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964 HANDBOOK OF PROJECTION FOR
not and do not seriously interrupt the continuity of thought in following the story. In fact, the mind might well be so engrossed in the story that any except a very serious projection fault would pass almost entirely unnoticed.
With synchronized sound added, however, the situation is altered. Two senses must be employed, namely sight and hearing, and the latter is very sensitive to fault. Faults in sound will not be passed over unnoticed. They will be instantly and objectionably apparent to the audience. A moment of thought will, I am sure, convince you of the correctness of that statement, and if it is correct, then it naturally follows that a very great deal more painstaking care, a much higher grade of work and much more of expert knowledge is demanded and required from the sound-picture projectionist than from the one who projects silent pictures only.
The conclusion that faults in projection must be reduced to the minimum with the advent of sound is further emphasized by the fact that, as time goes on, it is but reasonable to suppose that sound in synchronization with motion pictures will more and more attract the really great ones of histrionic art to the screen. In the past the projectionist has been able to work great harm to the performance of those whose chief claim to "fame" has been to pose effectively, wear a minimum of drapes in public or to vamp well, without serious protest from anyone. But when it comes to thus outraging both the person and the voice of real artists, thus causing them to appear foolish before audiences, we may fairly assume that it will not pass either unnoticed or unrebuked.
From any and every angle it is safe to assume that