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and Scarlett on horseback) and they have paid off with welcome changes in story formulas.
Now that pre-war conditions of production are becoming possible, Natteford will again try to make use of railroads and trains — and so will many other writers.
The opportunities to find novelty and freshness in the outdoor film, considered to be the most conventional of all, are bounded only by the imagination and daring, and the research work, of the writers.
In our current and unproduced effort, a sympathetic producer allowed us to find outdoor action in the premise that a man might be saddled with responsibility for the rampages of an outlaw stallion, as Sinbad was saddled by the Old Man of the Sea. The producer did not insist that all outdoor action stem from the attempts of the heavies (who shoot at the hero and miss) or the hero trying to uncover the man higher up, whose identity is known to every child in the audience, but not to the hero.
Ward believes that most of the sameness in Westerns is traceable to an unnecessary limitation: that action stems only out of man-to-man conflict between hero and heavy. She maintains that there were just as many sex triangles in the early Western days as during present post-war nights (and The Outlaw and Duel in the Sun would seem to bear this out) , just as many psychotics (Doc Halliday, Black Bart, etc.), just as many paranoiacs (the Daltons, Tom Home, etc.), and certainly as many morons (Billy the Kid, Calamity Jane, etc.), and that action themes may be found in the conflict of individual versus society, as well as in the conflict of man to man.
All composition being within the confines of a frame, we must still admit that there are certain unavoidable limitations governing the construction of the Western.
We believe the most important of these to be the budget, the schedule, the producer, the director, and the writer.
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