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180 THE CLOSE-UP take the entire crossing. At the same time we do not have to wait until John wades back again before he can get close enough to the camera to show expression, and the gift of the flower (wholly lost before) is now shown in large figure. 15. In these two examples is comprehended about all that can be said of the close-up, but the use of the device is wide. Darby and Joan are sitting by the fire. The apartment is large and comfortable. The fireplace is at some distance from the camera to get full effect. Moving in we show them in close-up and move back to end the scene. 16. By the use of the close-up we also avoid leaders to some extent. In the restaurant we might have run a leader to the effect that Gecko plays his wedding march. In the preceding chapter it has been shown that a leader is better than an indefinite vision or a succession of vision scenes. Here it will be seen that the vision is short and more to the point than a leader would have been. Instead of a bare statement we get the picture illustrating this statement and at the same time we get the added value that contrast between the scene of the innocent Paula and Paula the adventuress will give. It is purely a matter* of good judgment and not of fixed rule. Use whichever will bring the greater effect. In general the use of the vision may be suggested if it is short and very much to the point. 17. While the form of the close-up has already been exposed, there is still another function performed by it. This is the shortening of a scene when the action must be held to the scene. In the restaurant we slightly extended the action. It is as possible to use the same de- vice to gain brevity as it is to extend the scene. Hamilton Belding, the leader of the reform movement and its candidate for ]Mayor, is invited to address a club meeting. He needs the support of the women and this seems to be his chance to get it. With his impassioned pleas for good government he wins their approval and largely through their ef- forts the tide of battle is turned. Played as a single straight scene, we might get this: 35. Parlor —Club assembled—Belding brought in by Mrs. Brown— introduced—mild applause—he begins to speak—slowly the wom- en grow interested—more applause—before the conclusion of the speech he has them all enthusiasm—as he stops they surge for- ward and surround him. In a scene like this it is to be supposed that the speech can not pos- sibly be shorter than ten minutes. With the introduction and conclu- sion it will run all of twelve minutes, or about three-quarters of a reel. The scene is not worth the footage. Two courses present themselves. Either the scene can be cut back or it can be cut into with close-up scenes used for the same purpose, but with this difference, that where it is desired to gain strength through contrast the cut-back is the better device, while by using the close-up as an interruption the interest is held to the scene. In the following chapter the cut-back for this scene will be shown. Here the use of the close-up is given in the following action :