Hugenberg had purchased the UFA studio-the largest film production company in both Germany and Europe-with the aim of making right-wing "national" films, but in this case, his concern for profits overrode his ideology. The transition from silent film to talkies had imposed significant costs on UFA, which chose to mostly produce films designed for the widest possible audience in order to recoup the costs of installing sound equipment. Between 1930-1933, only a limited number of UFA films were the type of "national" films that Hugenberg had envisioned when he brought UFA, and of the "national" films only "Yorck" and "Morgenrot" were financially successful at the box office. Despite his anti-Semitism, Hugenberg did not fire the many Jews who worked at UFA as directors, script-writers, actors, etc as he did not want to lose any talent to rival studios.