Undoubtedly the warfare which so frequently wages between star and author is to be attributed many times to the inflexibility and prejudice of the former. Thus I remember hearing Miss Rita Weiman tell of an interchange of thought between Nazimova and herself regarding the production of a certain story in which the one figured as author, the other as actress. “I hope the time is coming,” concluded Nazimova haughtily, “when the great actress may find great stories.” “Ah, yes,” rejoined Miss Weiman, “I hope, too, the time is coming when the star may write her own stories.” In contrast to this attitude of the Russian actress is the humility which Norma Talmadge displayed in her interpretations of Benavente’s “The Passion Flower.” I have been told that everybody, including her husband and her director, advised against the screen preservation of the drama’s tragic end. They urged upon her the fact that the picture audience demands a happy ending and that she would lose thousands of dollars by adhering to the story. By all such practical arguments she was absolutely unaffected. “No,” said she firmly, “this is the story of the greatest living playwright. He knew what he wanted to say and who am I to spoil a great man’s story?” Among the writers whom the Goldwyn Company brought to Hollywood Rupert Hughes was notably successful. His story of “The Old Nest,” grossed our organization nearly a million dollars, and since the production of this tale he has been actively engaged on our lot as both author and director. For both Mr. Hughes and his wife I feel a warmth of friendship quite independent of the profitableness of our business association, and some of the happiest hours of my life have been spent in their home. They, together with Mr. and Mrs. Rex Beach, represent two of my most valued associations. Mr. Hughes’s success in photoplays is to be ascribed to his prompt recognition of the gulf between those two channels of expression, literature and screen, and to his determination to master both the technicalities and spirit of the latter. In addition to this receptiveness of mind he has a capacity for work which I have never seen excelled. Many times I have known him to arrive in the studio early in the morning, direct all day, go home that evening to work on a scenario, and then, after perhaps a dinner or a dance, write several chapters of his new novel. Mrs. Glyn showed much the same zeal in her co-operation with the Famous Players-Lasky Company. Unlike numerous authors who have invaded Hollywood, she was not easily diverted from the set. So excessively did she superintend every detail of production that “Grips” and “Props” longed, so they say, for a more casual type of literary lady.