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THE FILMIC COMPONENTS 131
would have been with a time lapse dissolved through from the roaring fire to a shot of the same fire in glowing embers. This would be followed by a pan across to the bedstead again, and then a reverse trucking shot across the head of the bed, as was done previously, to end on a shot of the pair lying in the bed, weary but happy.
Lapse-of-time cutaways. Film editors find cutaway shots lifesavers when they are confronted with shots that, because of inept directing, cannot be spliced together satisfactorily.
In cases where, for example, the error results in a so-called "jump cut"— in which continuous action is broken up by a violent jump— a cutaway shot showing an onlooker's reaction, or any other subject, can bridge the jump in the cut. Although this is strictly a director-cutter problem, the screen-play writer can use the cutaway in a somewhat similar manner.
It would be far too time-consuming and boring, for example, to show the entire action of a telephone linesman as he puts on his paraphernalia of tool belt and pole-grappling hooks. The action is too unimportant to be shown in its entirety, and not long enough in time to warrant a dissolve. In such a case, the linesman could be shown starting to don his belt. Then a cutaway to someone watching the act, or to some other scene, could be inserted to cover the time needed by the linesman to finish his preparations, so that when he is next seen he is ready for work.
Such cutaways indicated in the screen play are almost always shot by directors who are aware of the film editor's most common dilemma. When such cutaways are not indicated in the script, the knowing director improvises— with props or minor characters available to him on the set— to photograph for cutaways, not only to provide his film editor with a scene cover in an emergency, but also to be used for build-up purposes.
Indirection
In the following section on time lapses the suggestion is made that the audience be given an opportunity to figure out some things for