October 24, 1947
ROBERT E. STRIPLING [CHIEF INVESTIGATOR]: Mr. Disney, will you state your full name and present address, please?
WALTER DISNEY: Walter E. Disney, Los Angeles, California.
STRIPLING: When and where were you born, Mr. Disney?
DISNEY: Chicago, Illinois, December 5, 1901.
STRIPLING: December 5, 1901?
DISNEY: Yes, sir.
STRIPLING: What is your occupation?
DISNEY: Well, I am a producer of motion-picture cartoons.
STRIPLING: Mr. Chairman, the interrogation of Mr. Disney will be done by Mr. Smith.
J. PARNELL THOMAS [THE CHAIRMAN]: Mr. Smith.
H. A. SMITH: Mr. Disney, how long have you been in that business?
DISNEY: Since 1920.
SMITH: You have been in Hollywood during this time?
DISNEY: I have been in Hollywood since 1923.
SMITH: At the present time you own and operate the Walt Disney Studio
DISNEY: Well, I am one of the owners. Part owner.
SMITH: How many people are employed there, approximately?
DISNEY: At the present time about 600.
SMITH: And what is the approximate largest number of employees you have had in the studio?
DISNEY: Well, close to 1,400 at times.
SMITH: Will you tell us a little about the nature of this particular
studio, the type of pictures you
make, and approximately how many per year?
DISNEY: Well, mainly cartoon films. We make about twenty short subjects,
and about two
features a year.
SMITH: Will you talk just a little louder, Mr. Disney?
DISNEY: Yes, sir.
SMITH: How many, did you say?
DISNEY: About twenty short subject cartoons and about two features per year.
SMITH: And some of the characters in the films consist of. . .
DISNEY: You mean such as Mickey Mouse and Donald Duck and Snow White
and the Seven
Dwarfs , and things of that sort.
SMITH: Where are these films distributed?
DISNEY: All over the world.
SMITH: In all countries of the world?
DISNEY: Well, except the Russian countries.
SMITH: Why aren't they distributed in Russia, Mr. Disney?
DISNEY: Well, we can't do business with them.
SMITH: What do you mean by that?
DISNEY: Oh, well, we have sold them some films a good many years ago.
They bought the
Three Little Pigs  and used it through Russia. And they looked at a lot of our pictures, and
I think they ran a lot of them in Russia, but then turned them back to us and said they didn't
want them, they didn't suit their purposes.
SMITH: Is the dialogue in these films translated into the various foreign languages?
DISNEY: Yes. On one film we did ten foreign versions. That was Snow
White and the Seven
SMITH: Have you ever made any pictures in your studio that contained
propaganda and that
were propaganda films?
DISNEY: Well, during the war we did. We made quite a few-working with
agencies. We did one for the Treasury on taxes and I did four anti-Hitler films. And I did one on
my own for air power.
SMITH: From those pictures that you made, have you any opinion as to
whether or not the films
can be used effectively to disseminate propaganda?
DISNEY: Yes, I think they proved that.
SMITH: How do you arrive at that conclusion?
DISNEY: Well, on the one for the Treasury on taxes, it was to let the
people know that taxes
were important in the war effort. As they explained to me, they had 13,000,000 new taxpayers,
people who had never paid taxes, and they explained that it would be impossible to prosecute all those that were delinquent and they wanted to put this story before those people so they would get their taxes in early. I made the film, and after the film had its run the Gallup poll organization polled the public and the findings were that twenty-nine percent of the people admitted that had influenced them in getting their taxes in early and giving them a picture of what taxes will do.
SMITH: Aside from those pictures you made during the war, have you made
any other pictures,
or do you permit pictures to be made at your studio containing propaganda?
DISNEY: No; we never have. During the war we thought it was a different
thing. It was the first
time we ever allowed anything like that to go in the films. We watch so that nothing gets into the
films that would be harmful in any way to any group or any country. We have large audiences of
children and different groups, and we try to keep them as free from anything that would offend
anybody as possible. We work hard to see that nothing of that sort creeps in.
SMITH: Do you have any people in your studio at the present time that
you believe are
Communist or Fascist, employed there?
DISNEY: No; at the present time I feel that everybody in my studio is
SMITH: Have you had at any time, in your opinion, in the past, have
you at any time in the past
had any Communists employed at your studio?
DISNEY: Yes; in the past I had some people that I definitely feel were Communists.
SMITH: As a matter of fact, Mr. Disney, you experienced a strike at your studio, did you not?
SMITH: And is it your opinion that that strike was instituted by members
of the Communist
Party to serve their purposes?
