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igO A PRACTICAL MANUAL OF SCREEN PLAYWRITING
can become part of the screen-play writer's equipment, especially one that indicates the film footage together with the elapsed time.
Progressive tempo. Sequential progression can then be attained by writing in a series of successive shots that are of similar length— for example, a series of three or four shots, each of which runs about six feet long.
Opposing tempo. Contrast, obviously, can result from writing in a series of shots that vary considerably in length— the first shot of two feet, followed by one of six feet, which is followed by one of three feet, and then winding up the scene with a shot running thirty or forty feet.
Repetitive tempo. Repetition, of course, would simply require repeating the length of the shots— as a series of two-foot exterior closeups (a favorite of the Russian Eisenstein, by the way) .
Build with a purpose. This fact, though, must be emphasized: These principles must be applied not arbitrarily, but methodically.
A series of slow pans, for example, should not be indicated only because a pattern of sequential progression is desired, but primarily because it is necessary to induce a suspenseful mood.
In the same way, the organization of shot lengths to obtain results from the application of the repetitive principle should not be done solely to achieve these results. The primary reason for using a series of short-length close-ups, for instance, would be to stimulate a sense of excitement; the reason for using a series of long-length long shots would be, primarily, to suggest a sense of relaxation.
All the elements of each shot must be so organized that the same three principles can be applied to the shots within a scene, and the scenes within a sequence, so that the sequences themselves can be organized, using the same three basic principles.
Build for rhythm. The sum total of this organization would result in a pattern of rhythm that would be most felicitous to the finished picture. It would be most felicitous because, contrary to the manner in which most screen plays are written, directed, and produced, the desired rhythm would have been deliberately and consciously written into the screen play.