It Pays ot Advertise
I won't say that I was successful, because I don't know
whether I was successful or not. I don't think anybody actu-
ally knows that, that's up to box office. And according to Mr.
Mayer and Warners, they had no complaints about box office
on that score. But they couldn't attribute it to my talent par-
ticularly because they could have said it was publicity. And the
old saying—it pays to advertise—I suppose that's all right. I
used to think maybe it's publicity, used to feel I had too
much. But one is no judge of that because if the producers
gain by it, then why say I was over-publicized? If I was over-
publicized, it would only hurt me. It did not hurt the picture.
Just one decade into the twentieth century, the moving pictures were a commonly accepted and addictive diversion. Only the saloon and the yellow press—film's closest rivals-—managed to merge and entertain such diverse elements as the rich and the poor, the educated and the undereducated. Despite the enormous popularity of the movies—especially among the newest immigrants and lower classes—the establishment media was slow to embrace them. Most serious journalists, who made their living with words, thumbed their noses at the mass-appealing pictures, or “flickers,” as they were sometimes called, considering them a product of fringe elements.
Around 1907 Hearst established a policy for his newspapers that cornered