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148 BUSTS serts. It is possible to gauge these more accurately. A leader runs about a foot to the word with not less than three feet used. The sin- gle word leader will run three feet. So should the three word leader, though it is usually the custom to average up the words and count two small words as one. "The Curse of Gold," for instance, would be three words and not four and would probably get three feet. The title usually runs ten feet. The tailpiece, which is usually the Board. oT Review tag, runs ten or fifteen. If there is both a tailpiece and a censor tag allow the fifteen. Letters run from ten to twenty-five feet or even more. Enough time is supposed to be allowed to give the slow reader a chance to get through the text. Written letters stay on the screen longer than those typewritten. Inserts run from five to ten feet, or long enough to permit the matter to be comprehended. Newspaper inserts run long enough for the fact to be grasped, but not always long enough to permit the entire frame to be studied. 13. If you will roughly estimate the footage of all inserted matter you can tell about how much footage you have for your scenes, but it will never be better than a guess. It may be possible to drop some of your leaders, and if a director does not get a scene over a leader may have to be run to explain it. The only safe way as the matter stands is to give a one reel or two or three reel plot and about as much action as you think will be sufficient. More than that even the star writers cannot do. (2.LVIII:3) (3.XXXVI:23) r4.XXXVni:7 LVI :24) (5.V:7 XLVIII:24) (7.XXXI:14) (12.XXXVn :33). CHAPTER XXXV BUSTS SELDOISI can a story be told in straight pictured action. It must be told in action plus leader plus inserts and busts. Professor Hugo ]\Iiinsterberg7 wfitmg in the Cosmopolitan Magazine, asserts that in the close-up, more properly the bust picture, "we have crossed a great esthetic line of demarkation and have turned to a form of ex- pression which is entirely foreign to the real stage." And later, "we withdraw our attention from all which is unimportant and concen- trate it on that one point on which the action is focused." It is scarcely possible to improve upon this definition of the bust picture, which is what the writer clearly means when he speaks of close-up. For that matter, many studios make no distinction between a close-up and the bust. As a matter of exact technique there is so much dif- ference between the bust and the close-up that they seem to require a different term. 2. A bust is a detailed exposure of some action, not so large as tg^ take in any considerable portion of the figure. This is what makes the distinction.