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JUVENILE DELINQUENCY 123 Mr. Freeman. I think it is exactly the same in every instance. The idea is you buy a story, you take it up to see if there is objectionable things with the code administrator. You follow it through with the first script and present it. If they have things they wish to suggest to you that are not according to the code, they do it and you change it, and then when you finally make the picture you present it to them: for approval and if there are scenes still in the picture that don't come out ]ust right, the code says it has to be changed, you argue it out with them, as to what changes, and finally decide on it. Chairman KEFAu\Ti:R. With Paramount, does the opinion of the code always finally prevail ^ Mr. Freeman. Paramount has never released a motion picture in its history, insofar as I know—and certainly not within mv 17 years of experience here—that did not have the code approval, the code seal. Chairman Kefau\^r. Mr. Bobo, are you going to bring out by some witness how many of the producers there are that are, and whether there are any or not, members of the code association? Mr. Bobo. Yes, sir. Chairman Kefauver. Do you have any questions, Mr. Bobo ? Mr. BoBO. I think that is all. Chairman Kefauver. Thank you very much. Mr. Freeman. I would, before closing, like to say—and this is: call it a plug for motion pictures, if you wish, but I think if you will think about the responsibility the industry has assumed, for instance,, in making a picture like The Ten Commandments, which is possibly the biggest motion picture ever made by the industry, under the direc- tion of a man like Mr. De Mille, you will find they do think in the area of what an impact a picture of this kind can have on the world today. And also, in pointing up what Mr. Schary said, it just happens to be a Paramount picture, that Paramount is making The Ten Com- mandments. It would be just as good or as great if it were made by any other studio. When you start to get ready to think of developing a story into a final motion-picture production, there can be a period of time from 15 to 24 months before that final ]Droduct is seen on the screens of the country. So many things can happen in that interim period that had you known at the time you started you might have thought differently about it. But today if I start to get ready to have a picture produced or made at the Paramount Studio an idea suggested, by the time the screen- play is finished, by the time it is possible to cast it and find all the different component parts necessary to make it, having completed the shooting schedule on it, the process then of editing and, as Mr. Schary said, going in for music and sound, finishing all of that and going, if it is a color picture, to your color laboratory to get what you call your answer print, and then find out from previews if it is right or not, and finally get your print out, and a period in between to advertise it, if you get it out within 18 to 20 months you have done a very good job. There are times when things happen in between that would make you feel that maybe you wouldn't have done this had you known at that day you started what was going to happen in September 2 years later.