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i8o THE HOUSE THAT SHADOWS BUILT
A group momentarily out of the discussion would sometimes open the magic box and let in distant music of mellow voices speaking Barrie.
Wherever Zukor sits, he becomes eventually head of the table. His, in these discussions, was the final voice. Even the directors admitted that he gave them original suggestions. He arrived tired with an inhuman day’s work; but when Mrs. Zukor tried to drag him home, he protested that these symposiums freshened him up. At that period — and even to-day — the actual produc.tion of films focussed all his ambitions. His ten hours of managing finances and business details were only preliminary work. When he got Famous Players firmly on its feet, he would proceed to make himself the Belasco of the screen.
Life balked that ambition, continued to balk it. It is his one failure in material achievement. Before Famous Players had been running three months, there came need for genius in financing, direction, and management; and no one else in the combination fulfilled those terms. As in the next few years the screen went on to its unimagined destinies, that need increased. Gradually and reluctantly, Zukor passed from art to finance.
For the tide he was riding had swollen to a point where it threatened to swamp him. That twelvemonth which began in the summer of 1912 had seen the birth of a new screen. Others were following Zukor, even as he anticipated. And the repressed waters had broken