Vachel Lindsay, the poet, feels the plastic character of the persons in the foreground so fully that he interprets those plays with much individual action as a kind of sculpture in motion.

He says: "The little far off people on the oldfashioned speaking stage do not appeal to the plastic sense in this way.

They are by comparison mere bits of pasteboard with sweet voices, while on the other hand the photoplay foreground is full of dumb giants.
The bodies of these giants are in high sculptural relief." Others have emphasized that this strong feeling of depth touches them most when persons in the foreground stand with a far distant landscape as background--much more than when they are seen in a room.

Psychologically this is not surprising either.

If the scene were a real room, every detail in it would appear differently to the two eyes.