The theatre of science; a volume of progress and achievement in the motion picture industry (1914)

226 Cf)e Cfjeatre noring, too, the fact that in filmdom there are not a few "Billy" Bradys. Men who while becoming wealthy and potent have aspired to immeasurably raise the artistic level of their output and who are likely to continue in this effort long after "the theatrical movement" (started in self-defense by producers who, as recently as two years ago, regarded the motion picture industry as beneath their notice), has ceased to provide compelling attractions. Many of the first-grade play producers, however, were not enticed to enter the film field until assured of the co-operation of the once-despised "movie" magnate. Charles Frohm_an was perhaps the most reluctant of all to convert a veritable mine of no longer productive plays into photoplays which all the world will now be able to see on the screen simultaneously. Erother Daniel does not hesitate to confirm the report that "the Napoleon of theatredom" made fun of him. But Adolph Zukor foresaw the eventual capitulation of Brother Charles when he, less than two years ago, conceived the idea of the Famous Players' Film Company. Zukor, like his now-famous colleague, Marcus Loew, aspired to create a titanic institution. Up to two years ago, in association with Loew, he was content to pile up a fortune created from nickels and dimes in theatres constructed from empty stores. When these two 20th century showmen began to convert a dozen or more New York City playhouses into big dividend-paying enterprises, Zukor, now wealthy but yet practically unknown to fame, sought to identify with his project some one whose name would alone reveal what the Famous Players' Film Company really stood for, and Zukor chose well — for Daniel Frohman's influence has been upHfting — tremen