More often than not, however, the studios’ class predilections were uniform both off-screen and on. Will Hays and Joseph Breen, the official “censors” designated to ensure that sexual and other ostensibly offensive subjects did not make their way into movies, “intervened to have the studio change dialogue” so one movie “would show miners’ condition[s] improving and imply that workers had little to complain about.” Breen, fearing encouragement of labor unrest, was reluctant to approve films that showed company property destroyed. Hays was part owner of a coal mine in southern Indiana, and Breen once handled public relations for the Peabody Coal Company; these experiences were thought to influence their ideas about how mines and miners should be portrayed in the movies. Both men were hesitant, in any case, to pass favorably on films that seemed to speak positively about unions.123 In fact, the “Hays Office” was established after World War I in partial response to growing concern about the proliferation of progressive themes in movies.