Chapter XI

) will give a good idea of space-limitations in staging the picture.

_1. Scope of the Stage_

To begin with, the actors must be constantly on the alert to avoid "getting out of the picture" while the scene is being taken. Suppose an actor is seated in a reclining chair that has been "set" where the line _A_ cuts it in half, so to speak. If he is leaning forward, he will be completely in the picture. But if he forgets himself and leans back it is likely that the upper part of his body will not appear when the film is developed. To avoid this, the V-shaped lines shown on the scene-plot are actually marked on the floor, in some studios. A piece of strong cord, or sometimes wire, is stretched tightly from _B_ to _C_ and thence to _D_. Within this V-shaped space the complete set must be made, and within these limits the entire scene is played. In the case of a set requiring more than the ordinary amount of depth, a larger stage is obtained by setting the back part of the scene (or set), as shown by the dotted line _E_, and laying down a special pair of V lines to cross the permanent ones on the studio floor. When the camera is placed at the apex of this larger V, the picture is, naturally, made many feet deeper, with a corresponding width of background as the lines diverge.

_2. Number of Stages Used_

As a rule, there are at least four of these V-shaped stages side by side on the floor of the studio in any of the big producing plants. Thus four entirely different sets may adjoin each other; and, as was pointed out in a previous chapter, a director may finish Scene 8 in Set I and move directly to Set II, where the scene "done" may be 9, or any later scene, depending very often upon whether the players will have to make a change of costume or make-up. A careful director will always try to avoid waits by having his scenes set up in the order that will allow him to proceed with as few delays as possible.

In some studios, the fact that walls and ceiling are of glass permits the taking of most scenes, on a bright day, without the aid of artificial light. In the majority of studios, however, all scenes taken indoors are produced with the aid of artificial light, daylight being excluded. Natural lighting, in _indoor_ studios, has been found to be rather unsatisfactory; artificial lighting, with constant experimentation in an effort to produce better "effects," is what is most used today.

_3. Stage Lighting_

The Cooper-Hewitt system of interior lighting is probably the most used in the various Eastern and West-coast studios. Everyone--at any rate, everyone living in the city--is familiar with the peculiar lights used in many photographers' studios. These Cooper-Hewitt lights seem to be merely large glass tubes that shed a ghastly blue-green tinge over everything, and under which photographers may take pictures regardless of exterior light-conditions. In addition to the Cooper-Hewitt lights, in a studio equipped with that system, there are, of course, various other kinds of special lights used in obtaining certain unusual effects.

In other studios, a brilliant white light is used, rows of overhead lights being supplemented by tiers, or "banks," of side-lights, so that there is no shadow on any part of the set unless it is the specific purpose of the director to _have_ a shadow in a certain place.

One of the big producing plants has two studios--one in which both daylight and artificial light are used, and another, at the top of the building, with glass walls, and a ceiling which constitutes the roof of the building, where every scene is taken with natural light. On a bright day the latter studio is used; if there is no sunlight at all, the downstairs studio is kept busy. On the immense floor of the daylight studio, as many as eight different ordinary sets may be erected side by side at one time.

During the past five or six years, and especially since the Pacific Coast has become a great photoplay-producing centre, more and more "interior" scenes are made on outdoor stages. This method of taking the scenes in a picture has now been reduced to a fine art. The outdoor stages, not needing the artificial lighting systems, have their various overhead and side screens, so that scenes may be photographed regardless of the natural light-conditions.

Frequently the director will put up a special outdoor stage overlooking the sea, or a beautiful garden or landscape, on which to build a certain interior setting planned to have that outlook. Indeed, today, the artificial background for any interior having windows or open doors is unusual. In Jacksonville, Florida, and other southern cities, as well as in California, the outdoor stage is the most used. The outdoor stage is especially useful in taking, let us say, a scene showing the interior of a house supposedly during a heavy storm, with the rain beating against the windows and being dashed in at the door when it is opened. On the exterior stage, such a scene can be taken at almost any hour of the day, and with the screens to dim and diffuse the rays of the sun, and the skillful use of an ordinary hose in the hands of the property-man or assistant director, a very realistic storm scene can be secured. Many extremely realistic rainstorm effects can also be arranged for exterior scenes, and as for lightning--sheet, forked, or any other variety--it is one of the easiest things to "get" imaginable. The mere scratching of the negative film with a pin, throughout the number of frames covering the flash of the lightning, the scratching, of course, being in the shape the lightning is to take, makes it possible to have thrillingly natural stabs of fork and chain lightning just where it is needed in any scene. You need never hesitate to call for a lightning storm if your story warrants one at a certain point.

A practical point in favor of the outdoor stages is that there is a tremendous saving in the company's bill for lighting. Besides the cost, the outdoor "interiors" are as satisfactory in every way as those made beneath the artificial lights.

It is unnecessary to point out to anyone who has visited the picture theatres that outdoor scenes taken at night are now as common as exteriors photographed at mid-day. Everything from camp-fire effects to night battle-scenes has been accomplished with wonderful results. Interior effects of firelight, moonlight, candle-light, etc, are easily procured, and are usually most convincing and sometimes exceedingly beautiful, when taken in conjunction with the setting.

_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