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THE USE AND ABUSE OF INSERTS 185 heard something which startles them. One speaks ex- citedly to the other, and both run out of the picture. You then show the scene with the man lying beneath the fallen tree. Presently the two men who heard his cries for help come running up to him. 6. "Cut-in'' Leaders One very effective form of the leader is the "cut-in," the use of which we have described in Chapter X. Almost always it takes the form of the speech of one of the char- acters, in which case it is written in quotation marks. This device of throwing on the screen the supposed words of a certain character at the moment of action enables the photoplaywright to tell all that is necessary much better than he could by a long statement of what is going on — a point that is well worth remembering. More and more producers are using the explanatory cut-in leader instead of the ordinary one which merely states facts. This does not mean that they are trying to substitute "dialogue" leaders, but that wherever the newer form can be used to advantage it is less objected to by the audience than is the bald statement sub-title — doubtless because it is in line with the illusion of reality in using the players' words, and is not merely an insertion by the producer or the author, as other inserts evidently are. For the reason that all leaders more or less interrupt the action of a scene, some producers prefer decidedly not to use cut-ins more than is necessary, their argument being that for a few seconds following the right-in-the-middle-of