en 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