His earliest film work was in Samuel Goldwyn's Eddie Cantor musicals, where he began developing such techniques as a "parade of faces" (individualizing each chorus girl with a loving close-up), and moving his dancers all over the stage (and often beyond) in as many kaleidoscopic patterns as possible. Berkeley's top shot technique (the kaleidoscope again, this time shot from overhead) appeared seminally in the Cantor films, and also the 1932 Universal drama film Night World (where he choreographed the number "Who's Your Little Who-Zis?"). His numbers were known for starting out in the realm of the stage, but quickly exceeding this space by moving into a time and place that could only be cinematic, only to return to shots of an applauding audience and the fall of a curtain. He used only one camera to achieve this, instead of the usual four, to retain control over his vision so no director could edit the film. As choreographer, Berkeley was allowed a certain degree of independence in his direction of musical numbers, and they were often markedly distinct from (and sometimes in contrast to) the narrative sections of the films. He often didn't even see the other sections of the picture. The numbers he choreographed were mostly upbeat and focused on decoration as opposed to substance some costing around $10,000 a minute, more than the picture they were in. One exception to this is the number "Remember My Forgotten Man" from Gold Diggers of 1933, which dealt with the treatment of World War I veterans during The Great Depression.