Exceptions like Cimarron and Rio Rita aside, RKO's product was largely regarded as mediocre, so in October 1931, 29-year-old David O. Selznick visited Sarnoff in New York and convinced him to replace LeBaron as production chief.  As the new studio chief Selznick implemented rigorous cost-control measures, championed the unit production system, which gave the producers of individual movies much greater independence than they had under the prevailing central producer system. "Under the factory system of production you rob the director of his individualism", said Selznick, "and this being a creative industry that is harmful to the quality of the product made" (even though Selznick earned a sour reputation for meddling in director output).  Instituting unit production, he predicted, would also result in cost savings of 30–40 percent.  To make films under the new system, Selznick recruited prize behind-the-camera personnel, such as director George Cukor and producer/director Merian C. Cooper , and gave producer Pandro S. Berman , aged twenty-six, increasingly important projects.  Selznick discovered and signed a young actress who would become a star created by RKO, Katharine Hepburn . Also enlisted was established star John Barrymore for a few memorable performances, when also used by Paramount used as Dr. Jekyll and Mr. Hyde (1920) or Warner Bros. used as Beau Brummel (1924).  From September 1932 on, print advertising for the company's features displayed the revised name "RKO Radio Pictures"; the Pathé name was used only for newsreels and documentaries. [e] That same year, the New York City–based corporate headquarters moved into the new RKO Building, an Art Deco skyscraper rising high above RCA controlled Radio City Music Hall that was one of the first Rockefeller Center structures to open.