Phantom of the Opera

Lloyd said "If anyone asks,
you're my assistant."

"Lie. Say you're the nephew
of Sigmund Lubin

of the Lubin Studio in Philadelphia."
Lubin watched de Mille direct
and observed Lloyd create his
Lonesome Luke character for Hal Roach.

Graduating from Carnegie Tech,
Lubin produced four plays in New York

and became an actor in the theatre.
He had worked for B Iden Payne
in a two-character drama, Jealousy,

and Payne called Arthur in to help
on a new show, The Red Poppy.

It seemed they engaged their lead
from Budapest,

and when Mr Bela Lugosi arrived, they
found out he couldn't speak any English.

Lubin was assigned to teach Bela English
between rehearsals and at night.

I asked Mr Lubin
if he taught Lugosi phonetically,

and Arthur just smiled silently.
I then asked him "Did you teach him
with great difficulty?"

and Lubin laughed affirmatively.
Bela was grateful,
and they became friends,

and Lubin was invited to the opening
of Dracula at the Fulton Theater in 1927.

Lubin returned to California
in the late 1920s

and worked as an actor at Universal,
including His People,
a melodrama of Jewish life.

He then worked as assistant
to William LeBaron at Paramount.

Lubin told me "They'd go on location, I'd
go out to the location with the company."

"LeBaron was so wealthy,
he didn't give a shit,

and I would report in every hour
the progress that was being made."

At Paramount, he became close
with stars like Mae West.

He directed at Monogram
and Republic in the early '30s,

and was the first director signed by
Charles Rogers for Universal in 1936.

A caution to Hollywood hopefuls:
as you climb the ladder,

remember to always be nice
to assistants, their wives,

their husbands,
boyfriends and girlfriends.

Rogers' assistant's wife
took a liking to Lubin -

not physically or romantically -
and her recommendation
got him his contract.

Lubin's greatest legacy to the business
was his discovery of Clint Eastwood,

who he placed under contract and
featured in 1957's Escapade in Japan.

We're five minutes into the picture
and there has been no dialogue.

But visually, Lubin has set up
the main characters and their dynamics.