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EXIT MARY PICKFORD
25S
this galaxy tell a story somewhat different. When First National began to talk of middlemen’s profits, these five great figures of the screen — ^who one and all owe their eminence not only to art and personality but to shrewd minds— had themselves carried reasoning a step further. Their personalities were the staple of this business, the indispensable element. Why should they pay a producing company its heavy profits ? They edged together; discussed, even to details, the possibility of a business owned by its talent. Even before Abrams and Schulberg erupted into Hollywood, United Artists was on its way.
These accounts are not irreconcilable. And at any rate, the complete and well-considered plan of Abrams and Schulberg was the agent which crystallized the solution. Chaplin, first approached, listened and promised to enter the combination “if the others would.” Fairbanks, Mary Pickford, and Griffith gave the same tentative answer. Hart, at first favourable, withdrew on second thought. The great vogue of the “Western” was passing; romantic plays in modem and familiar setting were sweeping the boards. He had now smaller box-office value than the other four; he feared lest their superior drawing power would thrust him into a corner. The rest, tutored in business technique by Abrams and Schulberg, proceeded with a tentative organization. The news spread through Hollywood, of course. Lasky relayed it over hot wires to Zukor. Rumour exaggerated United