George toured the company under the guidance of General Manager Jack Danny.
The company housed a film production department, an acting department, a business department, a finance department, an administration department, and a legal department, fully equipped in every respect.
It employed its own signed actors, directors, and editing teams.
With a complete set of equipment, the company could produce films independently and hold distribution rights as well.
Given these conditions, it surpassed most film and television companies and was already considered a major player.
After convening a meeting with the management team, Jack introduced George as the new boss.
George offered a few encouraging words before dismissing the group, but he specifically asked the heads of the editing and acting departments to stay behind.
The editing department was responsible for developing film stories and reviewing submitted scripts.
The acting department's primary responsibilities included signing artists, training them, arranging performances, and casting roles.
"Has the editing department developed any new stories recently?" George asked.
"We're currently working on a story about an unfortunate farmer. The outline is nearly complete," replied the head of the editing department.
"Hmm, good. Take your time refining it. Once it's ready, plan it out. We'll invest $20,000 to shoot it and see how it does," George said.
Before arriving, George had studied the market.
Films at the time were still primarily short films.
Given the company's full suite of facilities, a $20,000 investment was more than adequate.
George didn't expect major success; as long as the project broke even, he'd consider it worthwhile.
"I have a script here you might want to look at," George said, pulling out a stack of handwritten pages from his files.
The title read: "Safety Last!"
George remembered that this month, a film by comedy master Chaplin titled The Kid was set to premiere.
It tells the story of a poor London woman who abandons her illegitimate child in a car parked outside a wealthy household. The car is stolen, and the infant ends up beside a dumpster.
Charlot, a glass repairman, finds the baby and takes him home to raise.
When the child grows to around five years old, Charlot takes him along to work.
The child would throw stones to break windows, and Charlot would then conveniently offer his repair services—the two thriving off their quirky teamwork.
Later, a charitable organization tries to send the child to an orphanage. Charlot, in anguish, chases a truck across rooftops to retrieve the boy.
Eventually, they take refuge in a nightclub. Meanwhile, the now-wealthy mother of the child posts a reward for her son's return.
Someone takes the child from Charlot for the reward.
In a dream, Charlot finds himself in a paradise-like slum filled with both quarrels and laughter.
He wakes to see the mother and child before him and finally finds happiness.
The Kid grossed $2.5 million that year and became Chaplin's first feature-length comedy, widely regarded as his representative work.
During this silent film era—often called the "Silent Era"—Chaplin became a towering figure in comedic art.
However, alongside Chaplin were two other comedy legends: Harold Lloyd and Buster Keaton. Together, they were known as the "Three Great Comedians of the World."
These three laid the foundation for modern comedy films.
At the time, only Chaplin owned a company. The other two were still struggling.
The script George presented—Safety Last!—was created by Harold Lloyd.
In it, Harold plays a young man who leaves his hometown for the big city. Financially strained, he works as a low-level clerk in a department store.
To maintain the illusion of success, he sends gifts to his girlfriend while being bossed around by customers at work.
When his girlfriend visits unexpectedly, Harold scrambles to maintain the ruse.
A company stunt meant for commercial promotion goes awry when the performer gets into a dispute with a police officer and can't make it.
In a pinch, Harold is asked to perform the building-climbing stunt himself, in full view of the public.
Wearing his iconic straw hat and glasses, Lloyd became known as the "common man's hero" and earned the title "King of Thrill Comedy."
What captivated audiences most was the film's climax—a daring stunt performed on the edge of a twelve-story building, with a bustling street below.
Each step brought new challenges, keeping viewers on edge.
The script George brought was detailed to the last point. He believed any competent director could execute it well.
While the editor examined the script, George handed the acting department a document.
It contained background information on Harold Lloyd.
George instructed the acting department to cast Lloyd in the lead role and sign him to a long-term contract.
