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122 A PRACTICAL MANUAL OF SCREEN PLAYWR1TING
third dimensional quality. Not only is the subject well rounded, but he remains in a constant relation to his background and surroundings and gains depth and perspective.
A good side angle can frame two or more subjects or actions so that they can be visible at the same time although actually they are some distance apart.
In addition, with careful framing on the part of the operator, extraneous material can be excluded in a side-angle shot, and only the pertinent, relevant material need be chosen for inclusion in the shot.
The side-angle shot is also invaluable in building. The speed of a subject as it hurtles toward the camera— and thus toward the audi ence— can be carefully controlled by the angle at which the camera lens photographs the shot. Action is practically stopped by the head on shot. But as the angle is changed— either to the right or left, but preferably to the right, because it follows the natural left-to-right action of the human eye— the speed of the subject can be increased until it reaches a 180 degree variation from center.
Boom shots. The high-angle shot can also be achieved by means of a boom. The boom is simply a weight-balanced steel arm. One end can be raised or lowered smoothly, almost at the touch of a finger.
It is possible, with the camera on a boom, to get extreme long high shots that can zoom down into low close shots and even closeups— shots that start high at one corner of the set and wind up lou in the extreme opposite corner.
Thus, with a boom shot, an entire sequence can be photographed all in one shot, using the whole gamut of shots and angles. It was with specially designed mobile booms that Hitchcock got many of his long sequences in The Rope.
When the boom shot is to end with an extreme close-up on a critically focused subject— a difficult shot to obtain— directors resort to an excellent subterfuge. They start the shot in the close-up— which can be sharply focused in advance— and reverse the action to finish with the full shot. This scene is then cut into the film in reverse so that the sequence in the finished picture will open with a full shot and end with the desired close-up.
The fluidity achieved with such a mobile camera is obvious. But