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THE FILMIC COMPONENTS 115
In writing screen plays for cheap-budget movie-house pictures, or for television films, the number of dolly shots should be cut to a minimum. They are difficult to set up for lighting, and difficult to shoot, especially if a number of involved camera movements are to be used. They are time-consuming and therefore expensive.
At the same time, however, they are extremely useful in many ways. Some have already been mentioned in discussing other shots. As useful as they may be, though, it is best to explore other possible means of obtaining the same effect before resorting to the dolly shot.
Dolly or cut-in? Significant detail revelation, for instance, can be achieved by means of a cut-in close-up. Instead of dollying in to show what a character sees, the cut-in close-up can accomplish the same purpose. In some cases, where it is essential to speed up the tempo, the cut-in is preferable. For the dolly in or dolly out are slow, time-consuming devices. The forward movement of a film is always deterred by either. And unless the dolly shot can be fitted into a slow-moving sequence, or can be used to open a sequence that builds to a climax, it should be avoided.
Fullback dolly. The pullback dolly shot is especially suitable for a certain type of revelation. Where the dolly in can reveal a startling detail in the small, as it were, the pullback dolly shot can reveal startling information in the large. A shot can open with a close-up of something which in itself has no particular significance. But the camera can then pull back and reveal something in the immediate vicinity which can furnish a startling revelation.
In the British picture The Night Has Eyes, James Mason is made to believe that he is insane. His housekeeper and houseman dope him, and then arrange to have him awaken in a stupor with his hands wrapped around a freshly killed animal whose neck had been twisted. In the final sequence, his girl friend returns to his cottage at night and, at the gate, sees something startling taking place in the cottage driveway. A direct cut in a close-up to the doorway shows what she sees— a rabbit in somebody's hands with its neck being twisted. The reason for the girl's reaction is slowly revealed to the audience, when the camera pulls back and shows that the hands around the rabbit's neck are not Mason's, as the audience is momentarily led to believe, but those of the housekeeper. In this