[15] Her first credited and important role was as Dorothea opposite DeWolf Hopper's Don Quixote in the 1915 Fine Arts adaptation of the famous Miguel de Cervantes novel.

"[16] Faye's growing popularity increased with her appearances in several Keystone comedies, including A Movie Star, His Auto Ruination, His Last Laugh, Bucking Society, The Surf Girl, and A Lover's Might, all released in 1916.

[17] She continued working for DeMille in The Whispering Chorus, Old Wives for New, The Squaw Man and Till I Come Back to You (all 1918).

Cast with Enid Bennett, Niles Welch, and Gertrude Claire, Faye was complimented by a critic for playing her role with "class".

Her next film, It Pays To Advertise (1919), was a Paramount Pictures release adapted by Elmer Harris from the play of the same name by Rol Cooper Megrue and Walter Hackett.

Its noteworthy personalities included Rudolph Valentino, Gloria Swanson, Betty Compson, Wallace Reid, Bebe Daniels, and Pola Negri.

Faye joined Raymond Griffith and ZaSu Pitts in the screen feature Changing Husbands (1924), a Leatrice Joy comedy adapted from a magazine story entitled Roles.

[21] When DeMille resigned as director general of Famous Players–Lasky, in January 1925, he became the production head of Cinema Corporation of America.

Faye came along with him as did Joy, Rod La Rocque, Florence Vidor, Mary Astor, and Vera Reynolds.

William Boyd, Elinor Fair, and Faye have primary roles in a production DeMille called "his greatest achievement in picture making.

[27] Faye won critical acclaim for her leading performance in the 60-minute silent comedy Turkish Delight (1927),[28] directed by Paul Sloane for DeMille Pictures Corporation.

Faye had a small role as an inmate in DeMille's The Godless Girl (1929), which featured some talking sequences, but she made her "talkie" debut playing Marcia Towne in DeMille's first sound film, Dynamite (1929), co-starring Conrad Nagel, Kay Johnson, and Charles Bickford.

She also appeared in two other MGM productions, the Marion Davies comedy Not So Dumb (1930) and DeMille's third and final remake of The Squaw Man (1931), before her brief retirement from films in the early 1930s.