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MATTHEW, MARK, LUKE, JOHN—AND CECIL 129 a repertoire of phrases to dramatize the film's influence. "Thou- sands of half-clad savages sitting on the banks of the Congo watching this story of Jesus of Nazareth," he declaimed to visitors. "No one can imagine what this picture has done in the recent strife in the Holy Land. They asked for prints be- cause this is the sort of thing they need to quell riot, bloodshed and larceny." 4. WITH the establishment of his own production setup, DeMille had warned that he would fight Paramount with the same weapons which that studio had employed so successfully. He would build theaters in every key city if Paramount made an attempt to freeze him out by not playing his pictures in Para- mount's theaters around the country. He had entered into a complex financial alignment with New York capital. It provided ready money and lessened the possi- bility of a "freeze-out" by Paramount. Then came his next major move-an arrangement with the Keith-Albee and Orpheum cir- cuits, putting at his disposal a coast-to-coast network of 1,400 theaters. Even with four corporations involved in the elaborate studio- theater structure, DeMille controlled all matters pertaining to stories, scenarios and artists. Trouble began almost immediately. Initial funds from the New York concerns were not promptly advanced, another failed to pay picture expenses, and on several occasions DeMifle's own company had to guarantee the weekly studio payroll. Fric- tion was almost continuous. On the other hand, the backers were not encouraged by the returns from the first picture under the new setup, The Road