Charles felt that the greatest of the Griffith actresses was Lillian Gish. Her vibrant responsiveness to the demands of scenes was so complete that nothing, no trick or artifice or use of gesture, no single member of her body or even pore of her skin, held her apart from a totally instinctive sense of what her part meant. Her purity and the innocent directness of her approach left him astounded. Tiny and seemingly fashioned of finest steel, she used her narrow face, huge fluttering liquid eyes, and pursed butterfly mouth with the formal precision of a Kabuki actor. Her control of bodily expression was indeed almost Japanese. Given Charles’s love of Japanese art, one can see the appeal she would have for him—the appeal of a great artist in miniature.