After the cameraman had taken Scene 3, which shows Freeman and the Doctor riding to the ranch, he could probably find a suitable background for the scene showing Steve riding toward the town, by merely turning his camera half way around. Thus Scene 18 might be taken after Scene 3; after which, by again moving the camera only a short distance, a suitable spot might be found in which to take Scene 12. Scenes 19 and 20 were intended to be taken on a fairly well-kept piece of roadway, supposedly on the outskirts of the town, and it might be necessary to travel some distance to find the desired spot. So it will be seen that the order in which the scenes are written has nothing to do with the order in which they will be taken. Scene 29, so called, is really a part of Scene 28, being simply a bust of the girl's hand holding a photograph. The words written on the back of this picture have an important bearing on the action which follows; therefore it is important that they should be read by the spectators. So, the much enlarged bust picture is introduced, in which, as has been explained in the [preceding chapter], the hand with the photograph is held so close to the camera that when the picture is shown on the screen the writing is easily read. In writing out the scene-plot, never omit mentioning the bust picture, if one is used, and give it a number as if it were a distinct interior or exterior, but when giving the total number of interior and total number of exterior settings (which follows your title in writing the synopsis), do not include it as being either one or the other. It is not even necessary to say "One bust picture." On the other hand, close-ups are regarded as regular interior or exterior scenes, and must be counted as such and so mentioned when giving the number of scenes, as described.
5. How the Director Provides the Sets
The director having gone over the author's scene-plot to aid him in preparing his own diagrams of the various settings, it is merely necessary, so far as the exteriors are concerned, to go out himself, or send out his assistant, to pick the natural settings required. In fact, in most modern studios, an elaborate card index system of listing locations, sometimes situated miles from the studio, is maintained. Unless an exterior scene calls for a log cabin, church front, or some building of special construction other than such real buildings as may be easily found in the neighborhood of, or within a reasonably short distance from, the producing plant, he does not have to draw a special diagram-plot for the scene. Even when a new building is needed, it is only necessary to instruct the carpenters to build, say, a log cabin of a certain size on the location he points out, with a door, windows, etc., as determined by him for the requirements of the scene.
With the interior scenes it is different. The sets for these are planned by the director to obtain the very best stage- and scenic effects possible from the standpoints of architecture, lighting, and arrangement of properties.
6. The Director
A first-class company will employ from four to ten, or even twelve, directors. Frequently a new director is recruited from among the actors in the stock company. "Director" and "producer" mean practically the same thing in photoplay parlance; a man will direct the acting of the players while engaged in producing a picture. As a rule, if a man is known as a "dramatic" director, he adheres to that kind of work, just as a first-class comedy man will seldom touch any other kind of production.
There is always a certain amount of friendly competition among the directors in any studio, since they constantly vie with each other in obtaining the most artistic settings for the various scenes of their respective stories.
7. Writing the Scene-Plot
The actual writing of the scene-plot should come after the scenario has been completed. One way of doing it is to go over the scenario and write out the various settings, and then give the numbers of the scenes played in each. This, however, is a very roundabout and tiresome method. The best and simplest way is to keep a slip of paper, similar to the one on which you make note of the characters when writing the cast, and jot down the settings as you come to them, adding the number of the scene. In this way as you work on the scenario you have before you a list of every setting used, and can see at a glance what scenes are played in each different setting. Then when your scenario is finished you have simply to slip a fresh sheet of paper into your typewriter and make a neat copy of the complete scene-plot. As a safeguard, it is better, before recopying, to check up so as to make sure that you have every scene accounted for, by counting from "one" to whatever may be the number of your last scene.
In writing the scene-plot it is only necessary to give a list of the exterior and the interior settings; at the same time, it is sometimes advisable, especially in the case of exterior scenes, to add a few words that will help the director to understand just what the setting is intended to be without having to refer to the scenario, where such details would naturally appear.