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192 A PRACTICAL MANUAL OF SCREEN PLAYWRITING
This rhythm can be made intrinsic to the screen play by the writer— by judiciously manipulating the shots, the angles, the camera movement, the character movement, and the length within the individual shots to conform with the three principles of progression, contrast, and repetition. At the same time, if the scenes within the sequence, and the sequences within the picture, are similarly treated to follow the three principles, the result should be a screen play that will have that elusive quality of rhythm.
Practically all the factors involved in the use of montage now fall within the province of the director and the film editor. This is so, not because they are natural to those offices, but because the screenplay writer has been universally considered as an inoffensive and necessary contributor to the making of motion pictures. As a result, his work has been shorn of many creative details that should ordinarily have come within his province, but which have been relegated to the director and the film editor.
There is no reason why the screen-play writer cannot, and should not, regain these creative duties. Certainly his creative background should furnish him with the necessary esthetic wherewithal. That he can perform these duties has been amply demonstrated by the success of those pictures that were made by writer-directors. But even if the writer is unable to direct his own pictures, he can make certain that his creative ideas are followed by the director and the film cutter.
Write in detail. Dialogue, for instance, can be written so that it would be impossible to shoot it in any way other than the one indicated in the screen play. In the same way, camera angles, camera movement, and character action can be dictated by the writer so that the director will be forced to shoot them in the manner indicated in the script. The length of the individual shot, which has never been considered within the screen-play writer's domain, has always been, first the director's job, and then the film editor's. But the screen-play writer, as the prime mover, can dictate. He can, simply by writing in complete detail the necessary action, and by writing in detail all dialogue and all character reactions and directions. He can dictate by timing all the action and the dialogue, with a stop watch, to make certain that the length of the finished shot will