Sentences should be used to show changes of time and place and a few such elementary matters before the episode is fully started.

The climax of a motion picture scene cannot be one word or fifty words.

As has been discussed in connection with Cabiria, the crisis must be an action sharper than any that has gone before in organic union with a tableau more beautiful than any that has preceded: the breaking of the tenth wave upon the sand.

Such remnants of pantomimic dialogue as remain in the main chase of the photoplay film are but guide-posts in the race toward the goal.

They should not be elaborate toll-gates of plot, to be laboriously lifted and lowered while the horses stop, mid-career.
The Venus of Milo, that comes directly to the soul through the silence, requires no quotation from Keats to explain her, though Keats is the equivalent in verse.