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14 THE DIRECTOR rectors are not appealed to by scripts involving outside work. Others prefer exteriors to interiors. Some want elaborate trick effects and others avoid these troublemakers. It is largely because of these traits that a story that is in every way a good one is repeatedly returned. It does not suit the director because it may have too many exteriors or because it does not contain enough. 3. Few directors work from the script as written. ]Most of them make elaborate revisions and some of them reduce every script to the same dead level of mediocrity that represents their own ideas. Between I the director and the cutting man the author has small chance of see- ing his own work on the screen in the form in which it was written, though conditions in this regard are constantly improving. 4. When a director is given a script he either works it over or has it reconstructed by one of the staff. A carbon copy is given his assist- ant and the assistant prepares the property and scene plots. One lists all articles required for use either in the settings or on location. The other gives the outline of the sets. The assistant also prepares the cast of the play under instruction from the director. Each director has from tw^o to six or seven persons in his own stock company who work for him alone. Others are drawn from the general stock company which is at the disposal of any of the directors. Others, where many are needed, are drawn from the extras, who are players hired by the day. These are also known as jobbers since they work by the job. Sometimes there is no general stock company, all save the stars being jobbed or else worked on guarantee, which is a promise that they will be given two to four days' work a week or paid if they do not work. 5. When all is ready to begin one or more scenes are set up or per- haps the director starts with some exteriors to save time while the scenes are being set. In either case all of the scenes in one set or location are made at the same time and without regard to the order in which they appear in the script. Some directors do not tell the play- ers what a scene is about, but merely tell them to do this or that. The scene is rehearsed until it pleases the director when word is given and the camera is started, recording the scene. 6. Each scene, as it is made, is given the number or letter of the negative in general and its own consecutive number. The first scene made is negative Number 1, though the script may designate it as 53. The director's assistant notes these negative numbers against the prop- erly numbered scene. He also jots down the action in brief; not the action the author wrote, but the action that was played. Later on he prepares from this memorandum a joining slip to guide the assem- bling of the film. On this scene 53 is described as "Negative 1." that the assembler may know which number to look for. Sometimes for the sake of convenience and speed several small scenes in one set will be made at the same time and cut apart. Then each scene has the same negative number, but the action tells the cutter where to sepa- rate the film. A small section of a joining list might look like this: