destroyed in a warehouse fire in 1935. During this time Steiner also worked on some topical, fictional "pool" film satires, including Pie in the Sky (1935), the earliest film to involve the talents of Elia Kazan. Steiner spent summers at the Pine Brook Country Club located in the countryside of Nichols, Connecticut, which became the summer rehearsal headquarters of the Group Theatre (New York) working with Felicia Sorel and Gluck Sandor among others. Steiner worked, alongside Strand, Hurwitz and Paul Ivano as a cinematographer on Pare Lorentz' The Plow That Broke the Plains (1936) and likewise joined Lorentz on The River (1938) but did not receive credit. Although Steiner remained with Nykino throughout their transition into Frontier Films, he left in 1938, taking the footage of The City (1939) with him. The City, which Steiner co-directed with Willard Van Dyke and featuring original music by Aaron Copland, opened at the New York World's Fair in 1939 and ran for two years. Henwar Rodakiewicz moved from Los Angeles in August, 1938 to assist Steiner in the production of The City, contributing his editing, writing, and organizational skills to the project. Despite his own stated disdain of Hollywood and the shared sentiments of his colleagues, in the 1940s Steiner went to Hollywood to work as a writer-producer, but returned to New York after only four years spent there. Then he plunged back into the world of freelance and fashion photography, working for Vogue, Look Magazine and others before retiring in 1962. Steiner then settled in Vermont, where he spent summers on a Maine island. Late films After a lengthy break from filmmaking, Steiner resumed the activity on a private basis, creating eight films between 1960 and 1975 grouped under an umbrella title, "The Joy of Seeing." According to Scott MacDonald, these films are marred by inappropriate soundtracks and compromised by Steiner's own desire to avoid artistic pretension at all costs, yet "contain much of Steiner's most beautiful and memorable imagery." Nathaniel Dorsky, who helped edit Steiner's later films, stated that Steiner "didn't want to make anything fancy but was an old man who appreciated life itself and wanted his film to simply show the special magic there was in our visual world in the most ordinary circumstances." Legacy Steiner's still photographs are notable for their odd angles, abstraction and sometimes bizarre subject matter; the 1944 image Gypsy Rose Lee and Her Girls