Hearings regarding the communist infiltration of the motion picture industry. Hearings before the Committee on Un-American Activities, House of Representatives, Eightieth Congress, first session. Public law 601 (section 121, subsection Q (1947)

COMMUNISM IN MOTION PICTURE INDUSTRY 59 Mr. Stripling. That was the reason, in other words, that you formed 3'our organization, was to combat the increased activity on the part of the Communists in the industry ? Mr. Wood. Yes, sir ; we felt there was a great danger, and it was in the interest of self-defense of our business, because we felt a moral responsibility for our business. It has been very kind to a lot of us, and we want to protect it. Mr. Striplincj. Now, Mr. Wood, would you give the committee some of these examples in which the Communists have exerted influence in the motion-picture industry? In other words, how do they go about it, what is the mechanics of it? Mr. Wood. There are a number of ways. I think the thing that is very important, and the thing I was most anxious about, is the pride of Americans in working. They are pretty subtle. For instance, a man gets a key position in the studio and has charge of the writers. Wlien you, as a director or a producer, are ready for a writer you ask for a list and this man shows you a list. Well, if he is following the party line his j^ets are on top or the other people aren't on at all. If there is a particular man in there that has been opposing them they will leave liis name off the list. Then if that man isn't employed for about 2 months they go to the head of the studio and say, "Nobody wants this man." The head is perfectly honest about it and says, '"Nobody wants to use him, let him go." So a good American is let out. But it doesn't stop there. They point that out as an example and say, "You better fall in line, play ball, or else." And they go down the line on it. Mr. StPvIplixg. That is true in the case of writers. Would you say it is true in any other branch of the industry ? Mr. Wood. I don't think, in any part of the business, they will use a party who is opposed to their ideas, if they can avoid it, and they can usually avoid it. Mr. Stripling. They opei'ate as cliques, in other words? Mr. Wood. Oh, yes; they have their nleetings every night. They ai'e together ; they work for one purpose. Mr. Stripling. What is that purpose, Mr. Wood? Mr. Wood. Well, I think they are agents of a foreign country myself. Mr. Stripling. I see. The CiLviRMAN. Would you say that these persons you named here today were agents of a foreign country? Mr. Wood. I think anyone following the party line, I think this particular party line, are agents of a foreign country. I think they are directed from a foreign country. It isn't exactly fair to have my back to that gang out there. Mr. Stripling. jNIr. Wood, from time to time have pictures been produced by Hollywood which portray what we might call the sordid side of American life? Are 3'ou familiar with any pictures of that kind ? Mr. Wood. Well, I think there are all sides of life and I think they should be photographed. I would like to say that I think one of the great dangers to this business would be censorship because those people are so Avell organized that they would like to have censorship because then they would get their stooges in the position of censoring and then Avould have it in their pocket. And as far as the sordid side