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1
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In my generation.
he was the granddaddy of all directors...
2
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...at that particular time.
3
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He certainly influenced almost everyone
who was directing in the '50s...
4
00:00:29,980 --> 00:00:32,859
...and later in the '605.
and right on through today.
5
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Ford. you know. will live forever.
because his films will live forever.
6
00:00:36,920 --> 00:00:41,892
And. um. his work is there
to inspire and influence...
7
00:00:42,059 --> 00:00:43,970
...this whole new generation of filmmaker.
8
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He is the essence
of classical American cinema...
9
00:00:47,998 --> 00:00:50,945
...and any serious person
making films today...
10
00:00:51,368 --> 00:00:54,372
...whether they know it or not.
Is affected by Ford.
11
00:00:54,538 --> 00:00:56,916
He's like Dickens or something
that you can't--
12
00:00:57,074 --> 00:01:02,581
There's a whole frame of reference
and. um. horizon line...
13
00:01:02,746 --> 00:01:04,020
...that is Fordian.
14
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Ethan?
15
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Quiet. Sam.
16
00:02:09,913 --> 00:02:12,257
That's your Uncle Ethan.
17
00:02:24,961 --> 00:02:27,305
Welcome home. Ethan.
18
00:02:30,300 --> 00:02:32,246
In the '60s. Orson Welles was interviewed.
19
00:02:32,402 --> 00:02:36,111
One of the questions he was asked was
who his favorite American directors were.
20
00:02:36,273 --> 00:02:41,188
He said. “Well. I prefer the old masters.
by which I mean John Ford...
21
00:02:41,345 --> 00:02:44,724
...John Ford and John Ford.
22
00:02:44,981 --> 00:02:47,052
He's a poet and a comedian.
23
00:02:47,217 --> 00:02:51,563
With Ford at his best. you get a sense
of what the earth is made of...
24
00:02:51,722 --> 00:02:54,965
...even if the script is by Mother Machree.“
25
00:02:55,225 --> 00:02:59,071
Well. I showed this.
toward the end of the '60s. to John Ford...
26
00:02:59,229 --> 00:03:04,440
...and. um. he read it and said.
“Where is Orson?“
27
00:03:04,601 --> 00:03:07,946
I said. “He's over at the Beverly Hills Hotel.“
He says. “Hmm.“
28
00:03:08,105 --> 00:03:10,244
Couple of days later.
I get a call from Welles.
29
00:03:10,407 --> 00:03:13,684
He says.
“Did you show that quote of mine to Ford?“
30
00:03:13,844 --> 00:03:15,448
And I said. “Yeah. Why?“
31
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He said. “Well. I just got a telegram:
32
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'Dear Orson. thanks for the compliment.
33
00:03:21,418 --> 00:03:23,193
Love. Mother Machreef"
34
00:03:38,135 --> 00:03:42,277
These words
have appeared on over 135 movies...
35
00:03:42,439 --> 00:03:46,888
...among them some of the most popular
and memorable ever made.
36
00:03:47,043 --> 00:03:50,024
It's also a phrase
that's been properly honored.
37
00:03:50,180 --> 00:03:53,684
John Ford is the only director
ever to win six Oscars...
38
00:03:53,850 --> 00:03:56,160
...and four New York Film Critics' Awards...
39
00:03:56,319 --> 00:03:59,766
...not to mention other prizes
from around the world...
40
00:03:59,923 --> 00:04:02,369
...Venice, Berlin, London, Belgrade.
41
00:04:02,526 --> 00:04:05,939
Wherever they show American films,
Ford's name is synonymous...
42
00:04:06,096 --> 00:04:10,841
...not only with quality,
but with a special kind of quality as well.
43
00:04:11,001 --> 00:04:13,641
Looking over that rich, varied career...
44
00:04:13,804 --> 00:04:16,978
...what is it that distinguishes the movies
of John Ford?
45
00:04:17,140 --> 00:04:22,522
Are they 135 individual films,
or is it a body of work...
46
00:04:22,679 --> 00:04:24,955
...that can stand
with the singular achievement...
47
00:04:25,115 --> 00:04:28,028
...of a great novelist, painter, composer?
48
00:04:28,185 --> 00:04:30,392
Directed by John Ford.
49
00:04:30,554 --> 00:04:34,502
What do those words really mean. anyway?
50
00:04:34,825 --> 00:04:40,468
The first time I became aware of a name
on the credits of a film that I liked...
51
00:04:40,630 --> 00:04:42,371
...was the name John Ford.
52
00:04:42,532 --> 00:04:44,569
And then just picked up.
53
00:04:44,734 --> 00:04:47,374
When I saw it's directed by Ford.
I'd watch that film.
54
00:04:47,637 --> 00:04:49,878
I actually saw Stagecoach on a re-release...
55
00:04:50,040 --> 00:04:52,714
...when I was about 11. 12 years old.
56
00:04:52,876 --> 00:04:58,019
I remember John. uh. Wayne
looking quite a bit younger...
57
00:04:58,181 --> 00:04:59,717
...than I was used to seeing him.
58
00:04:59,883 --> 00:05:03,558
And. uh. the impact of the movie
was. even then. enormous.
59
00:05:03,720 --> 00:05:05,666
Hold it.
60
00:05:06,189 --> 00:05:08,760
Whoa. steady.
61
00:05:08,925 --> 00:05:11,462
Never apologize. mister.
It's a sign of weakness.
62
00:05:15,432 --> 00:05:19,209
So when Mr. Ford needed a goose herder
for his set...
63
00:05:19,369 --> 00:05:21,440
...it just fit my pistol.
64
00:05:21,605 --> 00:05:23,380
They had a hill built up...
65
00:05:23,540 --> 00:05:28,751
...a fake hill for this. uh. set
for Mother Machree.
66
00:05:28,912 --> 00:05:32,951
And the geese were getting down
under. uh. the 2-by-4s under there.
67
00:05:33,116 --> 00:05:36,586
So they needed a fellow
to herd them out. keep them out.
68
00:05:36,753 --> 00:05:39,427
So that was my first job with Mr. Ford.
69
00:05:39,589 --> 00:05:42,866
Well. Mr. Ford says.
“So you're a football player.“
70
00:05:43,026 --> 00:05:45,506
And I said, “Well, playing at USO.“
71
00:05:45,662 --> 00:05:47,664
He said, uh, “Let's see how you get down.“
72
00:05:47,831 --> 00:05:54,180
So I got down. braced on my.
uh. forearms and my. uh. feet...
73
00:05:54,337 --> 00:05:56,317
...he kicked my arms out from under me...
74
00:05:56,473 --> 00:06:00,046
...and stuck my nose in that mud
that they'd made for Mother Machree.
75
00:06:00,210 --> 00:06:02,087
I'll tell you.
It wasn't the sod of old Ireland.
76
00:06:03,413 --> 00:06:04,687
And it really hurt.
77
00:06:04,848 --> 00:06:08,318
So not being interested
in a motion-picture career at that time...
78
00:06:08,485 --> 00:06:10,522
...I said, “Let's try it again.“
79
00:06:10,687 --> 00:06:14,225
Well. it's hard for one fellow in a line
to take out anybody...
80
00:06:14,391 --> 00:06:17,372
...when they can move wide on you.
81
00:06:17,527 --> 00:06:20,406
So as I thought he would.
he started to go around this side...
82
00:06:20,564 --> 00:06:23,010
...I whirled and kicked him
and hit him in the chest.
83
00:06:23,166 --> 00:06:26,704
And sat him down on the part
that goes over the fence last.
84
00:06:26,870 --> 00:06:31,751
And. uh. he looked up with a little surprise.
And there was a deadly silence.
85
00:06:31,908 --> 00:06:37,017
And right then was a deciding point
in my career in motion pictures.
