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expenditure of money and wasted time is not a wise substitute for care about minor details: it may even wreck the enterprise which a little greater skill would have saved.
But that is only a parenthesis. To go back to where it began; I hope I have not allowed it to be inferred that the developments I have mentioned are a mere epitome of the occurrences of a single year. On the contrary they represent a crescendo of change which began in or around 191 1 and continued for a long time — continued in some respects indeed right up to the year of the Great War. And it is interesting to note that while our pictures, for instance, were all the time growing larger and better, were being better acted and produced by better artists, we were also continuing to turn out a number of smaller films of the kind which had already attained great popularity because of their genuine feeling and appeal. In February, 19 10, Black Beauty appeared again in a new edition, and at the end of the year in Dumb Comrades, there was another heart-stirring rescue of a little girl by a pony and a dog. In February 'Rover' died. Even his name was only an assumed one for theatrical purposes. His real name was Blair in commemoration of his Scottish origin. He was a true friend and a great companion, but my most persistent memory of him is the way every morning in life he jumped up on a washing basket by my dressing-table and waited and longed for a dab on the nose from my shaving brush. Then, with every expression of ineffable happiness, he licked off every trace of soap and waited for more.
During this period, and right up to the end, I used a device which attracted both favourable and unfavourable comment. This was the 'fade-off' of every scene at the end and the corresponding 'fade-on' at the beginning of the next. This gave the impression of a dissolve between each scene into the one following and created a feeling of smoothness — avoided the harsh unpleasant 'jerk' usually associated with change of scene. It was not a dissolve, of course, for that is an actual gradual mixing of one scene into the next, exactly in the manner of the old-time dissolving views.
For the sake of clarity I should point out here the technical meaning of the word 'scene.' A scene is a picture taken from one point of view by the camera without stopping. The camera may revolve (panoram) or even travel in a car or truck, but so long as the scene is continuous it is one scene. If it is interrupted by a
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