For example, to show Carton in one scene where Darnley is not present
is simply to take an ordinary scene in an ordinary way. Then, suppose
you wish to show Carton seated in a chair at one side of the room
while Darnley leaning against the table at the other side of the room
talks with him. In pictures of this kind the director frequently uses
more close-ups than usual merely to avoid the necessity of making
double exposures, in connection with which the greatest trouble is
always the keeping track--by counting, for instance--of the moves of
the two different characters. But it is a much easier matter for the
dual-role actor, made up as Carton, to be photographed singly in one
part of the room as he goes through with the action of one or more
scenes, after which, dressed as Darnley, he goes through the
synchronized action of that character. Synchronization--or harmony of
movement in time--of course demands that the action of both characters
be properly matched--to use a common and easily understood term--but
it will be seen that when the spectator watches only one character at
a time there is not the need for the _perfect_ synchronization of
action that is always demanded of the wide-angle double-exposure
scene, in which one man, playing two different characters, must face
himself and keep the action natural and convincing at all times.
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