“Motion picture making was assuming its own peculiar nouveau riche dignity. More reels were shot on interior stages with the new mercury arc banks of lights. No scene was shot without an orchestra playing, ‘to get the actors in the mood’. But space at such studious as Universal was so cramped that sets were built less than six inches apart. A director doing a tear-jerker drama might be playing ‘Hearts and Flowers’, while on one side of him Al Christie would be doing a comedy and playing ragtime, and on the other Robert Z. Leonard would be having his orchestra play a schottische for a foreign portrayal. It was bedlam-confounded, but the results were effective on the screen.”
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