But we have been watching the director while he is working on dramatic scenes that employ only a few players, of whose ability he is certain. Perhaps he has a ball-room scene to take with his interiors, and then there is a busy time indeed ahead of him. He must drill and toil with fifty or a hundred “extras” drafted from the outside and receiving only a few dollars for the day’s work. Or else one of his exteriors may call for a player to jump from a bridge. The leading woman will not perform this feat; she is too careful of her own life. So a “double” must be employed--a daredevil of about the same build as the leading woman, and to be dressed in the same clothes. The leading woman will perform the scene until about the point where she leans over the railing preparatory to the fatal leap. Then the camera will be moved to a distant point, and, too far away for the deception to be noted, the “double” will make the thrilling jump. If there is to be a rescue the leading lady will now get herself wet, as we are given close views showing her being pulled from the water, apparently near death from her feat. For such “stunts” as even a daredevil cannot be employed to perform, the property-room may make dummies, “rags and bones and hanks of hair,” weighted with sand. Then there are the more spectacular scenes that may test a director’s skill, such as battles, fires, and so on. Here he must fortify himself with numbers of trusted assistants, who, dressed like those in the scene, will be scattered among the “extras” where the voice of the director often cannot reach. Hours, and even days, of rehearsal are sometimes necessary in securing such effects. For the battle scenes in “The Birth of a Nation” the producer surrounded himself with a corps of assistants equal to a commanding general’s staff. In addition telephones were strung along to all the trenches so that the producer was in touch with every section of the vast battle-field at all times. V THE FACTORY The average amateur photographer, who has made a practice of developing and printing his own photographs, will find little of interest in a description of the stages through which the film passes in a motion-picture factory. It is essentially the same process that he follows, though, naturally, on a much larger scale and making use of all the mechanical appliances possible. The variations in the chemical formulas used are those which the studious amateur’s own judgment would dictate to him were he working under conditions similar to those of the motion-picture photographer.