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MOTION-PICTURE JURISDICTIONAL DISPUTES 1489 I heard Brother Hiitcheson testify here yesterday that in the theaters they built the scenery and we handled it in tlie theaters. I know of no theater in these United States where the Brotherhood of Carpenters built the scenery or builds the scenery or did build the scenery. He talked about coming into the American Federation of Labor with a labor organization. We also came into the American Federa- tion of Labor with a labor organization, known as Theatrical Stage Employees. We have always built sets in the theaters. Mr. Keakns. For the record, Mr. Walsh, what was the dut}? of a carpenter in the theater historically? Mr. Walsh. Well, it is according to what theater he is in. Mr. Kearns. I can appreciate that. ]VIr. Walsh. Whereas you at times used to be in opera, his job is to build the sets, keep them in repair, to set them up each night, to take them down each night, and to do whatever work is necessary on the scenery. In the stock theater, where you change the show every week, every week the carpenter in that theater builds a new show. In New York City, in what is known as the production city, the large shows and productions are built in shops. Those shops are manned entirely by the lATSE. Mr. Kearns. Is the millwork done there ? Mr. Walsh. Everything; we do all of the construction work in those shops. The motion picture graduated or came from the legitimate theater. We went with the employers from the legitimate theater into the motion-picture studios. The history of the motion-picture studio will show that when it first started the lATSE people only worked in the studios; nobody else. Somebody says here, "Historically, the committee did this or his- torically the committee did that," but if they really want to go into history, we will show them historically we did everything in the studios at one time. I am not old enough to say that I did it; I will have to get some of the old-timers to prove that. So that there will be no misunderstanding, I said the lATSE car- penters did the work, not the United Brotherhood of Carpenters. I think the chairman understood that. Mr. Kearns. Yes; I understood that. Mr. Walsh. The lATSE did all the work, as far as the legitimate theater was concerned. I only reviewed the legitimate theater to show you that is how pictures came about. Mr. Kearns. I wanted the other members to hear that, because I did not know if they heard it. Mr. Walsh. I would like to review for the other members that in the theater which is the same as a motion-picture studio—the only difference is that you create a show in the theater so that the eye of the people look at it. In the motion-picture studio you create a set or a production so that the eye of the camera looks at it. It is only a question of how it is done; whether it is photographed in your mind, or whether it is photographed on the motion-picture film. That was the argument that we gave to the three-man committee, that since we