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Prologue: A World on Film
- The University Press of Kentucky
- Chapter
- Additional Information
BeyondtheEpic 4 hasquiteaneffect,ofcourse.”1 Onceafilmwasfinishedshooting,Leansaid, hewasparticularlyinterestedinsupervisingtheediting.Sincehehadbeen aneditor,hefoundithardtokeephishandsoffthecelluloid.Furthermore, healwaystriedtoshootwithaplanforeditingthefilminmind,inorderto besuretogettheshotsheknewwouldbeneeded. AndrewSarris,oneofthemostarticulatechampionsofthefilmdirector ’svitalroleinthefilmmakingprocess,haswritten:“Onlythedirectorcan provideaunityofstyleoutofallthediverseingredientsathisdisposal.The scriptwriterwillfindhiswordschoppedupintoshots.Theactorwhoperforms continuouslyonthestageisrecordedintermittentlyontheset,where his part is slowly eroded out of sequence into little bits and pieces.”2 Consequently,itisthedirectorandthedirectoralonewhocanandmust conferartisticunityonamotionpicture.Accordingly,thekeyrolethatthe directorplaysinthecreationofamotionpicturehasbeencomparedtothat ofacompanycommander,aquarterback,anorchestraconductor,atrail boss,evenaliontamer. Theauteurtheorymaintainsthatthedirectorisatthecenterofthefilmmaking process.Whentheroleofthedirectorisviewedinthisfashion,itis clearthatheisthetrueauthorofafilminmuchthesamewaythatawriter istheauthorofanovel.Afilmdirectorwhomerelyputstogetheramotion pictureasifhewereaforemanonanassemblylinewouldnot,ofcourse,be consideredtheauthorofafilmthathehasdirected,andtherearemanysuch directorsinthehistoryofcinema.Butafilmdirectorwhousescinematic techniquestoexpresshispersonalvisionofrealityinfilmafterfilmwillbuild upacoherentbodyofworklikethatwhichthenovelistproduces. Thisisnottosaythatagivenfilmcannotbeanalyzedandenjoyedapart fromtheotherfilmsmadebythesamedirector,butone’sappreciationofa givenfilmcanbegreatlyenhancedwhenitisexaminedinthecontextofthe director’stotalbodyofwork.“Thefactthatmostdirectorsdonotwrite theirownscripts,”saysSarris,“isenoughtodiscredittheroleofthedirector intheeyesoftheliteraryestablishment.Suchdiscreditisoftenunjustified evenonliterarygroundssimplybecausemanydirectorsdeclinetotakecredit forcollaboratingonthewritingoftheirfilms.”3 AlfredHitchcockimplicitly supported Sarris’s view when he wrote, “Under ideal conditions the screenplayispreparedbythewriterincollaborationwiththedirector.”4 AsLeanhimselftestified,hecollaboratedonthescreenplayofeveryfilm hedirected,whetherhewascreditedasascreenwriterornot.Itwashiscustom toholdscriptconferenceswithhiswriterspriortofilming,inorderto trade ideas about plot and dialogue with them—even when one of the screenwriterswasanestimableauthorlikeNoëlCoward,whowasinvolved Lean*PrologB.indd 4 9/21/06 2:52:15 PM [3.16.83.150] Project MUSE (2024-04-24 14:07 GMT) Prologue 5 incoauthoringfourfilmsthatLeanmadeearlyinhiscareer.Leanwasconfident thatheknewhowtoaidscreenwritersinimprovingwhattheyhadwritten .“Workingonascriptisimportantandverynecessary,”hesaid,“butI’m notawordman;I’mapictureman.Ilovegettingbehindacameraandgetting imagesonascreen.”5 Furthermore,whetherornotadirectorhastakenahandinscriptpreparation ,hecanstillbeconsideredtheauthorofhissuccessionoffilmsifhehas consistentlychosenmaterialthatisinkeepingwithhisownpersonalvision anddirectorialstyle.Leansawinhisownstyleanattractiontocharacters whorefusetoacceptdefeat,evenwhentheirmostcherishedhopesgounful- filled.Hisprotagonistsseektotransformtheirlives,butoftenfailtodoso.Pip inGreatExpectations,ColonelNicholsoninTheBridgeontheRiverKwai,and T.E.LawrenceinLawrenceofArabia,amongothers,struggleagainstthe limitationsoftheirownpersonalitiestoachievealevelofexistencethatthey deemhigherornobler...