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THE PRECONCEPTION OF DRAMATIC CONTENT
visual images. It follows that with the aid of plans, diagrams, layouts, and descriptive text, the three composers of the film manuscript will be able to select more easily the best possible shots for the representation of the scenes which express the dramatic content of the theme. Moreover, the manuscript composers must continually be conscious of the varying relations of the visual image lengths (i.e., the length of time that each shot is held on the screen), for it is their rhythmic tension which ensures the increasing or decreasing concentration of the audience. This detailed shooting-plan will render more simple the two further acts of montage, already sufficiently complicated in themselves.
It is to be remembered that when shooting a film, a director is seldom able to take shots or scenes in their consecutive order of appearance. He cannot, for obvious practical reasons, begin by taking his first shot and proceed according to his scenario. For this reason alone, therefore, a well-organised scenario-plan is absolutely vital for the final assembling of the film strips in the cutting room during the last stage of montage. If the scenario-plan be indefinite, if every problem raised by the theme has not been filmically solved in terms of constructed shots, then the resulting film will be without composition and form. It must be clearly understood that a scenarioplan is built up from sequences; the sequences from scenes; and the scenes from shots. Conversely, shots are edited into a scene; scenes into a sequence; and sequences into a unified filmic composition. The drawings included in the film manuscript are clues to the progressive movement of the film itself. They are a graphic commentary on the unfolding continuity of visual images. The basis of film construction is the plastic welding of visual images, or shots, into a complete vibrating whole. Each separate shot indicated in the scenario becomes a strip of celluloid; out of these strips, conjoined in varying order and length according to narrative and rhythm, is built the film composition.
In 'every way, efficient scenario montage eliminates surplus expenditure of time and money during the making of a film. With preconceived knowledge of exactly what material is desired, only a limited amount of footage of film need be taken. By competent scenario organisation, twelve thousand feet of film is the maximum amount that need be taken for an eight thousand feet picture. Furthermore, it is obvious that for a film to be produced with any
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