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Hollywood — The 'Director
The work of the conscientious director is by no means finished when he arrives home at night. In the studio he has perhaps shot five or six segments of the scenario, but to do this has used every moment of the time. For the following day's shooting he must now visualize five or six new scenes as far as possible in their entirety. This is a little different from any other kind of artistic creation and merits perhaps an exposition.
The writer can rewrite, correct, and alter between the lines as he goes along. Sterne said that he wrote * full ' and corrected * empty/ or vice versa. The painter can modify his picture as it grows. No such liberty is allowed the director. On the morrow when he arrives at the studio he has to know what he is going to do, what his actors are going to do, and what he wants his camera-man to get out of the picture.
To know this he must study the scenes in all their details of action, emotion, and implication. The dramatic movements are, of course, described by the continuity script, but they are mere words. The actors must be placed by the imagination on the scene. Each shot made on the morrow has thus to be constructively considered down to all its details. The director must consider them as pieces of emotional intensity in relation to the pictures that have gone before and those that must follow after. What emotional pitch must the scene bear in relation to the rest of the film ? Monotony or stridency of effect must be avoided, except on rare and deliberate occasions. What quality of background will best fit the emotional intensity of the scene ? What must be the movements of the subsidiary actors in relation with the stars ? From what angles are the pictures to be taken ; is the effect to be quite ordinary or strange, normal or grotesque? What lightings shall be used, harsh or soft, strongly modelled or flat ; what emphasis on the figures ;
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