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Foreword ix
I want to thank his family (I've gone into detail on the last page) and I want to thank his widow, Mrs. D. W. Griffith, who lives in New York. And I want to thank Lillian Gish, Dorothy Gish, Mary Pickford, Anita Loos, Mae Marsh, Richard Barthelmess ... the latter dodged me for three months before I nailed him. And I want to thank Richard Griffith (no relation), curator of the Film Library of the New York Museum of Modern Art. And I'll be dogged, if he didn't jump up and run off to Brazil, just as I started to pump him. I had to wait seven weeks, but I got him.
And I want to thank the people on the Louisville, Kentucky, Courier-] our nal who told me where to spade, especially Boyd Martin, who knew Griffith for thirty years; and James S. Pope, who knew him for ten. And those mint juleps in Louisville. I've never had one before on its native heath. I want to thank them. I am now speaking of the juleps.
I don't seem to be doing a very good job of thanking people and giving credits, but I thank them in my heart, and say again I'm glad I can set down this brief history of a great man and a tragic figure.
Personal: I'd like to add that I had something to do with the early days of motion pictures and knew a bit of their history. In 19 14 1 made a trip around the world for Universal, making travel films. In those days travel pictures had little appeal, so the ones I made were released as half -reel subjects, under the name Joker Comedies, of all things. But that was the way things were done in those days. I was in China when the war broke out. Later, I traveled through India making motion pictures of the war preparations (no censor then).
In 19 1 5, when I was married, Universal News Reel (edited by Jack Cohn) made pictures of our wedding. Ours was the first wedding ever shown on the screen. (I've still got her.)