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"HIT SEX HARD!** 205 It is impossible to say how many among the elite of filmdom, after a casting interview with DeMille, have floated out of his office on a fleecy cloud of dreamy anticipation. These sessions with the producer gained quite a little local repute, and were often the actress's first introduction to DeMille and his world. It was in his office that the producer rose to full stature as a storyteller, a proficiency which once inspired his private secretary, Florence Cole, to enthuse, "He could make the tele- phone directory sound dramatic. 7 * Agents were banned from the interviews, arranged after the field of candidates for a particular role was slimmed down to two or three. Each candidate in turn was called in. With DeMille at his imaginative best, the actual role suffered much in comparison with his expanded conception. He prome- naded back and forth across his office, explaining, portraying, always embroidering. The actress would sink back in her chair, awestruck, convinced that DeMille was offering her the most marvelous role of her career. Such a conclusion, though in eiror, was understandable, the actor having heard the plot from the standpoint of a single part, thereby greatly inflated. No matter how lofty her prestige, to DeMille every actress was considerably less than a goddess. He had been set back on his heels too often by their interpretations of what he had labored to put into his scripts. DeMille scripts, short on dia- logue and long on action, were susceptible singularly to one translation, and its author felt duty bound to translate it to the world himself. In the hands of mere technicians like actresses DeMille felt the risk could be frightening. "Actresses are pretty things, and nice to look at. But don't turn them loose on your script."