the screen-writer’s constant awareness of the duplicity of life, his recognition that everything exists on at least two levels, and that, therefore, he must write a simultaneous duality: First, he must create a verbal description of the sensory surface of life, sight and sound, activity and talk. Second, he must create the inner world of conscious and unconscious desire, action and reaction, impulse and id, genetic and experiential imperatives. As in reality, so in fiction: He must veil the truth with a living mask, the actual thoughts and feelings of characters behind their saying and doing.
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