Lloyd had suffered a serious accident in 1920 while filming Haunted Spooks—a prop bomb had blown off his right hand, forcing him to wear a prosthesis, which he concealed from audiences.
He was at a career-low point.
The acting department was to handle all the arrangements.
While they discussed the script, George noticed a stack of photographs on the table—young women who had sent their pictures to film companies, hoping for a chance at stardom.
This reminded George of his earlier idea: to produce Playboy.
He interrupted the discussion between the editor, Jack, and Del from the acting department.
"All right, gentlemen. Take your time reviewing the script."
"Del, how many actors does your department currently manage?"
"Two," Del replied. "We usually contact people we know when there's a role, or go with someone the director remembers."
"Alright," George said. "Next, the acting department will spin off into its own company."
"It will specialize in discovering, training, and managing actors and artists."
"You'll offer four types of contracts. The entry-level contract—for promising good-looking men and women—should provide a salary, training, and performance opportunities. Make it a long-term deal."
After a long explanation, George paused, his throat dry.
Essentially, he was implementing a modern talent agency model.
To attract talent, the entry-level contract would offer an 80/20 profit split (in favor of the artist), with food and accommodation provided.
Compared to future agencies that exploited artists, this was incredibly generous.
George also made it clear—no "hidden rules" would be tolerated.
Personal relationships were fine, but exploitation was strictly forbidden.
He knew that only by keeping things clean could he attract true talent.
Compared to others, George's agency would become the top choice for aspiring artists.
Other agencies would only get the leftovers.
Then George turned to the lawyer beside him.
"Help me acquire a publishing house. The sooner, the better."
At the time, magazines and newspapers were similar in format and not distinguished.
They weren't the glossy, hardcover types of future generations.
After a brief discussion on the agency and the script, George returned to his hotel.
The publishing house acquisition was simple. By the third day, the owner had agreed, on the condition that he could stay on as editor.
George accepted; there wasn't a better alternative.
"Alright, Gerolf, let's talk about your vision for the publishing house," George said after signing the contract.
"Boss, since you're buying a bankrupt company, I assume you already have a plan," Gerolf said.
George laughed. "Yes, I do. What do you think of launching a magazine for men?"
"A men's magazine? You mean like those risqué publications?" Gerolf asked, raising an eyebrow.
George didn't debate the definition. Instead, he said:
"The magazine will be called Playboy.
Its logo will be a rabbit with a bow tie.
The cover must feature the most beautiful, sexiest women.
Within legal limits, showcase as much as possible—tastefully, but provocatively."
"I also own a film company. If the cover models are suitable, Del can sign them."
"But each woman may only appear in one issue."
"The magazine should feature high-quality color photographs.
When people hear Playboy, their blood should stir.
It should be a collector's item for men, a paradise of beauty.
Photographs must be 'tasteful'—joyful, not vulgar. We'll position Playboy as high-class entertainment for middle- and upper-class men."
"It'll be published monthly and will also feature articles on fashion, food, sports, luxury goods, short stories, celebrity interviews, and even news and current affairs."
"But remember the core philosophy: Playboy won't concern itself with national issues or moral crusades.
If we can offer a few extra laughs and ease the burdens of the Atomic Age, we'll have served our purpose."
"While we feature beautiful women, the style must remain elegant, not crude.
America is still conservative. We'll break tradition, liberate thought, and advocate freedom.
That will make Playboy stand out."
George handed over detailed instructions on binding and layout.
"But boss," Gerolf said, "That'll drive up costs.
Including binding, each magazine may cost around $3."
"Then we'll sell it for $3.50.
We're not targeting the masses—we're targeting the middle to upper class.
Playboy must be treated like a luxury brand."
Gerolf nodded. George was the boss and had a vision.
Thinking it over, Gerolf concluded that the approach might just work.
"Alright. I'll handle it from here.
I'll show you the first sample before launch."
George had already provided such a detailed blueprint. If Gerolf couldn't deliver, George would simply find someone else.