He took a piece of bristol-board and in a few minutes sketched on it a rough, blurred view of open country, such as you might imagine you’d see looking down from a high cliff. Then he photographed it at normal speed, moving it rapidly toward the lens and turning it a little as the camera was cranked. Result, secured in connection with the other scenes already made: the thrill of falling in an automobile through the air, and seeing the ground fly up at you. [Illustration: _Courtesy Goldwyn Pictures Corporation._ A MOVIE “MINIATURE.” Representing Alaska in Southern California, for the Rex Beach picture “The Silver Horde.” A supposed “long shot” or distant view of such a set as this appears full size upon the screen. In reality, the camera is only a few feet away when the picture is taken.] [Illustration: _Courtesy Goldwyn Pictures Corporation._ A SNOW SCENE MADE OF SALT. In order to secure “close-ups” that fit in with the realistic miniature snow scenes of the preceding illustration, real actors are photographed in such scenes as this. Tons of salt were used to make a few square rods of Alaska.] In one of D. W. Griffith’s shorter photoplays a number of girls leave a party with a fellow in a Ford; a storm is coming up. We see the car leaving the lighted house and starting down the dark street, we see the gathering storm, see the car jouncing along in the blinding rain as the storm breaks, see it cross a little bridge, with lightning flashes illuminating the scene, and finally we see it arrive safely at the home of the heroine, who gets out and runs to the back door in the dark like a half-drowned kitten.