On one occasion he was talking with Pauline Chase about making stars. A smile suddenly burst over his face; he seized pencil and paper and made a sketch of himself walking along at night and pointing to the moon with his stick. Under the picture he wrote, as if addressing the moon: _Watch out, or I'll make a star out of you._ Once he said to Billie Burke, in discussing this familiar star subject: "A star has a unique value in a play. It concentrates interest. In some respects a play is like a dinner. To be a success, no matter how splendidly served, the menu should always have one unique and striking dish that, despite its elaborate gastronomic surroundings, must long be remembered. This is one reason why you need a star in a play." [Illustration: _MARIE TEMPEST_] [Illustration: _MME. NAZIMOVA_] Despite the fact, as the case of Ann Murdock shows, that Charles could literally lift a girl from the ranks almost overnight, he generally regarded the approach to stardom as a difficult and hard-won path. Just before the great European war, he made this comment to a well-known English journalist, who asked him how he made stars: "Each of my stars has earned his or her position through honest advancement. If the President of the United States wants to reward a soldier he says to him, 'I will make you a general.' By the same process I say to an actor, 'I will make you a star.' "All the stars under my management owe their eminence to their own ability and industry, and also to the fact that the American is an individual-loving public. In America we regard the workman first and the work second. Our imaginations are fired not nearly so much by great deeds as by great doers. There are stars in every walk of American life. It has always been so with democracies. Caesar, Cicero, and the rest were public stars when Rome was at her best, just as in our day Roosevelt and others shine. "Far from fostering it, the star system as such has simply meant for me that when one of my stars finishes with a play, that play goes permanently on the shelf, no one ever hoping to muster together an audience for it without the original actor or actress in the star part. "Vital acting in plays of consequence is the foundation of theatrical success. You have only to enumerate the plays to realize the drain even one management can make upon what is, after all, a limited supply of capable leading actors. This is because the American stage is short of leaders. There is a world of actors, but too few leading actors." "What do you mean by leading actor?" he was asked. "I mean that if in casting a play you can find an actor who looks the part you have in mind for him, be thankful; if you can find an actor who can act the part, be very thankful; and if you can find an actor who can look and act the part, _get down on your knees and thank God!_"