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96 WRITING THE PHOTOPLAY people who are on hand every morning and who remain until they are either told that they can work in a certain picture or that they will not be required that day. Practi- cally all of these regular extras are experienced actors and actresses, and most of them continue to report daily in the hope that, being given a small part to play, they may, in this way, attract the attention of the producer and eventually be offered positions in the stock company. Many of the best known photoplayers in the covmtry today made their start in moving-picture work in this way after having forsaken the "legitimate " stage. 5. Planning the Cast You must be guided, in planning your cast, by what your plot demands that they shall do. Extraordinary physical "stunts" had better be avoided, or, if you must introduce them, be careful not to make a frail woman perform the old melodramatic feat of keeping out the desperadoes from the cabin by using her arm as a bar for the door! Successful photoplaywrights take pains to familiarize themselves with the special capabilities of the stock com- panies at work for the great producers, and at times even cast their photoplays with the talents of certain actors in mind. Or, again, they carefully consider the balance of the cast, so as to secure variety in the appearance of the characters. If you follow these principles with alert common sense, it will make no difference to you whether a certain " small" part is done by an extra or by a regular member of the