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JUVENILE DELINQUENCY 127 you liave to show the bad and good and how good triumphs. Unless you have a comparison, as I said before, you do not have the cause a nd effect. That is about all I can say on that. About parents not giving their children guidance and so forth and so on, all that, that is every parent's own opinion. No doubt the fathers and mothers who told their children what to do, they think they are doing the right. That is only a personal opinion of the people, which I wouldn't have any control over. It is up to the people themselves. I just made some notes here to try to guide myself. Other people have touched on the divorce problem of the homes and the environ- ment, the confusion of children, and so forth, which is virtually the A, B. C. of the whole juvenile delinquency project, is the way I see it. I feel that motion pictures do a great social service on the whole, and I heard Mr. Freeman say nobody is perfect. We have made many, many bad films. We have the maj ority of good films, Not only—in addition to making motion pictures of feature lengths, we make short features, we make cartoons for children like "Bugs Bunny" and "Tweetie Pie" and, oh, all kinds of things, and patriotic films, and we have the Warner-Pathe newsreels. Going back to 1918, my brother and I produced a silent film called My Four Years in Germany by Ambassador Girard at the time, de- picting the coming of World War I. During World War II, oh, 50 films. To give you one or two, The Confessions of a Nazi Spy. T was the first man Avho made a picture showing nazism in all its raw form, who, under the threat of death in written form by the local German consul—not the word "death," he didn't use that, but words to that effect, "You better not do this." That was in 1932, called Confessions of a Nazi Spy. I have the letter. Also recently we just made a picture, I Was a Communist for the FBI. We are always trying to do something for the good of our country. Not always do we make it as a matter of a commercial proj- ect, IMany of these pictures do not succeed, but, however, being in a large business as we are we can afford to do something maybe the individual fellow can't. We can try to make things good for our country. Commercially, yes, and if not, nothing is lost. Mr. Freeman put in what we term in the movies or motion pictures as sort of a "plug" for big pictures. I want to name 2; he only named 1. Two, so I give him two for one. We have one called The Land of the Pharaohs. We have over 45,000 people in it. We made it in Egypt and in Italy. We have another called Helen of Troy equally as big; on a big- scale, tremendous investment. We hope that these pictures—they are educational. The Land of the Pharaohs is a great educational film and shows the building of the pyramids, and Helen of Troy is, of course, Homer's Iliad orig- inal love story, I think I have about covered everything I have to say, other than I have been in this business all my life, ever since I was about 9 years old. I don't want to say how old I am now. But I have always found it a great pleasure. When things go bad, why, you feel a little down in the mouth. When things are good you are right up there smiling. If you do a good film that does good for your country, commercially, why, you feel wonderful, and if not, you keep trying.