom a pleasing screen display unless it is properly composed according to cinematographic standards. On the other hand, an unpleasing subject in story matter can be converted into pleasing entertainment by a master composer. As a famous screen critic recently wrote, "It is impossible to write motion pictures with a pen. The necessary creative process can be accomplished only with a camera."
These statements may seem biased and far-fetched to some readers,