Edward Dymtryk, who directed Crossfire—a rare cinematic attack on anti-Semitism—argued that actors, being creative, leaned toward the left since they were thinking “in terms of new things all the time, not in terms of set things.” Dymtryk, who eventually became a “friendly witness” before congressional committees investigating the left in Hollywood, suggested further that as actors become stars—affluent and popular—they begin to lean toward the right, fearing that what they possess may be taken. The tensions between and among Hollywood’s creative and “non-creative” forces spurred contradictions and temblors that pushed stars particularly from left to right, besides sparking tremendous insecurity among them.113