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His general advice is that each section should gain in contrast with the other half, and scenes should help each other as bricks held by mortar.","status":"active","body":{"text":"1916 practice: for contrast, he cuts from a killing to a scene that shows the girl is not worth the deed; the contrast is stronger if the cut scene reproduces an earlier scene the audience remembers, and the two scripts refer to each other. For information, a cut-back to a sickroom in the middle of a funny dash for a train restores the stakes: the 'reminding cut-in' removes the humour. In comedy the cut-back seeks contrast more than suspense, as in a three-strand sequence (Bill, Grace, Jim) where each strand makes the others funnier and a laugh arises from anticipation. His general advice is that each section should gain in contrast with the other half, and scenes should help each other as bricks held by mortar.\n\nCurator qualifications: Cut-back jobs (bridge, contrast, suspense), scene numbering ('Back to No. 35'), suspense by alternation and the cautions are verified as Sargent's text.\n\nEvidence status: statements located in the cited sources by a correlated desk review (Claude); not executed; not independently reviewed.","citations":[{"url":"https://archive.org/stream/techniqueofphoto00sarg/techniqueofphoto00sarg_djvu.txt","note":"sar.flat (a3cff7eb) ch. 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