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tan Melodrama in his first year. By now Mayer was practically convinced that he had chosen this brilliant husband for his daughter Irene.
A further chance to play the father presented itself at this time. It concerned the welfare of his other son-in-law, Bill Goetz. Since the latter's marriage to Edith he had been working at Fox, but the connection was not comfortable because of the tension between Fox and Mayer. When Goetz's contract expired late in 1932 Fox did not pick up the option, and the son-in-law was looking for a job.
Mayer went to his house for breakfast one Sunday morning and asked what he was planning to do. Goetz said he was having conversations with Warners and R-K-O. Mayer made the obvious suggestion: why not come to work for him? Goetz thanked him for the offer but felt compelled to decline.
"Why?" Mayer asked him bluntly.
"One son-in-law's enough," Goetz said, mindful of the derision that was just then being hurled at Selznick's head.
Mayer couldn't understand such scruples. "Let me ask you a question," he said. "Suppose we weren't related; where would you want to work most?"
Goetz acknowledged, without hesitation, it would be MetroGoldwyn-Mayer.
His father-in-law looked at him sharply and a trace of impatience came into his voice. "So you think because we're related you should let that stand in the way of your working for the company you want to work for?" Such a thing he could not comprehend.
Anyhow, it was thereupon determined that Mayer must do something about Goetz.
Now it happened that Darryl F. Zanuck, a talented and aggressive young man who had been a spectacular "boy wonder" at the Warner studio, was pulling out of that company because of differences with the brothers, Harry and Jack, and was trying to set up an arrangement to go into production with Joe Schenck.