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174 THE CLOSE-UP story is or should be told in facial expression. This may be seen to advantage only when the image of the player is large and distinct. Where possible, the players are brought to the front of their stage. Where this is not possible without the use of action that suggests a deliberate approach, it is best to establish a new stage by approaching the players. Surely tliis is a simple proposition. It is, but because of this simplicity it is apt to be abused. An effort should first be made to alter the action without impairing its value so as to get the plaj-ers to the front. When this cannot be done, then the close-up is indicated. The best of judgment should be used in the selection of close-ups and judgment is developed only through experiment and practice. 4. With three or four players in a small room it is easily possible to contrive action that shall play them to the front as they are required and to send them up stage to give place to others. In a large room, particularly where the requirement of the action necessitates their being seated, it is better to move the camera. You may have a restaurant scene. In a restaurant persons do not wander about. They sit and eat or drink. You may have several groups of players at their respective tables. You cannot get them all so close to the camera that their expressions are clearly registered. You move the camera about, returning now and then to the big scene to preserve the atmosphere. It is precisely as though you built up the large sets out of several smaller sets. 5. Take this for the argument of such a scene: Paula has left her husband, Gecko, a musician, and has allied her- self with Pompton, an adventurer, who heads a gang of which Castle is also a member. They plan to fleece Richard Travers, a young man of fortune. Richard has at one time befriended Gecko, who has come in search of Paula. He gets him a position as leader of the gypsy orchestra at his favorite restaurant. To this restaurant he now brings Paula to dine. Pompton and Castle, from a neighboring table, watch the progress of events. Gecko knows that Richard is being fleeced, but is unaware of the identity of the woman and her partners. Now, for the first time since she left him. Gecko sees his wife and knows her to be the adventuress. To warn her. he plays the march he wrote for their wedding day, bringing to Paula recollection of those other times. In an excess of emotion she suft'ers an attack of heart failure and dies. This is not the story of the entire play, but the premise and the story of this scene. 6. Naturally this will call for a large set. In a large set it will not be possible to show in detail all of the action. Gecko, for instance, is at the rear and somewhat above the diners. In the full scene he can be observed, but his facial expression cannot be seen with a clearness that will record his emotion. Played with a vision as three scenes, in straight action we would get this: