The public is never wrong (1953)

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79 told a story, we had remarked on its drawing power. Recalling these conversations, I asked him to join us. Meyer went ahead energetically, enclosing the laboratory with galvanized iron and working out other methods of guarding the precious film negatives against fire. Soon after I had announced Queen Elizabeth, a young film salesman named Alexander Lichtman called on me. Though little more than twenty, he was, like me, a veteran of Fourteenth Street show business, having carried water trays in Tony Pastor's vaudeville theater. His enthusiasm for Queen Elizabeth ran so high that I had sent him on the road, where he had great success in selling it. Now I hired him as our sales manager. In making The Prisoner of Zenda we got off to a slow start. That was natural, considering the fact that neither Hackett nor his wife, the feminine lead, had ever played before the camera. The rest of the cast had been picked up here and there, with an effort made to secure experienced stage players. Al Kaufman spent a good deal of his time hanging around outside the Lambs' Club, buttonholing actors. He had no easy time hiring players, their prejudices against the screen being what they were. Our salary offers of from fifty to two hundred dollars a week, according to the size of the role, worked a number of wonders. Hackett's fee was five thousand dollars, or in the neighborhood of tweve hundred dollars a week, since we expected the picture to be finished in a month. The total budget was estimated at forty thousand to fifty thousand