What began as the dream lot of silent-era royalty—Mary Pickford and Douglas Fairbanks acquiring Jesse D. Hampton's backlot in 1919 and turning it into the Pickford–Fairbanks studio where Robin Hood (1922) and The Thief of Bagdad (1924) were made—degenerated into a protracted, almost Shakespearean property dispute that exposed the tangled ownership practices of Hollywood's Golden Age. The lot had long functioned as a nerve center for independent production: Pickford and Fairbanks were among the founders of United Artists alongside Charlie Chaplin and D. W. Griffith, and the complex hosted indies such as The Gold Rush (1925) and Scarface (1932). Samuel Goldwyn and Joseph Schenck invested heavily in physical improvements and ran big productions there for years, but Goldwyn famously never held clear title to the deed even as he built soundstages and executive offices on the property.
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