86
00:06:37,180 --> 00:06:40,093
He was not influenced
by a politically-correct generation...
87
00:06:40,250 --> 00:06:41,490
...that we live in today.
88
00:06:41,651 --> 00:06:44,188
He was-- He could go flat out.
89
00:06:44,354 --> 00:06:50,600
And I think. uh. that. uh.
was sort of an imprint of Ford's...
90
00:06:50,827 --> 00:06:52,966
...where Ford was afraid of nothing.
91
00:06:53,330 --> 00:06:58,803
Ford is so much more than any one. two
or three of his films...
92
00:06:58,969 --> 00:07:01,848
...and there are moments
in many of his films...
93
00:07:02,005 --> 00:07:05,384
...that maybe are uneven that are precious...
94
00:07:06,710 --> 00:07:08,986
...but. um. Young Mr. Lincoln
always meant a lot to me.
95
00:07:10,947 --> 00:07:13,826
I presume you all know who I am.
96
00:07:14,384 --> 00:07:16,694
I'm plain Abraham Lincoln.
97
00:07:16,853 --> 00:07:19,993
Sure is a hard town for a fellow...
98
00:07:20,156 --> 00:07:23,501
...to have a quiet game of poker in.
99
00:07:31,101 --> 00:07:36,881
Wherever there's a fight
so hungry people can eat, I'll be there.
100
00:07:37,340 --> 00:07:42,119
Wherever there's a cop beating up a guy.
I'll be there.
101
00:07:42,278 --> 00:07:44,485
Weeks later.
Ford was assigned to the picture.
102
00:07:44,648 --> 00:07:47,857
And he sent for me.
I had to go to his office.
103
00:07:48,852 --> 00:07:51,332
And. uh. I remember meeting Meeda Stern
for the first time.
104
00:07:51,488 --> 00:07:53,331
She was his secretary-script girl then.
105
00:07:53,490 --> 00:07:57,131
And she ushered me into the office
in front of himself.
106
00:07:57,293 --> 00:07:59,705
I remember it was like being
an apprentice seaman...
107
00:07:59,863 --> 00:08:02,503
...with the white hat in my hand
in front of the admiral.
108
00:08:02,666 --> 00:08:05,374
He was sitting there with his hat
and sucking on a pipe...
109
00:08:05,535 --> 00:08:08,141
...and a handkerchief at the same time.
110
00:08:08,605 --> 00:08:13,054
And I'm standing there like at attention.
and this character's sitting there.
111
00:08:13,209 --> 00:08:15,280
Sort of looks under his brows and said:
112
00:08:15,445 --> 00:08:18,756
“What the hell is all this about you
not wanting to play Lincoln?“
113
00:08:19,149 --> 00:08:21,220
Using all the profanities in the world...
114
00:08:21,384 --> 00:08:23,193
...which sort of shocked me more.
115
00:08:23,353 --> 00:08:26,800
You know.
here's God the admiral talking like this.
116
00:08:27,123 --> 00:08:32,732
Well. he went on to shame me
about this whole thing. What was it?
117
00:08:32,896 --> 00:08:36,241
Did I think I was playing the great
emancipator or something like that?
118
00:08:36,399 --> 00:08:40,040
Said. “This is a young jack-legged lawyer
from Springfield. for God's sake.“
119
00:09:01,891 --> 00:09:04,371
Hello. Abe.
What are you doing in Springfield?
120
00:09:04,527 --> 00:09:07,269
Figuring on setting myself up as a lawyer.
121
00:09:07,430 --> 00:09:09,273
What do you know about law. Abe?
122
00:09:09,432 --> 00:09:11,241
Not enough to hurt me.
123
00:09:11,401 --> 00:09:13,244
He can make you laugh and make you cry.
124
00:09:13,403 --> 00:09:16,247
And he can get you there very quickly
from one to the other.
125
00:09:16,406 --> 00:09:21,947
It's again his mastery of the kind of
“unchartered waters“ human spirit.
126
00:09:22,112 --> 00:09:23,887
He understood people very well.
127
00:09:24,047 --> 00:09:27,085
The thing I'd look most forward to
in John Ford pictures...
128
00:09:27,250 --> 00:09:30,595
...who was coming back
from the last John Ford film?
129
00:09:30,754 --> 00:09:34,964
Who was coming back of his repertory
company to be part of the new film?
130
00:09:35,125 --> 00:09:36,468
It was a family, you know.
131
00:09:36,626 --> 00:09:39,607
And in the family. he--
And he was a bit of abusive father.
132
00:09:39,763 --> 00:09:44,337
I mean. I know he was tough on his kids.
especially on Harry Carey Jr...
133
00:09:44,501 --> 00:09:47,311
...and a couple of the others. and. uh...
134
00:09:47,470 --> 00:09:48,778
But they loved him.
135
00:09:48,938 --> 00:09:50,440
William Kearney. ma'am.
136
00:09:50,607 --> 00:09:53,178
I'm proud to make your acquaintance. ma'am.
137
00:09:53,343 --> 00:09:55,584
I'm gonna let you whip them up.
138
00:09:58,748 --> 00:10:01,627
Did they“? What was she--?
139
00:10:01,785 --> 00:10:04,322
He kept saying before the movie started:
140
00:10:04,487 --> 00:10:08,492
“You're gonna hate me.
but you're gonna give a good performance.“
141
00:10:09,425 --> 00:10:13,134
Well. I hated him after the first day.
142
00:10:13,296 --> 00:10:14,934
Wasn't after the movie's over.
143
00:10:15,198 --> 00:10:16,302
He was angry.
144
00:10:16,466 --> 00:10:17,604
A lot. Heh. heh.
145
00:10:17,767 --> 00:10:20,247
He was angry a lot on the set.
Some of it was an act.
146
00:10:20,403 --> 00:10:26,081
But some of it, I think.
was just his difficult...
147
00:10:26,509 --> 00:10:30,616
The inner tension of trying to express
different things in different ways.
148
00:10:30,780 --> 00:10:32,623
And knowing that both are kind of true.
149
00:10:32,782 --> 00:10:36,355
The Man Who Shot Liberty Valance,
which I saw at a drive-in movie theater...
150
00:10:36,519 --> 00:10:41,730
...growing up. uh. in Phoenix. Arizona. uh.
made a tremendous impact on me.
151
00:10:41,891 --> 00:10:48,399
Because I always felt like I was.
you know. the. uh. reluctant fighter.
152
00:10:48,665 --> 00:10:50,736
And. uh. in the Jimmy Stewart character...
153
00:10:50,900 --> 00:10:55,212
...and I really related to his dilemma.
his moral dilemma.
154
00:10:55,371 --> 00:11:01,049
Isn't it enough to kill a man
without trying to build a life on it?
155
00:11:01,211 --> 00:11:03,851
Now. wait a minute. Now. wait a minute.
Just a minute. Jim.
156
00:11:04,013 --> 00:11:05,890
How come you checked with an ace showing?
157
00:11:06,049 --> 00:11:07,892
Was that an ace?
158
00:11:09,052 --> 00:11:10,292
I'm blind as a bat.
159
00:11:10,453 --> 00:11:13,195
Well. I wanted very. very much
to please him...
160
00:11:13,356 --> 00:11:16,462
...first time I worked for him.
and I still do.
161
00:11:16,626 --> 00:11:21,200
If I'd make another picture
for him tomorrow. I'd wanna please him.
162
00:11:21,364 --> 00:11:23,742
And I think he does that to people.
163
00:11:23,900 --> 00:11:29,248
He. uh. dares you to do it right...
164
00:11:29,405 --> 00:11:31,282
...to do it good.
165
00:11:31,674 --> 00:11:35,747
And. uh. it's sort of a competitive thing.
