Movies for TV - Early Television Foundation

260
THE PROGRAM ANGLE
does is to make a story-board outline. This is a series of sketches
showing high spots of the story to emphasize the key situations.
When these highly important stages in the development of the
story have been decided, the producer can start thinking of his
actors. (This sequence is not necessarily followed by all producers,
but it is one which is logical and which is presented with
the thought in mind that it might be of assistance or interest to
readers who have as yet no set ideas on the subject.) Until the key
points of emotional appeal are decided upon the producer is hardly
in a position to know with great certainty what he is expecting
from his players. It is necessary to obtain the services of actors
whose voices match their screen personalities; otherwise viewers
may be puzzled when they appear. The physical size and appearance
are important. A domineering mother might be a small
woman, or she might, with more likelihood, be a big woman who
is physically bigger than the remaining members of the family.
So there is a choice of two players. But later in the production the
size of the domineering person may become important to the
sense of the story, because it symbolizes something which must be
brought out. The story-board key scene enables the producer to
catch this point and obtain a greater meaning from the story than
might otherwise be the case.
After the choice of players has been made, scene details must
be worked out. It is easy to generalize, but it is not of much value
to the reader if the generalization is not made in accordance with
some specific plan. Therefore, an imaginary script will be followed
to establish the reasons for some of the shots.
FOLLY'S REWARD
Video Audio
TITLE ROLLING THEME MUSIC
CREDITS DOWN TO FADE OUT
Part of the story has already been unfolded and we see here . . .
Scene 5: Dining room table father seated at head . . . family
around sides . . . daughter at foot.