German film companies, which kept sprouting like poisonous mushrooms in those days (just before the child of light learned to talk), found cheap labor in hiring those among the Russian émigrés whose only hope and profession was their past—that is, a set of totally unreal people—to represent “real” audiences in pictures. The dovetailing of one phantasm into another produced upon a sensitive person the impression of living in a Hall of Mirrors, or rather a prison of mirrors, and not even knowing which was the glass and which was yourself.