166
00:11:35,912 --> 00:11:41,055
And there's that feeling on the set
when you're working for him.
167
00:11:41,217 --> 00:11:43,720
Uh. it isn't a relaxed set.
168
00:11:44,554 --> 00:11:47,398
You know. so many people say.
“Oh. it's so nice.
169
00:11:47,557 --> 00:11:49,969
It's such a relaxed set.
and everybody sort...“
170
00:11:50,126 --> 00:11:51,161
It's.uh...
171
00:11:51,327 --> 00:11:53,603
With Ford. it's not a relaxed set at all.
172
00:11:53,763 --> 00:11:56,300
It's-- There's tension every place.
173
00:11:56,466 --> 00:11:57,809
There's. uh...
174
00:11:58,401 --> 00:12:00,745
Everybody's on edge.
175
00:12:00,904 --> 00:12:05,375
After we'd been on. uh. Stagecoach
for three weeks...
176
00:12:05,541 --> 00:12:10,854
...and they had quite a bit of film
in the box. he. uh. said:
177
00:12:11,014 --> 00:12:14,223
“Would you like to see some of the film?“
And I said. “I'd love to.“
178
00:12:14,384 --> 00:12:18,059
He says. “All right.
Lovey's. uh. cutting up there now.
179
00:12:18,221 --> 00:12:20,360
You won't have to work for a couple of hours.
180
00:12:20,523 --> 00:12:22,730
Go on up. tell him to run you
what they have.“
181
00:12:22,892 --> 00:12:24,098
So I went up and saw this.
182
00:12:24,260 --> 00:12:28,106
And it was beautiful photography.
You know. it's wonderful stuff.
183
00:12:28,264 --> 00:12:32,440
And I came back. and he said. um.
“Well. how'd you like it?“
184
00:12:32,602 --> 00:12:36,414
Then I said. “Oh. ifs. you know. wonderful.
Jeez. the greatest photography.“
185
00:12:36,572 --> 00:12:38,677
“Well." he says. “It was directed all right?“
186
00:12:38,841 --> 00:12:40,377
And I said. “Oh. it's wonderful.“
187
00:12:40,543 --> 00:12:42,750
He says. “How was Mitchell?“
And I said. “Fine.“
188
00:12:42,912 --> 00:12:47,292
And he said. uh. “How are you?“
And I said. “Well. I'm playing you.
189
00:12:47,450 --> 00:12:50,158
You know what that part is.“
190
00:12:50,320 --> 00:12:53,199
So. uh. ahem. he kept asking me questions.
191
00:12:53,356 --> 00:12:55,700
He says. “How'd you like this?
How'd you like that?
192
00:12:55,858 --> 00:12:59,237
Isn't there anything that you.
uh. didn't like?“
193
00:12:59,395 --> 00:13:00,635
And now my propman thing.
194
00:13:00,797 --> 00:13:03,869
I said. “Listen. I told the propman
at the first of this picture...
195
00:13:04,033 --> 00:13:06,035
...to get some of those exercising things...
196
00:13:06,202 --> 00:13:08,944
...to put at the end of those lines.
so Andy'd have a--“
197
00:13:09,105 --> 00:13:13,747
He says. “Okay. hold it. Come on down.
Come on down off the lights.
198
00:13:13,910 --> 00:13:14,945
Everybody down.“
199
00:13:15,111 --> 00:13:18,320
He got everybody in the center of the stage.
and he said:
200
00:13:18,481 --> 00:13:20,722
“I want you fellows to know something.
201
00:13:20,883 --> 00:13:25,593
Our star. uh. just loves the picture
as it's going.
202
00:13:25,755 --> 00:13:29,532
He thinks he's fine in it.
but he can't stand Devine's performance.“
203
00:13:29,692 --> 00:13:33,504
Well. you know. luckily. uh.
I was a good friend of Andy's...
204
00:13:33,663 --> 00:13:35,870
...and he understood it.
205
00:13:36,032 --> 00:13:37,909
I wanna tell you. this fellow puts you--
206
00:13:38,067 --> 00:13:40,946
You know.
he keeps pretty good control of you.
207
00:13:41,104 --> 00:13:42,447
On 3 Godfathers...
208
00:13:42,605 --> 00:13:47,179
...there's this scene
where Wayne and Armendériz and myself...
209
00:13:47,343 --> 00:13:51,155
...were in our bedrolls
and we're covered up. you know...
210
00:13:51,314 --> 00:13:53,419
...uh. because there had been
a sandstorm so...
211
00:13:53,583 --> 00:13:55,529
And then we sit up from the bedrolls...
212
00:13:55,685 --> 00:13:58,393
...and Duke wakes up. and then Pete wakes up.
213
00:13:58,755 --> 00:14:03,101
And then I look around.
I look like that and say--
214
00:14:03,259 --> 00:14:05,330
Where'd you pick up the horses?
215
00:14:07,196 --> 00:14:10,075
So we do it and he said. “Cut.
216
00:14:10,233 --> 00:14:13,976
Don't look all over Death Valley...
217
00:14:14,137 --> 00:14:16,777
...for the horses. just look where they were.
218
00:14:16,939 --> 00:14:18,646
Where they were.“
219
00:14:19,175 --> 00:14:23,817
So it's no use trying to say.
“Well. I thought-J' because that's dead.
220
00:14:23,980 --> 00:14:27,757
Anyway. ahem. I did it the next time.
I did it again.
221
00:14:27,917 --> 00:14:30,591
And he threw this rock at my head.
222
00:14:31,354 --> 00:14:35,302
And. uh. if it had hit me.
It would have killed me.
223
00:14:35,458 --> 00:14:39,804
So it hit Armendériz
in a terrible spot on his body.
224
00:14:40,029 --> 00:14:41,736
And. uh. very painful.
225
00:14:41,898 --> 00:14:43,241
And.uh...
226
00:14:43,599 --> 00:14:45,203
Because I ducked and it hit Pedro.
227
00:14:47,870 --> 00:14:49,872
And that made Ford laugh.
228
00:14:50,039 --> 00:14:52,144
So it got him back out of that mood...
229
00:14:52,308 --> 00:14:55,585
...but. uh. it was one of those bad days.
230
00:14:55,845 --> 00:14:58,985
You know in a Ford picture.
and this is a very well-known fact...
231
00:14:59,148 --> 00:15:03,790
...every day someone is at the bottom
of the list. in the barrel. as they say.
232
00:15:03,953 --> 00:15:06,524
But there's a long story with that.
We won't go into it.
233
00:15:06,689 --> 00:15:07,963
But the bottom of the list.
234
00:15:08,124 --> 00:15:12,129
And strangely enough. Duke Wayne.
who. over the years. you know...
235
00:15:12,295 --> 00:15:15,674
...has made lots of pictures with Ford.
236
00:15:15,832 --> 00:15:19,143
Duke Wayne has been
at the bottom of the list. in the barrel...
237
00:15:19,302 --> 00:15:22,078
...more than anybody else.
which is sort of remarkable...
238
00:15:22,238 --> 00:15:24,411
...because they love each other.
239
00:15:24,574 --> 00:15:26,417
They're like father and son.
240
00:15:26,576 --> 00:15:29,250
And. uh. 'm Liberty Valance...
241
00:15:29,412 --> 00:15:33,622
...the picture I did with Duke. Duke came up.
242
00:15:33,783 --> 00:15:36,491
But the picture was about, oh.
more than halfway finished.
243
00:15:36,652 --> 00:15:38,393
Duke came to me one day and he said:
244
00:15:38,554 --> 00:15:42,593
“How's it come that you've gone
through this whole thing...
245
00:15:42,758 --> 00:15:44,760
...and never been at the bottom of the list?
