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PRECONCEPTION OF DRAMATIC CONTENT
(d) The filming of the material as indicated by the shooting-script.
(e) The assembling of material (i.e. the strips of celluloid) by constructive editing and cutting, as indicated in the shooting-script,
it is not possible to divide this construction into independent stages, as is frequently done in large commercial studios. The work of each stage is directly contributory to the whole film composition, being controlled, as stated above, by the director. Thus absolute collectivism is an essential of efficient cine-organsaton.
Examination may now be made of the first act of montage, that is to say the assembling of the scenario. It has been seen in the preceding chapter that the variety of themes available to the director, scenarist or producer, is almost infinite, and that choice can only be governed by sociological or political reasons, or, in cases of the general commercial film, by whether a selected theme will be of interest to a large number of persons. For the simplification of argument, therefore, it may be assumed that a theme has been chosen. This theme is to be reckoned as the root-basis of the scenario. It is the motive for the realisation of the film and its entire justification as a means of expression, other, that is, than the creative impulse of the director. The theme indicates action, by which its meaning will be propounded. The action of the scenario is built up from a number of incidents and situations brought about by the characters and the relationship that exists between them. This, obviously, is determined by the imagination of the scenarist or director, being either a creative product or an adaptation from a literary work. The actional interest of the theme is set in an environment, which is either suggested by the nature of the theme, or is chosen as being suitable by the director. The general colour or atmosphere of the film is determined by the environment, and must be present in the film from beginning to end. Even a land
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