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JUVENILE DELINQUENCY 165 Mr. White. Not always. As a matter of fact, here is one of the things that makes the job a rather difficult job at times: This adver- tising is largely written or started while the picture is still in produc- tion out here, in a great many cases. Often not only do I not see the picture at the time we pass upon the advertising, but maybe the adver- tising man working on it doesn't see it. They work, of course, on the basis of complete information from their unit men in the studios out here. We work generally on the basis of deciding whether the material is per se acceptable or not. When something comes along that raises a question as to what is in the picture, then we call for whatever in- formation we want to call for. We may ask for a script and hold up the advertising and not give them a decision until we have received the script and read it. That I do constantly. We may be satisfied with an adequate synopsis, or in a few cases the picture may be in and finished and we will go and look at the picture. But as a general rule we don't wait for the picture or for reading the script, but we pass on the material on the basis of its per se accept- ability or unacceptability. Mr. BoBO. The advertising code doesn't know whether the advertis- ing of a picture, in the majority of instances, illustrates the text and that the advertising faithfully represents the picture ? Mr. White. Technically, you might say that. That is probably the hardest part of the code to administer. That was the question that arose in the case of our discussion on Hell's Island. But, as a general rule, on pictures of the Marty type and the Interrupted-Melody type, we know enough about the story and the picture based on our files. I think you are acquainted with our files. We have files in the New York office to show what negotiations the Production Code Administration has had with the producer, and we have those accessible to us at all times, so if there is any question at all, we refer first to those files. We usually, therefore, know in a general way what the story or the picture is about. Mr. BoBO. In the ad East of Eden, that drawing in the center of it, was a script of that picture. Does that truly represent the scenes as depicted in that picture ? Mr. White. I would like to show you a photograph. These photo- graphs are actual reproductions of frames from the motion picture. This is a Cinemascope print, so this is a squeezed print so it may be a little difficult to try to analyze, but if you look at it closely you can see there is the boy and girl and the tree. (The photograph referred to was marked "Exhibit No. 8," and is on file with the subcommittee.) Mr. White. Now, these photographs, of course, obviously, are not of sufficient clarity to be used for reproduction, so they made a sketch of it and submitted the sketch. Mr. BoBO. Was there some discussion between the advertising people and yourself over this ad in East of Eden ? Mr. White. They sent over a photograph and said they wanted to work from that. As I say, it was obvious to me it was not suitable for reproduction. I returned the shots and told them that in my judgment it was all