246
00:15:44,927 --> 00:15:47,100
What's there?
You been red-appling the old man?
247
00:15:47,263 --> 00:15:49,573
What's the idea?“
248
00:15:49,732 --> 00:15:51,837
And I said. “I don't know.“
249
00:15:52,001 --> 00:15:53,105
And I didn't know.
250
00:15:53,269 --> 00:15:57,081
But I must say I got a little smug about it.
251
00:15:57,240 --> 00:15:59,584
And. uh. went on.
252
00:15:59,742 --> 00:16:05,090
And it went around the company.
they say. “Jeez. this Stewart is never...
253
00:16:05,248 --> 00:16:07,285
He's always right up there.“
254
00:16:07,650 --> 00:16:13,293
Well. the day before the picture finished.
we had a scene. it was a funeral scene.
255
00:16:13,456 --> 00:16:15,629
Duke's funeral.
256
00:16:15,791 --> 00:16:17,862
And Woody Strode...
257
00:16:18,027 --> 00:16:24,171
...who played the part of the wonderful
Negro friend of. uh. Duke's...
258
00:16:24,333 --> 00:16:26,438
...who was at the funeral.
259
00:16:26,602 --> 00:16:32,746
And Woody was dressed in blue overalls
and blue work shirt and boots.
260
00:16:32,909 --> 00:16:36,379
And for some reason--
He does this quite often...
261
00:16:36,546 --> 00:16:41,256
...but I think this is a part of the tension.
a part of Ford.
262
00:16:41,417 --> 00:16:43,397
For some reason. he came up to me. and he--
263
00:16:43,553 --> 00:16:46,261
And before we did the scene he said:
264
00:16:47,490 --> 00:16:50,232
“What do you think of Woody's costume?“
265
00:16:51,294 --> 00:16:54,070
Now. why I said this. I'll never know.
266
00:16:54,230 --> 00:16:59,339
What possessed me to say what I did.
I'll never know.
267
00:16:59,502 --> 00:17:01,778
And it just came out. and I said:
268
00:17:01,938 --> 00:17:06,114
“Well. it looks a little Uncle Remus-y.
doesn't it?“
269
00:17:06,275 --> 00:17:10,849
And he froze and walked away.
270
00:17:11,013 --> 00:17:13,857
Then he said. uh. “Blow a whistle.“
271
00:17:15,518 --> 00:17:16,826
And they blew a whistle.
272
00:17:16,986 --> 00:17:22,334
He said. uh. “Everybody.
would you please gather around?“
273
00:17:23,793 --> 00:17:27,104
And he said to me.
“Would you come over here?“
274
00:17:27,263 --> 00:17:29,743
And everybody. the whole company.
they were around.
275
00:17:29,899 --> 00:17:34,439
He said. “Ladies and gentlemen.
we have an actor.“
276
00:17:34,804 --> 00:17:35,839
“Actor?“
277
00:17:36,005 --> 00:17:38,281
“We have an actor here...
278
00:17:39,208 --> 00:17:45,716
...who objects to the costume
on Woody Strode.
279
00:17:46,415 --> 00:17:49,885
He. uh. says that it's too Uncle Remus-y.
280
00:17:50,052 --> 00:17:54,091
Now, I don't know if this is a sort
of a prejudice on Mr. Stewart's part.
281
00:17:54,257 --> 00:17:56,259
I don't know whether he's anti-Negro.
282
00:17:56,425 --> 00:17:58,132
I don't know what it is...
283
00:17:58,294 --> 00:18:01,832
...but I just wanted to point this out
to the whole cast.“
284
00:18:01,998 --> 00:18:03,409
I wanted to shoot myself.
285
00:18:04,734 --> 00:18:09,080
I wanted to crawl into a mouse hole.
I wanted to--
286
00:18:09,238 --> 00:18:11,343
And I looked at Duke Wayne...
287
00:18:11,507 --> 00:18:15,978
...and he was beaming. uh. like a cat...
288
00:18:16,145 --> 00:18:20,059
...that had just eaten. uh. the mouse.
289
00:18:20,216 --> 00:18:25,029
And Ford said. “Well. that's all. that's all."
and everybody dismissed.
290
00:18:25,187 --> 00:18:29,294
And Duke came over and said.
“Well. welcome to the club.
291
00:18:29,558 --> 00:18:32,038
I'm glad you made it. I really am.“
292
00:18:32,995 --> 00:18:34,497
Monument Valley.
293
00:18:34,664 --> 00:18:37,941
John Ford has shot nine movies here.
294
00:18:38,100 --> 00:18:40,205
It's become so identified with him...
295
00:18:40,369 --> 00:18:45,443
...other directors are convinced that using it
as a location would be plagiarism.
296
00:18:45,608 --> 00:18:48,714
Surely, this would be the place
most conducive...
297
00:18:48,878 --> 00:18:52,451
...to getting Mr. Ford's own thoughts
on his craft and art.
298
00:18:52,615 --> 00:18:54,595
Eleven. take one.
299
00:18:55,584 --> 00:18:58,224
Take one? There won't be
more than one take. will there?
300
00:18:58,387 --> 00:18:59,627
Shoot.
301
00:18:59,789 --> 00:19:03,828
Mr. Ford. you made
3 Bad Men, which is a large-scale Western.
302
00:19:03,993 --> 00:19:06,269
You had quite an elaborate land rush in it.
303
00:19:06,429 --> 00:19:09,501
- Mm-hm.
- How did you shoot that?
304
00:19:09,665 --> 00:19:10,666
With a camera.
305
00:19:13,636 --> 00:19:17,345
Isn't The Sun Shines Bright kind of a
little picture that you made for yourself?
306
00:19:17,506 --> 00:19:19,486
- Would that fall into the same--?
- Yeah. Uh-huh.
307
00:19:25,081 --> 00:19:29,052
Mr. Ford. I've noticed
that your view of the West...
308
00:19:29,218 --> 00:19:35,032
...has become increasingly sad
and melancholy over the years.
309
00:19:35,191 --> 00:19:36,602
Uh. I'm comparing. for instance...
310
00:19:36,759 --> 00:19:39,569
...Wagon Master to
The Man Who Shot Liberty Valance.
311
00:19:39,729 --> 00:19:42,676
- Have you been aware of that change?
- No.
312
00:19:42,832 --> 00:19:44,311
No.
313
00:19:45,935 --> 00:19:49,314
Now that I point it out. is there anything
you'd like you say about it?
314
00:19:49,772 --> 00:19:52,150
I don't know what you're talking about.
315
00:19:54,844 --> 00:19:59,725
Can I ask you what particular element
about the Western appealed to you...
316
00:19:59,882 --> 00:20:00,917
...from the beginning?
317
00:20:01,083 --> 00:20:02,721
I wouldn't know.
318
00:20:04,720 --> 00:20:09,260
Would you agree
that the point, uh. of Fort Apache...
319
00:20:09,425 --> 00:20:15,376
...was that the tradition of the Army
was more important that one individual?
320
00:20:16,098 --> 00:20:17,600
Cut.
321
00:20:18,000 --> 00:20:19,206
I met Ford. you know.
322
00:20:19,368 --> 00:20:21,348
When I was about. I think 15 years old...
323
00:20:21,504 --> 00:20:23,984
...I met this guy.
and this guy asked me questions...
324
00:20:24,140 --> 00:20:26,677
...about what I wanted to be
when I get out of college.
325
00:20:26,842 --> 00:20:28,253
“L wanna be a movie director.“
326
00:20:28,411 --> 00:20:30,482
He said. “Well. I'm the wrong guy to talk to.
327
00:20:30,646 --> 00:20:32,922
I do television.
but you ought to go next door...
