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EDITING AND CONTINUITY 185 down in either a senseless, crazy patch-quilt of disjointed scenes, or becomes static in a lifeless, futile, meandering way. Cuts are so important to the meaning of a film that it would be advisable to list them and add a brief description to each. At the risk of being repetitious, let it be repeated that this cutting, fading, dissolving, etc., is all done by the editor together with the producer (not physically, but at his instigation) after the picture is shot. Each sequence is usually much longer than the finished product will use; this gives the editor plenty of leeway. The common cut is the most emotional effect at the editor's fingertips. It is capable of inducing tremendous shock if the change of scene is great. For example, a cut from a two-shot of a pair of lovers cooing at each other to a look of murderous hatred on the face of the man's brother would hit the viewer with tremendous impact. But the cut must be used intelligently; too often it is used indiscriminately and its value lost. It has already been shown that rhythm is added in editing, and cuts are means of inducing that rhythm. Intercutting is probably the most common of all types of cut. It is used almost as a flashback to show action, which is directly dependent on what the audience has been watching or hearing, taking place elsewhere. A man may be demonstrating a new auto: as he talks about its wonderful shock absorbers there is a cut show- ing them in violent action as the car traverses a bumpy road. Or, a man has laid a trap, and we watch him seeking to find signs of its operation as he talks to his victim. It might be a glance in a certain direction repeated a number of times during the conversa- tion. Finally, when the audience is eaten up with curiosity, a cut is made to show a slowly opening door. If the shot can be made so that the door is first seen closed and it commences to move as the knob turns, the effect will be much greater than if the cut is to an opening door. If a series of cuts is being used, the length of each will differ according to the action and dialogue. Close-ups can be shorter than other shots. For example, in close-ups of two people talking or arguing, very often first one and then the other is shown as