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Making Sound Flow Over a Cut
It is often possible to improve a cut which is mechanically not smooth by letting sound flow over it. This is discussed in the next chapter.
So far we have dealt only with negative considerations : we have merely described the editing mistakes which must be avoided if a mechanically smooth and physically lucid continuity is to be achieved. We must now turn our attention to more positive problems, to see how a dramatically apt continuity can be evolved.
We have insisted that, whenever a cut is made, there must be a good reason for it : to transfer attention, however smoothly, from one image to another, when the previous image would have answered equally well, can serve no useful purpose. To say this is not merely to state an empty rule : making a cut for a specific dramatic reason may often become a simple matter of necessity, for unless it makes a point a cut is often found to be unsmooth. If, for instance, we cut from a mid-shot to a close-up of a character, there may be no mechanical reason why it should not be acceptable. If the cut marks an important dramatic development it will, in fact, usually be effective. Yet the same cut in a different context may become harsh and unacceptable. If we were to cut to a big close-up just as the actor was saying, " I'll have two lumps of sugar, please," the cut would be emphasising a dramatically insignificant gesture and would appear meaningless to a spectator. It would, in other words, not be a smooth cut.
Thus, although the mechanical rules of cutting must be kept in mind, the decisive consideration at the junction of any two shots must be that the transition should be motivated by dramatic necessity. A continuity of shots in which each cut is dramatically useful will often appear smooth even if the mechanical matching is imperfect.
Take an example. A man is sitting in an arm-chair. He has put a cigarette in his mouth and is searching his pockets for matches. It is clear that he cannot find them. He glances around the room and suddenly a look of recognition comes over his face : he gets up and walks to the other end of the room, where a box of matches is lying on a table. There are two entirely different ways in which this scene could be cut. The whole action in the chair could be played in one shot and cut to another matching shot which takes up the actor's movement and pans with him as he walks
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