328
00:20:33,082 --> 00:20:36,154
...and talk to the guy
in that office across the hallway from me.“
329
00:20:36,318 --> 00:20:39,390
I said, “Oh, who's that?“
And he said, “That's John Ford's office.“
330
00:20:39,555 --> 00:20:42,695
He introduced me to the secretary.
Ford was not back from lunch...
331
00:20:42,858 --> 00:20:45,361
...but she invited me to sit
in front of her desk...
332
00:20:45,528 --> 00:20:48,236
...and talk to her for 45 minutes.
which I did.
333
00:20:48,397 --> 00:20:54,177
All of a sudden. a man comes in the office
dressed like a. uh. big-game hunter.
334
00:20:54,336 --> 00:20:56,179
Like safari clothes.
335
00:20:56,338 --> 00:20:58,477
A floppy hat.
336
00:20:58,641 --> 00:21:02,111
He had a patch over his eye.
He was chewing on a handkerchief.
337
00:21:02,278 --> 00:21:06,249
He had a cigar on his other hand
and he had lipstick kisses all over his face.
338
00:21:06,415 --> 00:21:08,793
But the kind that are put there for fun.
you know?
339
00:21:08,951 --> 00:21:11,056
Not smears. but. you know...
340
00:21:11,220 --> 00:21:14,030
...complete shapes of lips
on his forehead. on his cheeks...
341
00:21:14,190 --> 00:21:15,692
...one on his nose.
342
00:21:15,858 --> 00:21:18,566
He goes into his office
without saying hi to his secretary.
343
00:21:18,727 --> 00:21:22,174
She grabs a box of Kleenex.
and she runs after him. closes the door.
344
00:21:22,331 --> 00:21:24,311
Comes out four minutes later. and she says:
345
00:21:24,467 --> 00:21:28,040
“Look. Mr. Ford will see you.
but he only will give you one minute.“
346
00:21:28,804 --> 00:21:30,215
So I walked into the office...
347
00:21:30,372 --> 00:21:33,353
...and Ford's sitting behind his desk
with these great boots.
348
00:21:33,509 --> 00:21:37,855
Don't know if they were cowboy boots.
but they were boots on his desk.
349
00:21:38,013 --> 00:21:41,620
And he said.
“So you wanna be a picture maker.“
350
00:21:42,017 --> 00:21:45,157
And I said. “Yes. sir.
You know. I wanna be a movie director.“
351
00:21:45,321 --> 00:21:46,925
“What do you know about movies?“
352
00:21:47,089 --> 00:21:50,536
I said. “I've been making these
8-mm dramas in Arizona where I live...
353
00:21:50,693 --> 00:21:52,866
...where I go to high school.“
354
00:21:53,028 --> 00:21:56,407
And he said. “What do you know about art?“
355
00:21:56,565 --> 00:21:57,635
And I said--
356
00:21:57,800 --> 00:22:01,009
I think I was just stuttering.
didn't know what he was talking about.
357
00:22:01,170 --> 00:22:03,878
He said.
“You see those paintings around the office?
358
00:22:04,039 --> 00:22:06,815
Walk over to the first one.“
He had these Western paintings.
359
00:22:07,376 --> 00:22:09,913
He said. “Tell me what you see
in that first painting.“
360
00:22:10,079 --> 00:22:14,653
And I said. “Well. there's an Indian
on a horse. and he's--“
361
00:22:14,817 --> 00:22:18,026
He said. “No. no. no. Where's the horizon?
362
00:22:18,187 --> 00:22:20,929
Can't you find the horizon?“
363
00:22:21,390 --> 00:22:23,097
So I pointed to the horizon.
364
00:22:23,259 --> 00:22:25,466
He said. “Don't point. Where is it?
365
00:22:25,628 --> 00:22:27,835
Look at the whole picture.
Where's the horizon?“
366
00:22:27,997 --> 00:22:31,968
I said. “At the very bottom of the painting.“
He said. “Fine. Go to the next one.“
367
00:22:32,134 --> 00:22:33,340
I go to the next painting.
368
00:22:33,502 --> 00:22:35,880
He says. "Where's the horizon
on that painting?“
369
00:22:36,038 --> 00:22:38,985
I looked at it, and I said,
“It's the very top of the painting.“
370
00:22:39,141 --> 00:22:40,313
He said. “Get over here.“
371
00:22:40,476 --> 00:22:42,513
I walked over to his desk. I'm standing now.
372
00:22:42,678 --> 00:22:43,713
He's still sitting.
373
00:22:43,879 --> 00:22:48,521
He said.
“When you can come to the conclusion...
374
00:22:48,684 --> 00:22:53,190
...that putting the horizon at the bottom
of a frame or the top of the frame...
375
00:22:53,355 --> 00:22:58,361
...is a lot better than putting the horizon
right in the middle of the frame...
376
00:22:58,527 --> 00:23:01,474
...then you may someday
make a good picture maker.
377
00:23:01,630 --> 00:23:03,405
Now get out of here.“
378
00:23:20,649 --> 00:23:23,858
I was 13 years old and we walked into
the Criterion Theater.
379
00:23:24,019 --> 00:23:25,760
And it was that VistaVision screen.
380
00:23:27,122 --> 00:23:28,760
And The Searchers was there, you know.
381
00:23:28,924 --> 00:23:32,531
And. uh. Wayne's character.
Ethan Edwards. that was the key figure...
382
00:23:32,695 --> 00:23:36,837
...in all the work of Ford for me
and my own work. really. Ethan Edwards.
383
00:23:36,999 --> 00:23:39,445
Something mighty fishy about this trail.
Uncle Ethan.
384
00:23:39,602 --> 00:23:41,513
Don't call me Uncle.
385
00:23:41,670 --> 00:23:42,978
I ain't your uncle.
386
00:23:43,138 --> 00:23:44,446
Yes. sir.
387
00:23:44,607 --> 00:23:47,417
No need to call me sir. either.
388
00:23:47,576 --> 00:23:50,420
Nor Grandpa. Nor Methuselah.
389
00:23:50,579 --> 00:23:52,525
I can whup you to a prazzle.
390
00:24:06,061 --> 00:24:07,563
Martha!
391
00:24:07,730 --> 00:24:09,505
Martha!
392
00:24:30,486 --> 00:24:33,899
Leave them. Leave them
to carry off their hurt and dead.
393
00:24:34,056 --> 00:24:36,502
Well. Reverend. that tears it.
394
00:24:36,659 --> 00:24:38,366
From now on. you stay out of this.
395
00:24:38,527 --> 00:24:41,337
All of you. I don't want you with me.
396
00:24:41,497 --> 00:24:44,205
I don't need you for what I gotta do.
397
00:24:52,074 --> 00:24:55,283
Do you think maybe there's a chance
we still might find her?
398
00:24:55,711 --> 00:25:00,456
Indian will chase that thing till he thinks
he's chased it enough...
399
00:25:00,916 --> 00:25:02,623
...then he quits.
400
00:25:02,785 --> 00:25:05,095
Same way when he runs.
401
00:25:05,254 --> 00:25:07,757
Seems like he never learns
there's such a thing...
402
00:25:07,923 --> 00:25:11,996
...as a critter who'll just keep coming on.
403
00:25:12,594 --> 00:25:16,007
So we'll find him in the end. I promise you.
404
00:25:16,165 --> 00:25:18,042
We'll find him.
405
00:25:18,200 --> 00:25:20,271
Just as sure as...
406
00:25:20,436 --> 00:25:22,347
...the turning of the Earth.
407
00:25:24,540 --> 00:25:29,717
I think that Ford felt
that he had a debt of gratitude to my dad...
408
00:25:29,878 --> 00:25:31,551
...because of. uh...
409
00:25:32,548 --> 00:25:33,788
Well. he started him out.
