[3] Scenario by the adroit Anita Loos.
[4] Seven years ago, when this imaginary conversation was published, I wanted to be fair to Mr Eaton and to persuade Mr Griffith to do Helen of Troy. I succeeded in neither, and the document has only historical interest. I do not know Mr Eaton’s present stand on the movies, and I apologize to him for retaining his name here. What I do know is Mr Griffith’s position. It will be entertaining to compare it with the imaginary future outlined for him above. See [page 323].
G. S.
[5] See [Appendix].
[6] It appeared in The New Republic and will probably be found in The Flower in Drama (Scribners).
[8] My indebtedness, and, I suppose, the indebtedness of everyone who cares at all for negro music, is apparent—to Afro-American Folksongs, by Henry Edward Krehbiel (Schirmer).
[9] It has been clairvoyantly pointed out to me by another composer that Berlin’s preëminence in ragtime and jazz may be traced to his solitary devotion to melody and rhythm; in the jazz sense there remains something always pure in his work. This supports the suggestion made in the next paragraph.
[10] Internal, off-beat rhyme occurred as long ago as Waiting for the Robert E. Lee. Bud de Sylva has used it intelligently, but not expertly enough in Where is the Man of My Dreams? and Brian Hooker and William Le Baron make it a great factor in their highly sophisticated lyrics. So also Cole Porter.
[11] In “The Spice of Variety,” which he conducts for Saucy Stories.