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 skill in designing stage settings. Costumers were learning photographic values of all fabrics. Skilled artisans from all over the world were turning toward the "movies."

Deane began in one of the laboratories. His quick, incisive mind soon attracted the attention of those in charge. They dismissed his radical ideas on labor-saving devices. They were amused at his worry over the useless, vulgar waste of money in the careless hands of the so-called creative people of the studios. But they were awed by his college education and often turned to him for advice or information. Being well-read, Deane suggested many stories which were screenable. He corrected the doubtful English of the titles written upon the screen. He even took a fling at writing copy for the advertisements of their productions.

At first directing pictures had not seemed an opening wedge to him. Most of the directors were men with some experience in the theater, but many of them failed in this new medium. During that period, when the motion picture industry was aching from its growing pains, artisans sprang to the positions formerly held by artists. Many of this new school of directors were making good. Among them were men without academic training, but with vision, a keen sympathetic understanding of the masses, and the humor of the streets. Above all things, they were fearless, because they were not fettered by the traditions of the theater. Deane saw their success, and realized that here was the channel through which his opportunity was to come. He began as an assistant director and worked in this capacity for several months. Then his chance came, though oddly enough he didn't succeed at once. His pictures were quite mediocre. Deane realized this to his chagrin, and with wry humor confessed to the producer: "I guess I am cross-eyed with introspection. I've been too full of theories, and I've found