410
00:25:41,290 --> 00:25:45,796
...and he was 22 when he made this film,
his first feature, Straight Shooting.
411
00:25:46,695 --> 00:25:51,667
It was 1917 and the star was that great
early Western hero Harry Carey.
412
00:25:51,834 --> 00:25:56,112
He and Ford
were to make 26 pictures together.
413
00:25:58,974 --> 00:26:04,151
Born in Maine in 1894. both his parents
having emigrated separately from Ireland...
414
00:26:04,313 --> 00:26:06,554
...and met in the United States...
415
00:26:06,715 --> 00:26:11,494
...Sean Aloysius O'Fearna
was the youngest of four sons.
416
00:26:11,653 --> 00:26:14,930
His brother Francis
had taken the name Ford...
417
00:26:15,090 --> 00:26:17,764
...and was already
a well-known movie star and director...
418
00:26:17,926 --> 00:26:23,308
...by the time Jack started in pictures
as a propman in 1914.
419
00:26:23,599 --> 00:26:26,102
During the next three years.
he also worked...
420
00:26:26,268 --> 00:26:28,475
...as a stunt rider. an actor.
421
00:26:28,637 --> 00:26:31,117
Finally became an assistant director.
422
00:26:31,273 --> 00:26:35,517
One day, while his director
was out sick with a hangover...
423
00:26:35,677 --> 00:26:37,520
They'd brought people out from the east.
424
00:26:37,679 --> 00:26:40,853
I mean. the opening of Universal City.
Carl Laemmle...
425
00:26:41,016 --> 00:26:42,927
...had a lot of beauty contestants there.
426
00:26:43,085 --> 00:26:46,828
And. uh. we had a Western street
and a bunch of cowboys.
427
00:26:46,989 --> 00:26:50,334
And. uh. Mr. Bernstein came riding up
and he says:
428
00:26:50,492 --> 00:26:53,962
“You're the first assistant.
you gotta shoot something while he's here.
429
00:26:54,129 --> 00:26:57,235
There's a big bunch of people. over 100.“
I said. "What will I do?“
430
00:26:57,399 --> 00:26:59,606
He says.
“Do anything. You could let them ride.“
431
00:26:59,768 --> 00:27:02,874
So they rode through the streets
shooting at everything...
432
00:27:03,038 --> 00:27:04,483
...for no reason at all.
433
00:27:04,640 --> 00:27:07,917
And I said to Mr. Bernstein.
“And how was that?“ And he says. “Fine.“
434
00:27:08,076 --> 00:27:11,353
He says he talked with Mr. Laemmle.
He says. uh. “Keep on working.“
435
00:27:11,513 --> 00:27:12,719
I says. "What will I do?“
436
00:27:13,081 --> 00:27:14,924
He says. “Have them ride back.“
437
00:27:15,083 --> 00:27:16,528
So they rode back shooting.
438
00:27:16,685 --> 00:27:19,222
He says. “Can't you have
a couple of falls in there?“
439
00:27:19,688 --> 00:27:21,167
I said. “Oh. that will be easy.“
440
00:27:21,323 --> 00:27:23,325
But these girls are all very pretty.
441
00:27:23,492 --> 00:27:26,200
The cowboys are sort of straightening
their kerchiefs up...
442
00:27:26,361 --> 00:27:29,638
...straightening their hats
and trying to look as pretty as possible...
443
00:27:29,798 --> 00:27:31,334
...and. uh. shining up to these gals.
444
00:27:31,500 --> 00:27:36,472
So. uh. I says. “I'll fire a pistol.
and you. you and you do a horse fall...
445
00:27:36,638 --> 00:27:38,584
...all fall off your horse.“
446
00:27:38,740 --> 00:27:42,313
Well. the cowboys looked at one another.
So I fired the shot.
447
00:27:42,477 --> 00:27:44,957
And then every cowboy--
I think there were 30 of them.
448
00:27:45,113 --> 00:27:47,093
They all fell off their horses.
449
00:27:47,249 --> 00:27:50,287
And, uh, I said to Mr. Bernstein,
“That's about it, isn't it?“
450
00:27:50,452 --> 00:27:53,228
He says. “Oh. no. keep on going.
What can you do now?“
451
00:27:53,388 --> 00:27:58,235
So I put a lot of kerosene and gasoline
on the place and burnt the town down.
452
00:27:58,927 --> 00:28:01,407
Of course. the sets were cheap.
Just built of plywood.
453
00:28:01,563 --> 00:28:02,701
Didn't cost anything.
454
00:28:02,865 --> 00:28:05,869
So I burnt the town down.
and they thought it was great.
455
00:28:06,034 --> 00:28:08,139
They had a picture coming up
with Harry Carey.
456
00:28:08,303 --> 00:28:11,409
And they had no director.
and. uh. Mr. Laemmle says:
457
00:28:11,573 --> 00:28:16,921
“That Jack Ford. he yells real loud.
He'd make a good director.“
458
00:28:20,816 --> 00:28:24,889
About the second day on the picture.
there's quite a big scene going on...
459
00:28:25,053 --> 00:28:29,001
...in which I have one line
toward the end of the picture.
460
00:28:29,157 --> 00:28:30,636
The end of the scene.
461
00:28:30,792 --> 00:28:35,639
And. uh. it's telling the sheriff
that I'll go whichever way he goes.
462
00:28:35,797 --> 00:28:39,438
And. uh. in the meantime.
to keep me busy in the background...
463
00:28:39,601 --> 00:28:43,014
...he has me. uh. washing my face
and drying it.
464
00:28:43,171 --> 00:28:47,176
They're playing the scene.
I was washing my face and he'd say. “Cut.“
465
00:28:47,342 --> 00:28:51,017
All right. He'd look over at me and say,
“Let's do it again.“
466
00:28:51,179 --> 00:28:55,252
And I had become conscious that he's
certainly paying a lot of attention to me...
467
00:28:55,417 --> 00:28:57,727
...with that scene going on over there.
468
00:28:57,886 --> 00:29:02,198
So finally. I did it. And he says. “Cut.
Duke. you're dabbing your face.
469
00:29:02,357 --> 00:29:03,893
Can't you wash?“
470
00:29:04,059 --> 00:29:07,131
I said. “I am washing. I'm doing this.
What more can I do?
471
00:29:07,296 --> 00:29:09,867
I'm using the towel hard like that.
What more can I do?“
472
00:29:10,032 --> 00:29:14,276
Well. a big scene came up
and he just bawled me out...
473
00:29:14,436 --> 00:29:19,943
...to where. finally. all the crew.
all the actors...
474
00:29:20,108 --> 00:29:23,146
...uh. the cast was completely on my side.
475
00:29:23,312 --> 00:29:26,919
And. uh. from then on.
I had the cast helping me. you know...
476
00:29:27,082 --> 00:29:32,555
...as my first time really in the big time
working with so many top people.
477
00:29:32,721 --> 00:29:34,496
You think he planned it that way?
478
00:29:34,656 --> 00:29:36,897
I know he planned it that way.
479
00:29:37,059 --> 00:29:39,630
As a matter of fact.
he had little Tim Holt...
480
00:29:39,795 --> 00:29:42,639
...who was not. uh. much more
in the business than I.
481
00:29:42,798 --> 00:29:45,870
And Holt finally said.
“Stop picking on Duke.“
482
00:29:46,034 --> 00:29:51,950
And this topped it for Jack. you know.
and then he knew he got his point across.
483
00:29:52,107 --> 00:29:55,418
I think he did it on purpose.
484
00:29:55,577 --> 00:29:58,524
He has a way of picking on actors...
485
00:29:58,680 --> 00:30:03,789
...when they're. um. uh. not too important
a part of a scene...
