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286 THE HOUSE THAT SHADOWS BUILT
figure like Reinhardt on the speaking stage. Two natures work within him; an artist and a man of affairs. But instead of struggling, they have struck a balance.
At balance also stand two seemingly irreconcilable traits: humility and confidence. For all his ambition, he seems little interested in Adolph Zukor. No man I have ever known talked with less ease and relish about himself. I have told how he viewed Jesse Lasky’s early pictures and, finding them better than his own, decided to form a combination. He always approaches a rival, they say, in that same spirit — tries to find his points of superiority and learn where he himself is inferior. “A man should love his work,” he said in one of his epigrammatic moments, “ but when he falls in love with his own work, he’s finished!” For all the burning ambition to wield power and to lead which drove him through his thirteen most active years, honours and flatteries mean little to him. . . .
When the Paramount Theatre opened, all Who’s Who in New York attended the preliminary reception. Next day, he and Lasky went for a walk and an intimate talk. Passing a Childs Restaurant when Zukor found himself suddenly hungry, they entered and ordered. Suddenly Jesse Lasky laughed. “I was just thinking,” he said, “of that splendid ovation yesterday — and here to-day we’re lunching at a Childs Restaurant!”
Zukor looked up in surprise. “Why not.^” he asked. “The food’s good, isn’t it.?”