Movies for TV - Early Television Foundation

CHAPTER 13
PLANNING THE SCENE
It is not within the province of this book to go too deeply into the
techniques of pictorial composition, partly because it is largely
a matter of artistic temperament and partly because it has already
been so well explored in the late Hoyland Bettinger's book, Televi-
sion Techniques (New York: Harper & Bros., 1947). However, it
is necessary in order to achieve completeness that the subject be
broached briefly.
The painter who succeeds as an artist instead of remaining a
painter will be the man who recognizes rhythm
in art and uses
it to amplify his artistic efforts. In the same way, the successful
producer will utilize every bit of artistic talent he possesses to
effect a presentation which will catch the imagination of his public
and make them ask for more.
It is hardly possible to give a table of advice which must be
followed to obtain the best results. In the same vein, only a very
vague, negative approach
can be indicated since what is taboo
for one man because he cannot handle it is wonderful for another
because he has the little something which lifts the scene out of the
flop class into the excellent category. Psychology here plays a most
important part in deciding the placement of scenery and props
as well as the choice of actors. This chapter started out with the
intention of discussing performers, composition, and artistic ar-
rangements, but it seems now that it should also include personali-
ties in order to cover the psychological aspect properly.
In the creation of a presentation, the first thing the producer
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