Jurisdictional disputes in the motion-picture Industry : hearings before a special subcommittee of the Committee on Education and Labor, House of Representatives, Eightieth Congress, first-session, pursuant to H. Res. 111 (1948)

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1496 MOTION-PICTURE JURISDICTIONAL DISPUTES Then we went on strike in 1933 so that changed the pictnre. Then they went in and took onr jobs and minded them for us until we went back again—until we kicked our way back in. They did not hand them back to us. What Brother Hutcheson did not tell you was, he said there was some trouble in the theaters in Chicago and other places. There was some trouble in the theaters. They started to take a picture called Thirteen Hours in the Air. It was a motion-picture cameraman. We have jurisdiction of motion-picture cameramen. The electrical workers insisted that this motion-picture cameraman, before he could go to Newark Airport to take this picture Thirteen Hours in the Air, had to liaA'e an electrician's card. That got the lATSE mad. We only had 186 members left, but we thought now was the time to start a little fight, which we did. In some of the theaters in Chicago the show did not go on. In some of the theaters in Chicago when the show did go on it went on wrong, and many other things happened. Then the employers started to look around to see what the trouble was. Everything you say I am going to listen to you. Mr. Owens. Don't let him ride you, Mr. Walsh. Mr. Walsh. He is not riding me. I listened to everything he said. I find you have to keep up with him. I found that out. Tlius far we have done pretty good and if certain people will leave us alone we will finish it. So we kicked our way back into the studios because of that. Not because the employer wanted us back in the studio, the employer does not love the lATSE any more than he loves the Conference of Studio TFnions or anybody else. He will operate any way that he can. I don't want to say too much about him; I will leave him alone for a while. I am supposed to be in conspiracy with him. I am not going to read all of this agreement, but it says here: The lATSE shall have the erection of sets on stages except as provided in section 1. Section 1 says: All trim and millwork on sets and stages belongs to the carpenters. When they handed down this decision there was some doubt in the minds of the people that the committee meant it, so the ejnployer would not put the directive into full force and effect. He said, "We would like to talk this over with the committee or with somebody else." We went to Miami, Fla. I went because I received a telegram from President Green asking me to come down there. The employer went down there to see if they could not get some instructions from the executive council as to what they could do, because people were con- tending it should not be put into effect. I had a meeting down there with President Green of the American Federation of Labor and the three-man committee which was ap- pointed by the American Federation of Labor to go to Hollywood. At this meeting they tried to have me agree that the committee could change this around in some way so that it would satisfy all parties concerned and it would not cause any trouble in the American Feder- ation of Labor because the carpenters were threatening to withdraw from the American Federation of Labor if this was not changed.