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The Public Is Never Wrong
"My brother Charles tells me," Daniel Frohman said, leaning back, relaxed, "that transferring plays to the screen is a ridiculous and quixotic dream. I'm not sure that I agree with him."
I opened with my heaviest gun. "Sarah Bernhardt is not a ridiculous figure. In Paris even now she is being photographed in Queen Elizabeth"
Frohman nodded. "So I have heard. She has remarked that the film offers her a chance for immortality. I think the Divine Sarah has already gained it, but, as you say, no one can speak of her as ridiculous. Is Lou Tellegen playing the Earl of Essex?"
"Yes," I said. "Her whole company is playing."
"And Elek Ludvigh tells me that you will show Queen Elizabeth in this country?"
I answered that my intention was to show it, and more. I outlined my plan to charge a higher rental, which I believed that exhibitors would pay once they realized the box-office potentials. With Queen Elizabeth I expected to prove that the feature picture could be a success in America.
"But," I went on, "I want to follow at once with feature films made here. I need help in securing the plays and the players— the reason, as you know, for my presence here."
Frohman gestured toward the throne chair. "Now, James K. Hackett, who used that chair in one of my productions, is a fellow not easily deterred by criticism. He wouldn't be worried by what other stage people say. And he often needs money. I have no idea whether he