the bust picture, and then
resume the taking of the "wide-angle," or full-size-stage, scene. Much
time can be saved by making the _different kinds_ of scenes
separately. This explains why every scene and every kind of scene in
the entire scenario _must_ be given a separate scene-number. The
scenes in a photoplay may be likened to a cut-up picture puzzle, each
part of which must be properly assembled and inserted in its proper
place to make a complete, understandable picture.

As has already been said, the bust picture in photoplay is like the
spot-light in the regular theatre. It centres the spectator's
attention on a certain object and holds it there until the important
object is fully observed by the watcher. It "not only magnifies the
objects, but it draws particular attention to them. Many points may be
cleared in a five-foot bust picture which would require twenty to
thirty feet of leader to explain, and the bust picture always
interests. Sometimes in a newspaper illustration a circle surrounds
some point of interest, or a cross marks where the body was
discovered. The bust picture serves the same purpose, and answers, as
well, for the descriptive caption that appears under a cut."[17]

[Footnote 17: Epes Winthrop Sargent, _The Technique of the
Photoplay_.]

Bear in mind, then, that the introduction of a bust scene makes the
succeeding portion of the action in that setting _another scene_, with
its own consecutive number.

In the past few years, the number of scenes to the reel has been
almost doubled, in most studios; and this is due to the increased use
of the close-up. The bust and the close-up are entirely separate in
their utility and effect, yet, properly used, each has been found a
valuable addition to the technical devices of photoplay construction.
It is now frequently the practice of many directors to bring the
camera nearer to a certain character, or group of characters, at some
important point of the action for the sake of emphasizing facial
expression or certain bits of "business" that are vitally essential to
a proper understanding of the plot.

This may be accomplished in three different ways--the method employed
always depending upon the nature of the scene as well as of _the
setting or location_. First, if the surroundings of the character at
that stage of the action are important as having something to do with
the "business" being carried out--if, for example, it is necessary to
show, at cl