The House That Shadows Built (1928)

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CHAPTER XV THE LOW SPOT a time, everyone concerned in this new venture was busy and very happy with the glow of initial success. These pioneers remember especially the halcyon nights in Daniel Frohman’s suite over the Lyceum Theatre. There, directors, principal actors, and management met to thrash out the work for the next day. That important cog in the moving-picture machine, the “continuity writer,” was not yet invented. In collaboration, they hammered theatrical form into motionpicture form — Porter, Dawley, the star of the current feature, Frohman, Zukor, Mrs. Zukor. Usually Mary Pickford came, whether the production was hers or not. Young though she was, she had a sure grasp on the technique of screen acting and screen effects. Often when the symposium dragged itself out, Frohman sent downstairs for supper and, still absorbed in discussion, they sat until they had to grope their way out of doors through the darkened lobbies; for the performance below had ended hours before. Frohman has in this suite what he calls his “magic box” — a chute which, when the cover is lifted, looks down on the stage of the Lyceum and transmits every accent of the actors. 179