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150 JBS, Mr. DeMille speak of anything outside of his own interest, will have pleasant things to say about the writing. It was no occasion for boldness. One might feel inspired in the way of criticism of the picture to make minor suggestions toward corrections that were both possible and economical, but criticism of a sort that looked to major revisions would be sheer folly. It would be too late for major changes and no staff mem- ber would be so unrealistic as to suggest any. The usual tensions were felt on the day we gathered for the first rough showing of Unconquered. Two writers, a film editor, researcher, and script girl were among the small group led into the studio projection room by Mr. DeMille. They knew that they would be called upon by the boss to give their estimate of the total effort—an effort that required three years of work and five million dollars! They would watch the picture as intently as possible, at the same time their minds would be busy thinking up pear-shaped adjectives with which to shower the picture and the boss. Pushed well to the rear would be any impulse to "level with the boss/' even should they happen to detect serious defects that might call for major revision, itself a remote possibility* At this point, it seemed, it was too late for the truth. The veterans of the staff never varied this principle; but this time there was a newcomer in their midst. The picture ended, and Mr. DeMille began pacing back and forth on the center cross-aisle, shooting little glances at the staff people. The newcomer sat to the rear of the room. Ordi- narily he might be justified in feeling quite relaxed because, being new to the bungalow, there was little in the picture that could be traced to his department. DeMille stopped, looked in his direction. Td like to have you tell me what you think of the picture," and with the question all eyes turned toward the young man. He began on a proper note.