When the movies were young (1925)

At the Studio 95 light effects, and screen acting that could be recognized as a portrayal of human conduct. Exhibitors soon began clamoring for A. B. pictures, not only for the U. S. A. but for foreign countries as well; and as Mr. Griffith had a commission on every foot of film sold, it was an easy matter for us to judge our ever-increasing popularity. The Biograph Company readily acknowledged its young director's achievements, and the other companies soon took cognizance of a new and keen competitor. The first metropolitan showings began a rivalry with the other companies. Once in the race, we were there to win — and we did. Biograph pictures came to mean something just a little different from what had been. There was a sure artistic touch to them; the fine shadings were there that mark the line between talent and genius. David Griffith had found his place ; found it long before he knew it. In ways, it was a congenial berth. Mr. Marvin, once he saw how the wind blew, seldom came into the studio. He was willing to let the new producer work things out his own way. An occasional conference there was, necessarily— a friendly chat as to how things were coming along. Mr. Marvin was tall and dark, quite a handsome man — so approachable. The actors felt quite at ease with him. Had he not been one of us? Had he not directed even Mr. Griffith in a penny-in-the-slot movie? Years later I recalled the incident to Mr. Marvin. He had forgotten it completely, but with a hearty laugh said: "No did I really? Well, God forgive me." "God forgive us all," I answered. Liking Mr. Marvin as we did, we did not quite understand or approve the sudden, unexpected intrusion of Mr. J. J. Kennedy, one day.