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44 THE PHONOGRAM the film travels a foot a second—fifty feet, fifty seconds. What gives it the effect of taking up so much more time is the immense lot of action that is crowded into the brief period it is on view. Until the moving picture was in- vented, I don’t think anybody had the least idea how much could be done in fifty seconds. It seemed hardly enough time to turn around in, yet when the experts began to study its possibilities they found it was ample for hundreds of little pictorial comedies that have since delighted audiences all over the world. It is entirely a matter of rehearsal. A subject is selected, generally calling for from three to four people, and every detail of the business action is care- fully worked out in advance. “But some of the most telling effects in composition pictures,” continued the operator, “have been the result of accident and were entirely unpremeditated. That was the case with the film that I had in hand preparing and which afterward made a tremendous hit and proved to be one of the best sellers ever put on the market. In getting up the picture, our principal purpose was to introduce a large and very intelligent bulldog I owned at the time, and we sketched out a simple little scene in which a tramp steals a pie from a kitchen window, is pursued by the dog, and is last seen trying to scale the back fence, with the animal hanging to his coattails. The training of the dog was the main trouble, but I finally taught him to lay hold of anything red, and we sewed a big piece of flannel as a mark on the back of our tramp’s coat. Red photographs black, so it couldn’t be seen in the pictures, and after a good many rehearsals, the dog learned to dash out at exact- ly the right moment and nail the marauder, whose cue was then to rush for the fence and consume the remaining time