Buster Keaton to have a comic slant. After Keaton's successful work with Arbuckle, Schenck gave him his own production unit, Buster Keaton Productions. He made a series of two-reel comedies, including "One Week" (1920), "The Playhouse" (1921), "Cops" (1922), and "The Electric House" (1922). Keaton then moved to full-length features. Keaton's writers included Clyde Bruckman, Joseph Mitchell, and Jean Havez, but the most ingenious gags were generally conceived by Keaton himself. Comedy director Leo McCarey, recalling the freewheeling days of making slapstick comedies, said, "All of us tried to steal each other's gagmen. But we had no luck with Keaton, because he
Buster Keaton the United States Post Office, including Rudolph Valentino and Keaton. Hirschfeld said that modern film stars were more difficult to depict, that silent film comedians such as Laurel and Hardy and Keaton "looked like their caricatures". In his essay "Film-arte, film-antiartístico", artist Salvador Dalí declared the works of Keaton to be prime examples of "anti-artistic" filmmaking, calling them "pure poetry". In 1925, Dalí produced a collage titled "The Marriage of Buster Keaton" featuring an image of the comedian in a seated pose, staring straight ahead with his trademark boater hat resting in his lap. Film critic Roger Ebert stated, "The