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THE FILMIC COMPONENTS 143
essary for plot purposes to establish suspense— if the character were a murderer stalking an unwitting victim— then an ideal means of creating suspense would be to show the murderer going through a number of doors and across a number of rooms and even up or down some creaking stairs— with an occasional cutaway shot to the victim intercut— until the murderer finally arrives at his place of nefarious business.
Wipe transitions. On the other hand, if suspense is unwanted, and if the journey through the various rooms has no particular point in the story, it would be enough merely to show the character entering the first door, and then wipe him into his final destination in the midst of performing the action he is supposed to be doing. If he is picked up entering the room, from the door, immediately after the wipe, it may leave the erroneous impression with the audience that he has gone through only one door in getting to his objective.
Detailed transitions. Remember, it is not always necessary to show all the details of a character's going from one place to another in successive scenes. As a matter of fact, only in special cases, when the details of the change of place are essential to the story— to establish a story point, or to sustain a certain mood— is it necessary to go through a step-by-step procedure.
It is not necessary, for example, to show a character leaving a room, going down a long flight of stairs, opening the street door, closing the street door, walking down the stairs to the street, ambling down the street to a subway station, meandering down the stairs of the subway station, riding on a subway train, getting off the train, climbing upstairs to the street, sauntering down the street to his destination, ascending the street stairs to the door, ringing the doorbell, entering, climbing up another flight of stairs, going down the hallway, knocking at a door, opening it, entering through it, and finally advancing to his girl friend to say, "How about a movie tonight, honey?"
Yes, this is an exaggeration. But something like it can be seen too often in a great many motion pictures. Even Hitchcock, who is a master of transition, falters occasionally in this respect, as in the picture Notorious, in which he photographed Bergman and