486
00:30:03,952 --> 00:30:06,831
...in order to get them on their toes
so they'll come ready...
487
00:30:06,989 --> 00:30:12,132
...when they really have something to do.
and then he handles you like a baby.
488
00:30:12,394 --> 00:30:17,673
Ford knew that there were
150. 200 people in the company...
489
00:30:17,833 --> 00:30:22,646
...with a large cast and all this crew
that would be stuck on this location...
490
00:30:22,804 --> 00:30:26,081
...with nothing to do at night.
and we were there for three weeks.
491
00:30:26,241 --> 00:30:27,982
And every night...
492
00:30:28,143 --> 00:30:33,491
...uh. after mess. after chow. after dinner.
there would be a campfire.
493
00:30:33,648 --> 00:30:36,595
And there would be. uh. something different
happening every night.
494
00:30:36,752 --> 00:30:38,663
He put me in charge. as a matter of fact.
495
00:30:38,820 --> 00:30:43,360
And I was the camp director
of Camp June Alaska. we called it.
496
00:30:43,525 --> 00:30:45,368
A camp for boys between the ages of 14.
497
00:30:45,527 --> 00:30:47,734
I remember that was a phrase.
498
00:30:47,896 --> 00:30:49,876
But there would be a program every night.
499
00:30:50,032 --> 00:30:53,070
And. um. during the day.
when you're on the set...
500
00:30:53,235 --> 00:30:57,081
...between takes, you're talking about it
and planning it and organizing.
501
00:30:57,239 --> 00:31:01,085
Anyway. it was something
that people got to look forward to.
502
00:31:01,243 --> 00:31:03,780
And I remember at the end.
at the end of the program...
503
00:31:03,945 --> 00:31:07,017
...whatever it was each night.
Ford would give the cue to--
504
00:31:07,182 --> 00:31:09,389
There was. um. a bugle player.
505
00:31:09,551 --> 00:31:14,591
He was probably an actor.
a small-part actor, who played a bugle.
506
00:31:14,756 --> 00:31:18,465
And he would be given the cue when
nobody could see Ford give it just on set...
507
00:31:18,627 --> 00:31:21,631
...and he would disappear
into the woods there.
508
00:31:21,797 --> 00:31:25,745
And suddenly. when it had got
to the last song. whatever it was...
509
00:31:25,901 --> 00:31:28,814
...he would blow “Taps“
from way back in the woods.
510
00:31:28,970 --> 00:31:33,282
And I tell you that people would cry
with nostalgia.
511
00:31:33,442 --> 00:31:35,581
It was like being a child again at camp.
512
00:31:35,744 --> 00:31:39,419
If you came into the Ford set.
Into the sound stage...
513
00:31:39,581 --> 00:31:43,119
...it was like walking
into a cathedral or a church.
514
00:31:43,552 --> 00:31:47,056
There was a spell
that was in there in that set.
515
00:31:47,222 --> 00:31:51,466
And he cast the spell. I mean. he did.
It just emanated from him.
516
00:31:51,626 --> 00:31:56,700
When you look at the amount of. uh. films...
517
00:31:56,865 --> 00:31:59,505
...that a guy like John Ford has done.
you know...
518
00:31:59,668 --> 00:32:02,342
...when he walks on the set.
he's not sitting there...
519
00:32:02,504 --> 00:32:06,884
...quaking about what the first shots
gonna be and how am I gonna handle this...
520
00:32:07,042 --> 00:32:12,355
...and what the actors are gonna think.
how am I gonna establish rapport.
521
00:32:12,514 --> 00:32:14,289
He's gonna just step right up and say:
522
00:32:14,449 --> 00:32:17,089
“Okay. here's the first shot.
We're gonna come over here.
523
00:32:17,252 --> 00:32:18,822
Somebody's gonna go over there.“
524
00:32:18,987 --> 00:32:20,398
That's the way it's gonna be.
525
00:32:20,555 --> 00:32:22,432
Bad directors don't try to say anything.
526
00:32:22,591 --> 00:32:24,969
Good directors. I think.
try to say something.
527
00:32:25,127 --> 00:32:26,970
And if you're really a good director...
528
00:32:27,129 --> 00:32:30,599
...you at least try
to maybe say several different things.
529
00:32:30,765 --> 00:32:35,714
Ford. of course. was a master at staging.
shooting. all the things you wanna say.
530
00:32:35,871 --> 00:32:38,374
Poet. Catholic poet.
531
00:32:38,540 --> 00:32:42,181
They were always.
always trying to keep it moving.
532
00:32:42,344 --> 00:32:44,483
You got the feeling
you were going somewhere...
533
00:32:44,646 --> 00:32:46,250
...when you were making a picture.
534
00:32:46,414 --> 00:32:48,394
The feeling at beginning of every day...
535
00:32:48,550 --> 00:32:50,996
...you were gonna complete
a certain segment of it...
536
00:32:51,153 --> 00:32:55,863
...and. uh. not be coming back to it
the next day...
537
00:32:56,024 --> 00:32:58,368
...and revisiting the same thing over...
538
00:32:58,527 --> 00:33:02,634
...because the guy wants to do 40 takes
on some guy's close-up or something.
539
00:33:02,898 --> 00:33:06,539
A key scene for me in any of the Ford
pictures. maybe not one of his strongest...
540
00:33:06,701 --> 00:33:08,305
...Two Rode Together.
- Yeah.
541
00:33:08,470 --> 00:33:11,679
And it's the scene with Jimmy Stewart
and Rich Widmark on the riverbank.
542
00:33:11,840 --> 00:33:14,343
- Yeah.
- One take.
543
00:33:14,509 --> 00:33:15,783
Dialogue.
544
00:33:15,944 --> 00:33:18,618
Uh. the relationship of the two. the humor.
545
00:33:19,047 --> 00:33:23,427
And I said. “I wanna make scenes like that.
I wanna deal with characters like that.
546
00:33:23,585 --> 00:33:25,929
Uh. I wanna create films like that.“
547
00:33:26,087 --> 00:33:28,431
The first thing Ford did
was walk out in the river.
548
00:33:28,590 --> 00:33:32,800
Nobody knew how deep it was.
and everybody sort of sat there...
549
00:33:32,961 --> 00:33:38,240
...and no one knew
exactly why he walked out in the river.
550
00:33:38,400 --> 00:33:41,404
Because we didn't really know
that this was where...
551
00:33:41,570 --> 00:33:43,948
...we were going to shoot the scene.
552
00:33:44,105 --> 00:33:45,482
Uh...
553
00:33:45,907 --> 00:33:50,151
But as happens so often. uh.
Ford walked out in the river.
554
00:33:50,312 --> 00:33:53,589
Fortunately. it wasn't too deep.
It was about up to here.
555
00:33:53,748 --> 00:33:57,992
So everybody else walked out in the river.
556
00:33:58,153 --> 00:34:03,535
They said. you know. “If the boss did.
I guess he's out there for some reason.“
557
00:34:03,692 --> 00:34:08,141
So the cameramen went out. and the gaffer.
558
00:34:08,296 --> 00:34:11,607
And. uh. Ford said. “Right here.“
559
00:34:12,267 --> 00:34:16,409
Which meant. uh.
“This is where the camera will be.“
560
00:34:16,571 --> 00:34:23,011
So they all got the camera together.
and it was a rather long scene on the water.
561
00:34:23,178 --> 00:34:28,651
The sound man said.
“I can't-- The sound. it's a river.“
562
00:34:28,817 --> 00:34:31,161
And Ford said. “What?“
563
00:34:32,921 --> 00:34:35,925
And then the sound man
didn't say anything more.
564
00:34:36,091 --> 00:34:39,538
And. uh. so we did the scene.
565
00:34:39,694 --> 00:34:42,140
Discussing that scene
with Jimmy Stewart one time...
