many reels of film it will take to tell it--which, of course, is as it
should be. Thus, as has just been shown, the gradual breaking of the
restrictions on footage has resulted in proper screen-publicity being
given to the cast.

_2. The Time for Showing the Cast_

The methods adopted by producing companies in presenting the names of
characters and players on the screen are varied. Indeed, no set rules
are followed. The producer's whole object in each case seems to be
simply to present every cast-announcement of this kind in as striking
and artistic a way as possible. Some companies list the characters at
the very outset--or all the principal characters, at least--with the
names of the players. Others open with a statement-leader, which
gives, so to speak, the "theme" of the story to follow, this leader
being at once followed by the name of the leading male or female
character, sometimes with and sometimes without an additional
descriptive statement. With the particular method followed by the
producer the author is little concerned. His best plan is simply to
make out a complete list of the people in his story, following one of
the forms given later in this chapter. At the present time, nearly
every big concern employs a sub-title editor whose duty it is to
eliminate, alter, or add to the writer's own leaders and inserts, and
this person also "fixes up" to comply with the firm's rule any
additional wording that may be attached by the author to the names of
his characters when the cast is made out.

_3. The Number of Characters_

The "legitimate" dramatist, especially the untried dramatist, must be
very careful to use only as many characters in his play as are
absolutely necessary. Every theatrical manager knows that he is taking
a chance, and a big chance, when producing the work of a new writer.
The writer, also knowing this, and realizing that every additional
character means an addition to the salary list--and therefore to the
manager's risk--wisely uses no more characters in the unfolding of his
plot than he can help. Even when an actor "doubles" two parts, he
expects a proportionately larger salary for so doing.

In the moving picture studios, on the other hand, the players are paid
by the week, to work, as it were, by the day. The photoplay actor
plays as many different parts as the director finds it necessary to
cast him for. If necessary, in a big production, a director can draw
on any or all of the p