Movies for TV - Early Television Foundation

MAKINGFILMSFORTV 239
produce only a mediocre film if the pictorial composition is poor.
This is too wide a subject to be dealt with in part of a chapter, so
is to
only a few important points are mentioned here. The story
be conveyed to the audience by pictures primarily. The sound
which it accompanies is supplementary rather than complementary.
Too many directors forget this and allow speech to detract
from the story told in the picture. The picture must tell the story,
and only one story at a time. Therefore, there must be only one
theme running through the picture, and everything in it must add
to its strength. When it is realized that television consists of 90
per cent close-ups and medium shots, with people forming most
of the scenery, it becomes apparent how important rhythm and
variety are in the picture. Rhythm and variety go hand in hand
with balance. The small size of the screen makes it extremely easy
to get in a rut and allow shots to follow a monotonous pattern
while using the excuse of the size as a protection. Four characters
in a row across the set are balanced and static a picture without
life. If they are unbalanced by turning the end man so that he
faces in semiprofile across the screen, and one drops back to form
a second rank between two others, a very strong and interesting
unbalance is formed.
In most cases simplicity is the keynote, except for special
bizarre effects where a complicated, confused set is symbolic. The
small screen makes it easy to confuse the viewer, and a confused
viewer is a lost viewer and too many
sponsors ! Editing brings in rhythm and variety by
lost viewers mean lost
the introduction
of fades and dissolves through the use of the optical printer. If
there is a strong vertical line in the center of the scene,
it will
divide the set into two separate scenes in effect, or even a repetition
will do it. For instance, Figure 11-4A shows the four men
referred to above in a very balanced scene. There is no vertical
line apparently present, and yet the monotony has the same effect.
In 1 1 Figure -4B the balance has been improved and the scene has
more interest.
To close this chapter, the mechanics of filming the opening
scene of The Singing Death will be discussed. The script for shoot-