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THE TIDE ROLLS ON
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studio under Lasky carried most of the production. There was then a good reason for this division. Long Island City lay close to Eastern and European “locations.” When, for example, Waldemar Young put Hergesheimer’s Java Head into screen form, George Melford, the director, took his whole company to old Salem, setting of the novel. To-day — as I have said before — the studio scene painters build their locations on the lots. In two weeks they would construct on a half acre all the old Salem they needed for their purposes.
Further, New York’s heterogeneous millions furnished a supply of unusual types, forms, and faces for special bits. But the beautiful and odd, the vain and ambitious, crowded so fast into Hollywood that soon every imaginable type stood registered in the books of the casting director. “If you want in a hurry a crosseyed Lithuanian waiter who can act,” said Lasky once, “or a dyspeptic, one-armed Arab, you may have to search for some time in New York. But in Hollywood — you can have him on the lot that afternoon.” In 1926 — to go far ahead of the story — Zukor and Lasky closed the Long Island studio, and concentrated all the studios at Holl3rwood. Others preceded or followed this movement ; to-day, not a single first-class company produces habitually in the East. Yet from its towers of Times Square, New York governs the finances of the business, carries on most of its distribution, opens and exploits