DISNEY: Well, it proved itself so with time, and I definitely feel it
was a Communist group
trying to take over my artists and they did take them over.
CHAIRMAN: Do you say they did take them over?
DISNEY: They did take them over.
SMITH: Will you explain that to the committee, please?
DISNEY: It came to my attention when a delegation of my boys, my artists,
came to me and told
me that Mr. Herbert Sorrell.
SMITH: Is that Herbert K. Sorrell?
DISNEY: Herbert K. Sorrell, was trying to take them over. I explained
to them that it was none
of my concern, that I had been cautioned to not even talk with any of my boys on labor. They
said it was not a matter of labor, it was just a matter of them not wanting to go with Sorrell,
and they had heard that I was going to sign with Sorrell, and they said that they wanted an
election to prove that Sorrell didn't have the majority, and I said that I had a right to demand an
election. So when Sorrell came, I demanded an election. Sorrell wanted me to sign on a bunch of
cards that he had there that he claimed were the majority, but the other side had claimed the
same thing. I told Mr. Sorrell that there is only one way for me to go and that was an election
and that is what the law had set up, the National Labor Relations Board was for that purpose. He laughed at me and he said that he would use the Labor Board as it suited his purposes and that he had been sucker enough to go for that Labor Board ballot and he had lost some election-I can't remember the name of the place-by one vote. He said it took him two years to get it back. He said he would strike, that that was his weapon. He said, "I have all of the tools of the trade sharpened," that I couldn't stand the ridicule or the smear of a strike. I told him that it was a matter of principle with me, that I couldn't go on working with my boys feeling that I had sold them down the river to him on his say-so, and he laughed at me and told me I was naive and
foolish. He said, you can't stand this strike, I will smear you, and I will make a dust bowl out of
CHAIRMAN: What was that?
DISNEY: He said he would make a dust bowl out of my plant if he chose
to. I told him I would
have to go that way, sorry, that he might be able to do all that, but I would have to stand on that.
The result was that he struck. I believed at that time that Mr. Sorrell was a Communist because
of all the things that I had heard and having seen his name appearing on a number of Commie
front things. When he pulled the strike, the first people to smear me and put me on the unfair list
were all of the Commie front organizations. I can't remember them all, they change so often, but
one that is clear in my mind is the League of Women Shoppers, The People's World, The Daily
Worker, and the PM magazine in New York. They smeared me. Nobody came near to find out
what the true facts of the thing were. And I even went through the same smear in South America,
through some Commie periodicals in South America, and generally throughout the world all of
the Commie groups began smear campaigns against me and my pictures.
JOHN MCDOWELL: In what fashion was that smear, Mr. Disney, what type of smear?
DISNEY: Well, they distorted everything, they lied; there was no way
you could ever counteract
anything that they did; they formed picket lines in front of the theaters, and, well, they called my
plant a sweatshop, and that is not true, and anybody in Hollywood would prove it otherwise.
They claimed things that were not true at all and there was no way you could fight it back. It was
not a labor problem at all because-I mean, I have never had labor trouble, and I think that would
be backed up by anybody in Hollywood.
SMITH: As a matter of fact, you have how many unions operating in your plant?
CHAIRMAN: Excuse me just a minute. I would like to ask a question.
SMITH: Pardon me.
CHAIRMAN: In other words, Mr. Disney, Communists out there smeared you
wouldn't knuckle under?
DISNEY: I wouldn't go along with their way of operating. I insisted
on it going through the
National Labor Relations Board. And he told me outright that he used them as it suited his
CHAIRMAN: Supposing you had given in to him, then what would have been the outcome?
DISNEY: Well, I would never have given in to him, because it was a matter
of principle with
me, and I fight for principles. My boys have been there, have grown up in the business with me,
and I didn't feel like I could sign them over to anybody. They were vulnerable at that time.
They were not organized. It is a new industry.
CHAIRMAN: Go ahead, Mr. Smith.
SMITH: How many labor unions, approximately, do you have operating in
your studios at the
DISNEY: Well, we operate with around thirty-five-I think we have contacts with thirty.
SMITH: At the time of this strike you didn't have any grievances or
labor troubles whatsoever in
DISNEY: No. The only real grievance was between Sorrell and the boys
within my plant, they
demanding an election, and they never got it.
SMITH: Do you recall having had any conversations with Mr. Sorrell relative to Communism?
DISNEY: Yes, I do.
SMITH: Will you relate that conversation?
DISNEY: Well, I didn't pull my punches on how I felt. He evidently heard
that I had called them
all a bunch of Communists-and I believe they are. At the meeting he leaned over and he said,
"You think I am a Communist, don't you," and I told him that all I knew was what I heard and
what I had seen, and he laughed and said, "Well, I used their money to finance my strike of
1937," and he said that he had gotten the money through the personal check of some actor, but
he didn't name the actor. I didn't go into it any further. I just listened.
