on the action which follows; therefore it is important that they should be read by the spectators.  So, the much enlarged bust picture is introduced, in which, as has been explained in the preceding chapter, the hand with the photograph is held so close to the camera that when the picture is shown on the screen the writing is easily read.  In writing out the scene-plot, never omit mentioning the bust picture, if one is used, and give it a number as if it were a distinct interior or exterior, but when giving the total number of interior and total number of exterior settings (which follows your title in writing the synopsis), do not include it as being either one or the other.  It is not even necessary to say “One bust picture.”  On the other hand, close-ups are regarded as regular interior or exterior scenes, and must be counted as such and so mentioned when giving the number of scenes, as described.

5.  How the Director Provides the Sets

The director having gone over the author’s scene-plot to aid him in preparing his own diagrams of the various settings, it is merely necessary, so far as the exteriors are concerned, to go out himself, or send out his assistant, to pick the natural settings required.  In fact, in most modern studios, an elaborate card index system of listing locations, sometimes situated miles from the studio, is maintained.  Unless an exterior scene calls for a log cabin, church front, or some building of special construction other than such real buildings as may be easily found in the neighborhood of, or within a reasonably short distance from, the producing plant, he does not have to draw a special diagram-plot for the scene.  Even when a new building is needed, it is only necessary to instruct the carpenters to build, say, a log cabin of a certain size on the location he points out, with a door, windows, etc., as determined by him for the requirements of the scene.

With the interior scenes it is different.  The sets for these are planned by the director to obtain the very best stage- and scenic effects possible from the standpoints of architecture, lighting, and arrangement of properties.

6.  The Director

A first-class company will employ from four to ten, or even twelve, directors.  Frequently a new director is recruited from among the actors in the stock company.  “Director” and “producer” mean practically the same thing in photoplay parlance; a man will direct the acting of the players while engaged in producing a picture.  As a rule, if a man is known as a “dramatic” director, he adheres to that kind of work, just as a first-class comedy man will seldom touch any other kind of production.

There is always a certain amount of friendly competition among the directors in any studio, since they constantly vie with each other in obtaining the most artistic settings for the various scenes of their respective stories.