assumed that because _they_
understood the meaning of every action, the spectators should also
understand, forgetting that the spectators will view the picture for
the first time. The moment a spectator becomes confused and loses the
sense of what he is seeing on the screen, his interest is gone. While
he is wondering 'What are they talking about now?' or 'Who is the chap
in the long coat?' or 'How did he get from the house in the woods?'
the film is being reeled off merrily and the spectator has lost the
thread of the story. Going to the other extreme and inserting
sub-titles where the meaning is perfectly obvious, or telling in
sub-titles that which is to be pictured immediately after, should also
be avoided, although pictures are sometimes criticized for having too
many titles when in fact the keen-eyed critic is the only one who
finds them too many. The average spectator is none too alert.... The
sub-title should be in complete harmony with the story and should
never divert interest from the story. It should never be obtrusive. It
should be there only because it belongs there. Therefore all
sub-titles should be couched in language that harmonizes with the
story. Every word should be weighed. Nothing should ever shock the
spectator out of his interest in the picture by its incongruity,
extravagance or inanity. Too much in a sub-title is as bad as too
little--like seasoning in a pudding. The function of the sub-title is
to supplement and correct the action of the picture, to cover lapses
in the continuity, and to supply the finer shades of meaning which the
actor has been unable to express in pantomime."[22]

[Footnote 22: "Editing a Motion Picture," by Frank E. Woods, in _The
Moving Picture World_.]

In passing, let us note one point of considerable moment.
Notwithstanding the fact that many pictures are shown in which a
leader immediately follows the title, it is much better not to arrange
it so. Let your title be followed by a scene--by action--even though
the scene be a short one. Then, if necessary, introduce your first
leader. If when the photoplay opens the title is flashed upon the
screen, and immediately a leader is shown, there is a chance that,
having taken in the title almost at a glance, the spectator may
momentarily divert his gaze and so miss your first leader, only
turning his eyes toward the screen again when he notices that a scene
is being shown. Again, even though he may be watching closely, the