4.  Rehearsals of Scenes

Different studios have different rules for preventing so much as the possibility of there being some fault with the photography when a certain scene is “done.”  In some studios the rule is to take every scene at least twice, or even three times.  When the films are developed, the one which is not only clearest and sharpest photographically, but which shows—­even though by ever so small a difference—­the best action on the part of the players, is kept, and from this the positives are printed.  In other studios, each scene is taken only once at first; and if the film proves to be faulty the scene must be retaken, even though a day or so later.  In every studio, of course, each scene is rehearsed before being “done.”  Sometimes running over the scene once or twice is sufficient, while other big scenes may be rehearsed fifteen or twenty times.  Not only to obtain the best effects in action and grouping is a scene rehearsed many times, but repeated goings over are often necessary in order to change the action slightly, or to cut it down so that it will run only a certain number of seconds, each sixty seconds representing, approximately, as many feet of film.

5.  Respect for Stage Limitations

At all times you must keep in mind the limitations of the photoplay stage.  If you have the picture eye, as described in Chapter X, you will be able to see just what you can, and can not, write into a picture so that it will register.  If it does not register, it might better not have been written.  As Mr. Sargent once said, “Pretty nearly everything is possible to the camera, but not all things are practicable.”  In the same article, he gave a practical illustration of camera limitation that should guide photoplay authors in determining what not to write: 

“Suppose you’ve written a chase scene.  A band of horsemen dash through the picture.  The hero is wounded and falls from his horse, rolling to the side of the road.  The pursuers thunder past and then the heroine comes in and rescues the hero.  This is photographically possible, but not practical.  The dust and the smoke will create a haze that will dim the end of the scene.  It can be done by letting the hero lie while the dust settles, the camera being stopped meanwhile, but unless the scene is strong enough to repay this trouble the script will be passed over in favor of one that can be made without so much fuss.”

Almost every day, directors and cameramen—­especially cameramen—­risk life and limb in an effort to secure some novel scenic effect as a background for their pictures.  It should be remembered, however, that what the director may choose to do when it comes actually to taking the scene has nothing to do with the scene as you write it—­so far as the actual background is concerned.  Do not demand that the struggle between the sheriff and the leader of the cattle rustlers must take place upon just such and such a kind of precipice.  You may be certain that if the situation is a strong one the producer will spare neither time nor pains to secure the most perfect setting it is possible for him to obtain.