The House That Shadows Built (1928)

Record Details:

Title:
The House That Shadows Built
Date:
1928
Publisher:
New York: Doubleday
Volume:
The House That Shadows Built
Leaf #:
000273
Language:
English
Collection:
Hollywood Studio System
Format:
Books
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
Date Added:
November 16, 2023
Something wrong or inaccurate about this page? Let us Know!

Thanks for helping us continually improve the quality of the Lantern search engine for all of our users! We have millions of scanned pages, so user reports are incredibly helpful for us to identify places where we can improve and update the metadata.

Please describe the issue below, and click "Submit" to send your comments to our team! If you'd prefer, you can also send us an email to mhdl@commarts.wisc.edu with your comments.




We use Optical Character Recognition (OCR) during our scanning and processing workflow to make the content of each page searchable. You can view the automatically generated text below as well as copy and paste individual pieces of text to quote in your own work.

Text recognition is never 100% accurate. Many parts of the scanned page may not be reflected in the OCR text output, including: images, page layout, certain fonts or handwriting.

EXIT MARY PICKFORD 25 1 films and to achieve with the critical and sophisticated his standing as an artist. Mary Pickford, however, was still the first prize. And again she was straining at the leash. After she signed the ^io,ooo-a-week contract, Famous PlayersLasky sent her to the Hollywood studio. Zukor, “whose ideas she liked,’* remained in New York, growing more and more absorbed in business, paying less and less attention to art. The lot at Hollywood had grown into a veritable factory, with the eight or ten productions going on at once. The management had of course become complex, a little impersonal. The intimate touch of those old days when they threshed out scenarios in Daniel Frohman’s apartment had passed forever. The silver cord of personal understanding frayed and snapped. Aware of this. First National approached her with its blandishments. Presently she was in New York again, receiving homage and attention. “A share of the profits, your own way as an artist, and ^250,000 guarantee on each picture,” said First National. Mary Pickford carried the news to Zukor; he had heard it already. Hammered by two factions in his company — Pickford and anti-Pickford — he had thought out his answer for himself. “I’m going to offer you,” he said, “just what you’re worth to me. That’s a share of the profits and ^225,000 guarantee a picture.” “This time. I’m not going to sign with you for less