"How I did it," ([c1922])

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"flow / Did It age when he will come into his own. In the future the story is going to be the thing. Everything else will be of lesser importance. It should have been so from the very begin- ning, and would have been, had the producer been willing to admit the importance of the story. But he found to his regret, many times, that the biggest star and the best di- rector were not able to make great pictures from poor material. He also discovered it is possible for a good story to "make" a star or director. In other words, the producer has learned that no man can do good work with a poor kit of tools. In the past, the producer has not smiled kindly on the original writer, or photodrama- tist. For several years he refused to recog- nize the importance of the original story, or photoplay, and was content to purchase screen rights to books, novels, plays and short stories. Now and then he dipped into the classics. In those days the screen writer was poorly equipped and poorly paid. He re- ceived no recognition either from the pro- ducer or public. He was looked upon as the