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COMMUNISM IN MOTION-PICTURE INDUSTRY 1857 Mr. Buchman. Yes, sir. Mr. Tavenner. When and where were you born, Mr. Buchman? Mr. Buchman. I was born in Duluth, Minn., 1902. Mr. Tavenner. Where do you now live ? Mr. Buchman. I now live in Hollywood. Mr. Tavenner. How long have you lived in Hollywood? Mr. Buchman. Well, in Hollywood and its vicinity for perhaps 20 years. Mr. Tavenner. What is your occupation or profession? Mr. Buchman. By profession I am a writer who has been elevated from time to time to a writer-producer status. Mr. Tavenner. Will you state briefly for the committee your educa- tional background and training ? Mr. Buchman. Well, I was reared in Duluth, Minn., finished gram- mar school and high school there in 1919, attended the University of Minnesota for 1 year. My family was then removed to New York. 1 then completed my education at Columbia University, taking my bachelor of arts there in the class of 1923. Mr. Tavenner. Will you give the committee, please, an outline of your work as a screen writer and as a producer during the past 20 years that you have been in Hollywood ? Mr. Buchman. With the committee's permission, this is a long and complicated list, it involves in some cases my writing and in other cases my producing. If you don't mind Mr. Tavenner. May I make this suggestion? In asking that ques- tion I did not expect that you give every detail of your employment. Mr. Buchman. Oh, I see. Mr. Tavenner. If you desire to file that we would be very glad to have it filed as part of your testimony, but if you will just narrate your employment in as much a way as to give the committee a good understanding of the time of employment you have had, that will be sufficient. Mr. Buchman. When I first came to Hollywood in 1931, in the spring of 1931, I was employed by Paramount Pictures. The credits of any importance were Sign of the Cross, written by me in collab- oration for Cecil De Mille. Another picture called Thunder Below, I then transferred to RKO where I wrote an Ann Harding picture whose title I forget. Then approximately IT years ago I came to Columbia as a free-lance writer and wrote a picture called Whom the Gods Destroy; a picture starring Grace Moore called I Love You Always, or Love Me Forever. Then with Mr. La Cava in 1935, wrote a picture She Married Her Boss; a picture call the Music Goes 'Round; in 1936, a picture called Theodora Goes Wild; then the King Steps Out; Adventure in Manhattan; in 1939, Mr. Smith Goes To Washington; in 1940, the Howards of Virginia, from the book by Elizabeth Paige called Tree of Liberty; 1941, Here Comes Mr. Jordan,; 1942, the Talk of the Town; 1944, a Song to Remember; Holiday; 1938, She Married an Artist; in 1937—this was the first time I had attempted or achieved a producer's status. I did not write the screen play. Then in 1945 a picture called Over 21, an adaptation of Ruth Gordon's stage play. Following that To the Ends of the Earth; then as my own screen play and production, the second of two Jolson pictures, called Jolson Sings Again.