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PRODUCING THE PHOTOPLAY 17 the door opening toward her. In the hall her left hand is on the knob and the door is still opening toward her, though now it should be the other way. It is a blunder on the part of the director. He should have made a match on those scenes so that one corresponded to the other. Later on the girl is in the fields and looks through a pair of binoculars. As the glass goes to her eyes we see a section of the country she is looking at; not a whole frame, but a part as though we were looking through a figure 8 laid on its side. We don't stop to think that it is not true to life. We think, almost, that we are looking through those glasses ourselves. A mask has been used to give the effect, and the scene was taken with that between the lense and the film. Several of these scenes are toned, or tinted, some of them blue or light green for night and others a yellow for lamplight, but we notice one thing, they are pretty, but the photography is poor in every one of the toned scenes. That's because a night picture is underexposed, otherwise it would not differ in the least from a daylight picture. The toning helps a little; indeed some pictures not purposely underexposed, are toned to get a better effect, but it can never equal the good black and white. But we've found out what most of the technical terms mean. Let's get out. CHAPTER III. PRODUCING THE PHOTOPLAY Going the rounds—the rejection slip—causes for rejection— giving plenty of time—pricing the script—reconstruc- tion—production. Suppose that you make one more trip before you settle down to work. Reduce yourself to a few sheets of typewritten paper, crawl into a manila envelope and with a return ticket in the shape of a stamped and addressed envelope, become a script and make the rounds. You are the first manuscript of a very new author. You have your faults—serious ones—but you're not such a bad manuscript, at that. At the same time it was a mistake to send you off to the Moon Manufacturing Company. Your author should have known