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194 TRICK AND LIGHT EFFECTS a house is built. It takes the mortar of inter-relationship to hold them together. You must make each brick perfect in itself and then seek to make the bricks a concrete mass through their combination of interests. It is partly for this reason that cutting back possesses such a marked value. It brings the scenes into more intimate rela- tionship through the closeness of contact. No part of the action is left alone long enough to be forgotten, however slightly. It is well to remember, however, that not all plays may be cut back and that where cutting is done without reason the play may be spoiled through the use of the very device that so often aids a story. 24. In the Appendix A-8-9-10 gives an example of the double and later the triple cut-back. Here the gradual approach of Ruth and Bill adds to the uncertainty of the duel. We know that something is going to happen. We do not know what will happen. Interest is sustained. (2.XXXVI:24) (3.XXXVII :30 XXXVIII:!?) (4.XLV:6) (5. VI :2 XXXVIII :17) (6.LXVII:12) (7.L:6) (9.XXV:8) (10.V:6 LVI:25) (ll.XIII:13) (12.XIII:10) (13.XLIII:13 L:ll) (15. XLIII:10) (16.XXX:15) (17.XVIII :13) (19.XLVIII :31) (22. XXV :19 LVI :33). CHAPTER XL TRICK AND LIGHT EFFECTS TRICK EFFECTS fall into two broad classes: those produced by the manipulation of the camera and those obtained by the use of lights or scenery or both. Before you read further in this or the two chapters following, please understand that the information is given that you may better understand the effects. These chapters are not written that you may, in your scripts, seek to undertake the education of the director or his cameraman. You call for an effect. You do not tell how it is to be done. Perhaps the cameraman knows just a little more about it than you do, so do not seek to air your limited knowledge. 2. It is the unfailing sign of the amateur to load the script down with technical terms, suggestions and "shop" stuff. It does not look knowing and professional, as the novice fondly believes. It looks foolish. Because it is more or less essential that you should have some general knowledge of trick effects, that you may write with an eye to economy and practicability, you are told, but it is hoped that you will keep this information to yourself and not seek to spread it, second hand, through the studios. If you will look over the examples in the Appendix you will perhaps note the freedom of these scripts from technical terms. IMr. Lang, for example (F-1), in scene nine directs that a vision be held at vignette. This is because the Kalem company supplies its directors with complete working scripts. It is