Interview conducted by George Pratt.

Photo courtesy Stills, Posters, and Paper Collections/George Eastman Museum

The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.

Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.

Interview conducted by George Pratt.

Photo courtesy Stills, Posters, and Paper Collections/George Eastman Museum

The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.

Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.

Interview conducted by George Pratt.

Photo courtesy Stills, Posters, and Paper Collections/George Eastman Museum

The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.

Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.

00:00:00 Early Career – Transition from Theatre to Film

00:03:24 Early Career – CARMEN (1915)

00:05:36 Early Career – THE CHEAT (1915), Sessue Hayakawa and technique with actors

00:08:00 Early Career – JOAN THE WOMAN (1916) and comparisons to D.W. Griffith

00:13:07 Early Career – THE LITTLE AMERICAN (1917), working with Mary Pickford and Jack Holt

00:17:50 Early Career – THE WHISPERING CHORUS (1918), MALE AND FEMALE (1919)

00:24:10 Career – Representations of marriage, OLD WIVES FOR NEW (1918) and tensions with Paramount

Photo by Ruth Harriet Louise. Courtesy Stills, Posters, and Paper Collections/George Eastman Museum

The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.

Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the U.S. Institute of Museum and Library Services.

00:01:46 Career – Religious themes in the 1920s and 1930s with THE TEN COMMANDMENTS (1923), THE KING OF KINGS (1927), and THE SIGN OF THE CROSS (1932)

00:09:20 Career – Pivot to sound and DYNAMITE (1929)

00:14:30 Career – Three remakes of THE SQUAW MAN (1914, lost), THE SQUAW MAN (1918), THE SQUAW MAN (1931, sound)

00:16:30 Career – THIS DAY AND AGE (1933)

00:18:50 Reflections – Staying power of the medium and universality of religious themes

Photo by Ruth Harriet Louise. Courtesy Stills, Posters, and Paper Collections/George Eastman Museum

The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.

Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the U.S. Institute of Museum and Library Services.

Interview conducted by George Pratt.

Photo courtesy Universal Studios Company, Inc./Stills, Posters, and Paper Collections/George Eastman Museum

The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.

Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the U.S. Institute of Museum and Library Services.

Interview conducted by George Pratt.

Photo courtesy Universal Studios Company, Inc./Stills, Posters, and Paper Collections/George Eastman Museum

The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.

Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the U.S. Institute of Museum and Library Services.

Interview conducted by George Pratt.

Photo courtesy Stills, Posters, and Paper Collections/George Eastman Museum

The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.

Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the U.S. Institute of Museum and Library Services.

Interview conducted by George Pratt.

Photo courtesy Stills, Posters, and Paper Collections/George Eastman Museum

The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.

Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the U.S. Institute of Museum and Library Services.

Interview conducted by George Pratt.

Photo courtesy Stills, Posters, and Paper Collections/George Eastman Museum

The Silver Voices Project, which allowed for digitization and sharing of this archival audio, was made possible by a grant from the U.S. Institute of Museum and Library Services, grant number MA-30-19-0681-19.

Any views, findings, conclusions, or recommendations expressed in this audio do not necessarily represent those of the Institute of Library Sciences or the National Endowment for the Humanities.