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man, I think, who saved his money and disliked risks. By that I mean he was distressed by the ups and downs and worries of business. His Rex Company was having only fair success, and I think he was intrigued with an offer to make pictures and let someone else worry about marketing them and meeting the payroll, while still having a chance at profits.
Yet he had many reservations. "You won't be able to get the plays," he said.
"Yes," I answered. "We will get them."
"If you get the plays, you won't get the players," he continued.
"We'll get them too."
People have said that I was a persuasive salesman, in a quiet way. Whatever the truth of that, I was persistent. Perhaps I was convincing because of my own faith. And now, risking the savings of my lifetime, I had to believe.
Porter remained full of doubt, but he was willing to join in as long as he did not have to put in any money. He would furnish his experience, talent, and prestige. Porter told me I should approach Griffith, whom he called the better director, and was not miffed upon learning that this had already been done.
Meanwhile I was making arrangements to launch Queen Elizabeth. Daniel Frohman offered the Lyceum Theatre for its premiere, or, more exactly, a showing for the trade and the press. This was of great importance, for to the best of my knowledge no major legitimate theater had ever been given over to a film showing. I designed posters with large photographs of Sarah Bern