Charlie Ogle, who had worked in a few old Biographs but had been signed up with Edison before Mr. Griffith had a chance to get him, said to me one day out at the Lasky lot last winter—1924:
“What was that wonderful sea picture you played in? My, that was a picture, and you did beautiful work. I’ll never forget it.”
“You couldn’t remember a sea picture I played in, Mr. Ogle. Heavens, that was so long ago you must mean some one else.”
“No, I don’t, and I remember it very well. What was the name?”
“Enoch Arden?”
“No.”
“Fisher Folk?”
“No, now what was that picture?”
And at that moment we were interrupted in our game of guess as Leatrice Joy, whom we had been watching, came off the scene to revive from the heavy smoke of a café fire, before doing it over again.
“I’ve got it—‘The Unchanging Sea.’”