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veloped in those nightmare sessions in September was not yet gone. Schenck took the rebuff as ominous. He and Mayer, now compelled to close ranks, sat down to plan carefully a whole new program of studio policy.
Mayer felt the organization well supplied with secondary personnel, and even a few reliable supervisors, such as Hunt Stromberg and Harry Rapf. Thalberg's little group of favorites was likewise there to carry on. What was wanting was sufficient top-rank manpower in production to insure a steady flow of first-class films.
Mayer's understanding and foresight of the growth of the industry and of Loew's operation in particular was that of the merchandiser. He knew that New York was demanding pictures to keep the theaters supplied with twice-weekly changes of program — a system which had been going on with little alteration since nickelodeon days.
Faced with this critical requirement Mayer made a bold suggestion. He urged the employment of David Selznick, his aggressive son-in-law to whom he had objected so strongly two years previously. But in that brief time the stubborn Selznick had advanced phenomenally. He had promoted himself into the position of head of the Radio-Keith-Orpheum studio. Under his supervision a number of good films had been produced. He was a highly potential prospect to step into at least one of Thalberg's shoes.
Schenck accepted the suggestion and Mayer approached his son-in-law. Selznick was cautious and cagey about jumping for the job. He wasn't at all certain that he wanted to work for Mayer. He knew that he would be under pressure at the Culver City studio. What's more, he and Thalberg were now close personal friends. It was fairly obvious that the latter might be resentful of his taking the job.
However, a tempting offer of four thousand dollars a week on a two-year contract, along with Mayer's guarantee that he could have his pick of stories, stars, and studio personnel was