Mr. Yost was one actor who used a different name for his picture work. He called himself “Barry O’Moore” in the movies. Not that he felt the movies beneath him, but he was nervous about the future reaction. He showed good foresight. For as soon as the big theatrical producers got wind of the fact that their actors were working in moving picture studios, they decided to put a crimp in the idea. The Charles Frohman office issued an edict that any actor who worked in moving pictures could not work for them. But the edict was shortly revoked. Even so long ago had the power of the little motion picture begun to be felt. CHAPTER XI MACK SENNETT GETS STARTED One of our regular “extra” people was Mack Sennett. He quietly dubbed along like the rest, only he grouched. He never approved whole-heartedly of anything we did, nor how we did it, nor who did it. There was something wrong about all of us--even Mary Pickford! Said the coming King of Comedy productions: “I don’t see what they’re all so crazy about her for--I think she’s affected.” Florence Lawrence didn’t suit him either--“she talks baby-talk.” And to Sennett “baby-talk” was the limit! Of myself he said: “Sometimes she talks to you and sometimes she doesn’t.” Good-looking Frank Grandin he called “Inflated Grandin.” But beneath all this discontent was the feeling that he wasn’t being given a fair chance; which, along with a smoldering ambition, was the reason for the grouch. When work was over, Sennett would hang around the studio watching for the opportune moment when his director would leave. Mr. Griffith often walked home wanting to get a bit of fresh air. This Sennett had discovered. So in front of the studio or at the corner of Broadway and Fourteenth Street he’d pull off the “accidental” meeting. Then for twenty-three blocks he would have the boss all to himself and wholly at his mercy. Twenty-three blocks of uninterrupted conversation. “Well now, what do you really think about these moving pictures? What do you think there is in them? Do you think they are going to last? What’s in them for the actor? What do you think of my chances?” To all of which Mr. Griffith would reply: “Well, not much for the actor, if you’re thinking of staying. The only thing is to become a director. I can’t see that there’s anything much for the actor as far as the future is concerned.”