The House That Shadows Built (1928)

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201 AND NOW, HOLLYWOOD! time ambitiously introduced colour into the film. Goldwyn went mad over it. He began hammering at Lasky. “ My business experience and your theatrical experience — look at it!” he said. Lasky was in no mood for adventure. However, as he sat one night that autumn at dinner with Cecil De Mille, they floated into a mood of pessimism. “ Here I am, back where I started,” said Lasky. “And here I am, just writing cheap vaudeville turns,” said De Mille. Suddenly, something which he cannot quite explain even yet happened in Lasky’s mind. He had made the leap! “Cecil,” he said, “let’s go into the moving-picture business!” “Now Cecil,” said Lasky afterward, “was this sort of a fellow in those days: if I’d proposed something sensible, he’d have turned it down cold, but if I’d proposed to start a filibustering expedition to Thibet, he’d have bit like a fish. He answered ‘Why not?’” Threshing out the details, they strolled over to The Lambs, the great exchange for theatrical ideas. There in the taproom sat Dustin Farnum. He had starred on the road all the past season in Edwin Milton Royle’s huge success. The Squaw Man. Also, he had occupied his vacation in touring Europe with Walter Hale while they filmed C. N. & A. M. Williamson’s The Lightning Conductor. Both Lasky and De Mille knew this.