In securing all these effects the producer does not fail to make use of the power of suggestion in the mind of the audience. For instance, the amazing disappearance will be accompanied by the ignition of a smoke-pot, so that it will appear that the character “went up in smoke,” a decidedly more impressive effect than to have him of a sudden vanish into thin air. The latter appears too artificial. In photographing visions, also, the camera’s eye will be narrowed, then gradually widened, so that the audience imagines it can see the figures taking shape and form. With the use of models especially the power of suggestion must be adroitly employed, for, if given undistracted opportunity to examine a scene, the audience would quickly note its artificiality. If a producer were forced to use models in depicting a train wreck, for example, he would be careful to work up to it by showing views of real trains speeding along the rails, and even actual views of the spot at which the wreck was to occur. The models would then be built in exact duplicate of this spot. Flashes of the model trains rushing to destruction would then be interspersed with close-up views of the characters in the story, who, we will say, are supposed to be on one of the trains, or else they are rushing to a switch in a vain attempt to prevent the wreck. Following the crash of the trains the producer would be quick to give us close-up views of a real train wreck, probably taken months before by a news photographer, or else he might batter a studio-built car, upset a smoke-pot or two, and have the characters in the story rush about in the dimly lit--but apparently harrowing--scene. The different scenes might be taken days, weeks, or even months apart, yet when joined together by a careful producer the effect would be that of a swift, onrushing climax.