This does not mean that they
are trying to substitute "dialogue" leaders, but that wherever the
newer form can be used to advantage it is less objected to by the
audience than is the bald statement-sub-title--doubtless because it is
in line with the illusion of reality in using the player's words, and
is not merely an insertion by the director or the author, as other
inserts evidently are.
For the reason that all leaders more or less interrupt the action of a
scene, some directors prefer decidedly not to use cut-ins more than is
necessary, their argument being that for a few seconds following the
right-in-the-middle-of-the-scene leader, the mind of the spectator is
engaged with the import of what he has just read on the screen, and
the action immediately following the leader is at least partially
overlooked.
Yet a cut-in leader is usually one that suddenly discloses an
important point of the plot. It may be that one of the characters,
when the scene is about half through, unexpectedly makes a statement
which amounts to a confession of some crime. We read on the screen,
"Judge, she said that to save me. That is my revolver!" No sooner has
the cut-in been shown, and the action resumed, than the eyes of every
spectator are fastened upon the face of the character in the scene
who should, by all logical reasoning, be most affected by that
confession.
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