SMITH: Can you name any other individuals that were active at the time
of the strike that you
believe in your opinion are Communists?
DISNEY: Well, I feel that there is one artist in my plant, that came
in there, he came in about
1938, and he sort of stayed in the background, he wasn't too active, but he was the real brains of
this, and I believe he is a Communist. His name is David Hilberman.
SMITH: How is it spelled?
DISNEY: H-i-l-b-e-r-m-a-n, I believe. I looked into his record and I
found that, number 1, that he
had no religion and, number 2, that he had spent considerable time at the Moscow Art Theatre
studying art direction, or something.
SMITH: Any others, Mr. Disney?
DISNEY: Well, I think Sorrell is sure tied up with them. If he isn't
a Communist, he sure should
SMITH: Do you remember the name of William Pomerance, did he have anything to do with it?
DISNEY: Yes, sir. He came in later. Sorrell put him in charge as business
manager of cartoonists
and later he went to the Screen Actors as their business agent, and in turn he put in another man
by the name of Maurice Howard, the present business agent. And they are all tied up with the
SMITH: What is your opinion of Mr. Pomerance and Mr. Howard as to whether
or not they are
or are not Communists?
DISNEY: In my opinion they are Communists. No one has any way of proving those things.
SMITH: Were you able to produce during the strike?
DISNEY: Yes, I did, because there was a very few, very small majority
that was on the outside,
and all the other unions ignored all the lines because of the setup of the thing.
SMITH: What is your personal opinion of the Communist Party, Mr. Disney,
as to whether or
not it is a political party?
DISNEY: Well, I don't believe it is a political party. I believe it
is an un-American thing. The
thing that I resent the most is that they are able to get into these unions, take them over, and
represent to the world that a group of people that are in my plant, that I know are good,
one-hundred-percent Americans, are trapped by this group, and they are represented to the world as supporting all of those ideologies, and it is not so, and I feel that they really ought to be
smoked out and shown up for what they are, so that all of the good, free causes in this country,
all the liberalisms that really are American, can go out without the taint of communism. That is
my sincere feeling on it.
SMITH: Do you feel that there is a threat of Communism in the motion-picture industry?
DISNEY: Yes, there is, and there are many reasons why they would like
to take it over or get in
and control it, or disrupt it, but I don't think they have gotten very far, and I think the industry is
made up of good Americans, just like in my plant, good, solid Americans. My boys have been
fighting it longer than I have. They are trying to get out from under it and they will in time if we
can just show them up.
SMITH: There are presently pending before this committee two bills relative
to outlawing the
Communist Party. What thoughts have you as to whether or not those bills should be passed?
DISNEY: Well, I don't know as I qualify to speak on that. I feel if
the thing can be proven
un-American that it ought to be outlawed. I think in some way it should be done without
interfering with the rights of the people. I think that will be done. I have that faith. Without
interfering, I mean, with the good, American rights that we all have now, and we want to
SMITH: Have you any suggestions to offer as to how the industry can
be helped in fighting this
DISNEY: Well, I think there is a good start toward it. I know that I
have been handicapped out
there in fighting it, because they have been hiding behind this labor setup, they get themselves
closely tied up in the labor thing, so that if you try to get rid of them they make a labor case out
of it. We must keep the American labor unions clean. We have got to fight for them.
SMITH: That is all of the questions I have, Mr. Chairman.
CHAIRMAN: Mr. Vail.
R. B. VAIL: No questions.
CHAIRMAN: Mr. McDowell.
J. MCDOWELL: No questions.
JM: I have no questions. You have been a good witness.
DISNEY: Thank you.
CHAIRMAN: Mr. Disney, you are the fourth producer we have had as a witness,
and each one of those four producers said, generally speaking, the same
thing, and that is that the Communists
have made inroads, have attempted inroads. I just want to point that out because there seems to
be a very strong unanimity among the producers that have testified before us. In addition to
producers, we have had actors and writers testify to the same. There is no doubt but what the
movies are probably the greatest medium for entertainment in the United States and in the
world. I think you, as a creator of entertainment, probably are one of the greatest examples in the
profession. I want to congratulate you on the form of entertainment which you have given the
American people and given the world and congratulate you for taking time out to come here and
testify before this committee. He has been very helpful. Do you have any more questions, Mr.
SMITH: I am sure he does not have any more, Mr. Chairman.
STRIPLING: No; I have no more questions.
CHAIRMAN: Thank you very much, Mr. Disney.