The title went in. How it would improve some pictures in these days to have two weeks of conversation over a sub-title. How a good old row with the whole force would perk things up for some directors, for too many of them, poor things, have had their pictures yes-ed to death by the fulsome praise of their assistants; the “yes-sirs” who, grouped in friendly intimacy about their director, have only one answer when he says: “Do you like that scene?” “Oh, yes, sir, the scene is wonderful.” “Do you like that title?” “Oh, yes, sir, the title is great.” But that is how the “yes-sirs” hold their jobs! * * * * * Before the year 1912 ended, Lionel Barrymore had been acquired. His plunge movie-ward was inauspicious. “Who’s the new man?” “That’s John Barrymore’s brother.” “Never heard of him--is he an actor?” “No, he’s an artist, just back from Paris, been studying painting,” answered the wise guys. * * * * * On the return trip east this winter, a stop-over was made at Albuquerque to secure legitimate backgrounds for some Hopi Indian pictures. One, especially atmospheric, was “A Pueblo Legend” with Mary Pickford. CHAPTER XXVI THE OLD DAYS END It was being hinted in the spring of 1913 that Biograph was having a change of heart about the secrecy regarding their players, and that they might end it. Contrary to the policy of other companies, their scheme was not to give the popular players the first publicity, but the directors and camera men. D. W. Griffith would thus head the honor list--his name to become identified with a certain class of strong and highly artistic drama; Dell Henderson next--farce comedies; Tony O’Sullivan--melodrama; Billy Bitzer--photography; lastly--the actors. The Biograph had always held to the policy that they were an “institution,” and as such, the value of their pictures did not depend on an individual. Sufficient that it was a “Biograph.” Apparently, they now felt they had reached a place so firmly fixed in public esteem through the fine quality of their pictures, that giving credit to individuals could not in any way react on them. So D. W. Griffith became the first Biograph star. Biograph’s policy he afterwards took to himself. He is still the “star” of his productions. His actors continue as “leading people” as long as they stay with him. And when they go on to bigger money and names in bigger type with other companies and under other directors, some succeed and some do not. Mary Pickford was one who did. In the picture world, especially abroad, big things were now happening. “Quo Vadis,” a great spectacle, splendidly acted, had been produced in Italy by the Societa Italiana Cines, in three acts of four reels. It came to America and had a run in a Broadway theatre. From France, this same time, April, 1913, the steamer _La Touraine_ arrived in America bringing “Les Misérables” in four sections and twelve reels.