he was being squeezed out of the company. In 1926, Warner Brothers premièred Don Juan, a film with music and sound effects, and the following year released The Jazz Singer with dialogue and singing scenes. Along with other big companies, Paramount initially resisted adopting sound films and continued to exclusively make silent ones. Wanger convinced his colleagues of the importance of sound, and personally oversaw the conversion of 1928 silent baseball film Warming Up to sound. The sound version had synchronized music and sound effects without dialogue. After the film's successful release, the company switched dramatically away from silent to sound. After being closed for a year, the Astoria Studios were re-opened in 1929 to make sound films, taking advantage of their close proximity to Broadway where many actors were recruited to appear in early Talkies. Wanger recruited large numbers of new performers including Maurice Chevalier, the Marx Brothers, Claudette Colbert, Jeanette MacDonald, Fredric March and Miriam Hopkins and directors such as George Cukor and Rouben Mamoulian. Wanger's New York films were often adapted from stage plays and focused on sophisticated comedies, often with European settings, while Schulberg concentrated on more populist stories in Hollywood. As the effects of the Great Depression hit the film industry in the early 1930s, the Astoria Studios increasingly struggled to produce box office hits, and in December 1931 it was closed down again. Wanger had been informed that his contract would not be renewed, and he had already left the company. Columbia After leaving Paramount, Wanger tried unsuccessfully to set himself up as an independent. Unable to secure financing for films, he joined Columbia Pictures in December 1931. Wanger was recruited by Harry Cohn, the studio's co-founder, who wanted to move Columbia away from its Poverty Row past by producing several special, large-budget productions each year to complement the bulk of the studio's low-budget films. Wanger was to take on a greater personal role in individual films than he had previously, although he always attempted to give directors and screenwriters creative freedom. In general his efforts were overshadowed by the more successful films made by Frank Capra for the studio. Later career Wanger was given an Honorary Academy Award in 1946 for his six years service as president of the Academy of Motion Picture Arts and Sciences. He refused another honorary Oscar in 1949 for Joan of Arc, out of anger over the fact