Editing Cecil B. DeMille (section)

====MGM and return to Paramount====
When "talking pictures" were invented in 1928, DeMille made a successful transition, offering his own innovations to the painful process; he devised a microphone boom and a soundproof [[Sound blimp|camera blimp]].{{sfn|Presley|Vieira|2014|pp=152–155}} He also popularized the camera crane.{{sfn|Presley|Vieira|2014|p=166}} His first three sound films, ''[[Dynamite (1929 film)|Dynamite]]'', ''[[Madame Satan]]'', and his 1931 remake of ''[[The Squaw Man (1931 film)|The Squaw Man]]'', were produced at Metro-Goldwyn-Mayer.{{sfn|Ringgold|Bodeen|1969|p=7}} These films were critically and financially unsuccessful. He had completely adapted to the production of sound film despite the film's poor dialogue.{{sfn|Blanke|2018|p=129}} After his contract ended at MGM, he left, but no production studios would hire him. He attempted to create a guild of a half a dozen directors with the same creative desires called the Director's Guild, but the idea failed due to lack of funding and commitment. Moreover, the [[Internal Revenue Service]] audited DeMille due to issues with his production company. This was, according to DeMille, the lowest point of his career. He traveled abroad to find employment until he was offered a deal at Paramount.{{sfn|Blanke|2018|pp=129–130}}

In 1932, DeMille returned to Paramount at Lasky's request, bringing with him his own production unit.<ref>{{harvnb|Dick|2001|pp=15, 21}}; {{harvnb|Eames|1985|p=88}}</ref> His first film back at Paramount, ''The Sign of the Cross'', was also his first success since leaving Paramount besides ''The King of Kings''. Zukor approved DeMille's return on the condition that DeMille not exceed his production budget of $650,000 for ''The Sign of the Cross''. Produced in eight weeks without exceeding budget, the film was financially successful.{{sfn|Eames|1985|p=88}} ''The Sign of the Cross'' was the first film to integrate all cinematic techniques. The film was considered a "masterpiece" and surpassed the quality of other sound films of the time.{{sfn|Presley|Vieira|2014|p=198}} DeMille followed this epic with two dramas released in 1933 and 1934, ''[[This Day and Age (film)|This Day and Age]]'' and ''[[Four Frightened People]]''. These were box-office disappointments, though ''Four Frightened People'' received good reviews. DeMille stuck to large-budget spectaculars for the rest of his career.{{sfn|Eames|1985|pp=98–100}}