Without this unity he could not express the subtlety of character that was so important to him. The only way to achieve that unity was to maintain complete control over every scene. This constant attention to detail ran many features over-time and over-budget, but the public reaction assured him and the studios that what he was doing worked. As his popularity increased he took more liberties with filming. Movies such as his 1925 hit, "The Gold Rush", demanded unending reworking of scenes and rebuilding of sets. Chaplin typically improvised his story in front of the camera with only a basic framework of a script. He shot and printed hundreds of takes when making a movie, each one a little experimental variation. While this method was unorthodox, because of the expense and inefficiency, it provided lively and spontaneous footage. Taking what he learned from the footage, Chaplin would often completely reorganize a scene. It was not uncommon for him to
They may run test decipherments, simulating rotors wired in various ways and turning in various periods, and print out the test solutions at rates up to 600 lines per minute, starring those solutions that statistically most resemble plaintext. Undoubtedly the agency has prepared and debugged programs for common routines and holds them in readiness for immediate' use. The computer has in no way conferred total victory upon cryptanalysis in its unending struggle with cryptography, for cryptography has kept pace with countervailing developments of its own. Nor has the computer automated the cryptanalyst out of a job. The computer has relieved him of much drudgery, but modern cryptosystems involve much more work than older ciphers. Computers could be programmed to recognize plaintext by stocking their memories with letter frequencies, 10,000 common words, and basic grammatical rules. But it could not do so as quickly as a human being
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