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ON FILM TECHNIQUE 69
the assemblage of the whole from the discovered parts. The finding of the elements, the details of the action, implies only the completion of a preparatory task. It must be remembered that from these parts the complete work is finally to emerge, for, as said above, the real motor-car accident might be dissected by the onlooker into dozens, perhaps indeed hundreds, of separate incidents. The director, however, chooses only six of them. He makes a selection, and this selection is naturally conditioned in advance by that filmic image of the accident — happening not in reality but on the screen — which, of course, exists in the head of the director long before its actual appearance on the screen.
EDITING : THE LOGIC OF FILMIC ANALYSIS
The work of the director is characterised by thinking in filmic pictures ; by imagining events in that form in which, composed of pieces joined together in a certain sequence, they will appear upon the screen ; by considering real incidents only as material from which to select separate characteristic elements ; and by building a new filmic reality out of them. Even when he has to do with real objects in real surroundings he thinks only of their appearances upon the screen. He never considers a real object in the sense of its actual, proper nature, but considers in it only those properties that can be carried over on to celluloid. The film director looks only conditionally upon his material, and this conditionally is extraordinarily specific ; it arises from a whole series of