566
00:34:42,297 --> 00:34:45,801
...he said
that just before they made the shot...
567
00:34:45,967 --> 00:34:48,072
...Ford had taken Stewart aside and said:
568
00:34:48,236 --> 00:34:52,309
“Watch out for Widmark.
He's a good country actor.“
569
00:34:52,474 --> 00:34:56,945
And. uh. Jimmy said that that kind of
put him on his guard for the whole scene.
570
00:34:57,112 --> 00:34:59,786
And he told me
that after they'd finished the scene...
571
00:34:59,948 --> 00:35:02,360
...he was discussing everything
with Widmark...
572
00:35:02,517 --> 00:35:05,293
...and was told that Ford
had come up to Widmark...
573
00:35:05,453 --> 00:35:08,525
...just before they made the scene
and said exactly the same thing.
574
00:35:08,690 --> 00:35:11,034
“Watch out for Stewart.
He's a good country actor.“
575
00:35:11,393 --> 00:35:12,633
I can't figure it out.
576
00:35:12,794 --> 00:35:15,001
No fuss.
577
00:35:15,163 --> 00:35:17,074
No argument.
578
00:35:17,232 --> 00:35:20,111
What made you decide to come along?
579
00:35:20,969 --> 00:35:22,880
Ride all night on some wild goose chase.
580
00:35:23,038 --> 00:35:25,575
I'll tell you this.
you didn't decide me to come along.
581
00:35:25,740 --> 00:35:27,811
- I tell you that.
- I didn't figure I did.
582
00:35:29,611 --> 00:35:32,785
Those things come. uh. one in a box?
583
00:35:32,947 --> 00:35:34,927
- Don't you ever buy your own cigars?
- Sure.
584
00:35:35,083 --> 00:35:37,529
I bought two last payday.
That was three months ago.
585
00:35:37,686 --> 00:35:38,960
Here.
586
00:35:39,120 --> 00:35:40,565
Thanks a lot.
587
00:35:45,060 --> 00:35:46,368
Hey. I got a match.
588
00:35:46,528 --> 00:35:49,634
Gee. I'm surprised you can afford matches.
589
00:35:50,031 --> 00:35:52,204
I can handle that all right.
590
00:35:56,338 --> 00:35:58,215
Why did you come?
591
00:35:58,707 --> 00:36:00,709
Hmm? Well...
592
00:36:01,609 --> 00:36:06,285
If you must know.
It was mostly to get away from Belle.
593
00:36:06,448 --> 00:36:08,325
Belle? Why?
594
00:36:08,483 --> 00:36:11,953
- I thought you two were kind of--
- I know. I know. I know.
595
00:36:13,688 --> 00:36:18,899
Well. to be completely ungentlemanly
about it. I--
596
00:36:19,060 --> 00:36:21,267
Not that I ever pretended to be otherwise.
597
00:36:21,429 --> 00:36:22,874
--We were, we were.
598
00:36:23,031 --> 00:36:24,942
That's what I heard.
599
00:36:25,100 --> 00:36:26,636
And...
600
00:36:28,370 --> 00:36:31,840
...just lately. she started calling me Guth.
601
00:36:32,474 --> 00:36:33,714
I noticed that.
602
00:36:33,875 --> 00:36:37,618
Guth. The first time I heard it, I thought
she got something stuck in her teeth.
603
00:36:37,779 --> 00:36:38,814
Guth. Guth. Guth.
604
00:36:38,980 --> 00:36:41,824
But she didn't have
anything stuck in her teeth.
605
00:36:41,983 --> 00:36:43,291
It was in her craw.
606
00:36:43,451 --> 00:36:48,332
And. uh. a few nights ago. she got it out.
607
00:36:49,424 --> 00:36:51,495
Yeah? Go ahead. What happened?
608
00:36:51,659 --> 00:36:54,538
Well. that's not a subject
you can discuss in mixed company.
609
00:36:54,696 --> 00:36:58,041
Especially when one of the parties is...
610
00:36:58,199 --> 00:37:00,236
It's matrimony.
611
00:37:00,702 --> 00:37:02,306
No.
612
00:37:02,470 --> 00:37:03,505
Matrimony.
613
00:37:03,671 --> 00:37:05,742
Holy smoke. Matrimony.
614
00:37:05,907 --> 00:37:11,357
And of course. in this case.
when one of the parties is sort of...
615
00:37:11,513 --> 00:37:15,290
You know. she carries a stiletto
right there in her garter.
616
00:37:15,450 --> 00:37:17,794
Hmm. I know.
617
00:37:17,952 --> 00:37:21,195
And we were sitting around the place talking.
618
00:37:22,290 --> 00:37:23,894
How do you know?
619
00:37:24,058 --> 00:37:26,129
Well. you just told me.
620
00:37:27,562 --> 00:37:31,476
Say. uh. she actually proposed. huh?
621
00:37:31,633 --> 00:37:33,237
You didn't know about that before?
622
00:37:33,401 --> 00:37:35,574
- About what?
- About the stiletto.
623
00:37:35,737 --> 00:37:39,150
How would I know about that before? Come on.
624
00:37:39,507 --> 00:37:42,147
What do you mean? Did she propose? No.
625
00:37:42,310 --> 00:37:45,348
She didn't. if you mean
getting down on one knee.
626
00:37:45,513 --> 00:37:47,288
She didn't do that.
627
00:37:47,449 --> 00:37:50,726
You have to give her credit
for a little more animal cunning than that.
628
00:37:50,885 --> 00:37:52,762
No. as l...
629
00:37:54,389 --> 00:37:56,835
As I remember the approach...
630
00:37:56,991 --> 00:37:59,528
...it was that she didn't see
why I was satisfied...
631
00:37:59,694 --> 00:38:01,469
...with just 10 percent of her take...
632
00:38:01,629 --> 00:38:05,304
...when she was willing
to go for fifty-fifty.
633
00:38:06,501 --> 00:38:10,005
You mean to tell me you've been getting
10 percent of Madam Aragon's place?
634
00:38:10,171 --> 00:38:13,050
- Don't tell me you didn't know.
- No. I didn't know about that.
635
00:38:13,208 --> 00:38:15,210
I get 10 percent of everything in Tascosa.
636
00:38:15,376 --> 00:38:16,878
Holy crimanetta.
637
00:38:17,045 --> 00:38:19,286
This goes along with the job of marshal.
638
00:38:19,447 --> 00:38:21,358
- You're a dirt--
- It's no secret about it.
639
00:38:21,516 --> 00:38:23,621
- You're a dirty thief.
- Everybody knows it.
640
00:38:23,785 --> 00:38:25,856
What? Wait a minute.
641
00:38:26,921 --> 00:38:30,095
You don't think I could live
on a marshal's salary. do you?
642
00:38:30,258 --> 00:38:32,033
A measly hundred dollars a month. Jim?
643
00:38:32,193 --> 00:38:33,672
Well. that's 20 more than I get.
644
00:38:33,828 --> 00:38:37,605
I know. but look. Look at you.
645
00:38:37,765 --> 00:38:38,869
Look at you. Jim.
646
00:38:39,033 --> 00:38:40,842
- What?
- Jim.
647
00:38:41,236 --> 00:38:45,207
- You're a man of simple wants.
- Aw--
648
00:38:45,373 --> 00:38:47,717
I just require a little more. that's all.
649
00:38:47,876 --> 00:38:50,982
And he walked out of the river.
650
00:38:51,479 --> 00:38:54,926
And he said. uh. “I think that does it.“
651
00:38:55,083 --> 00:39:00,260
Well. now. this was a two-shot.
and as I say. sort of a key scene.
652
00:39:00,421 --> 00:39:03,698
Uh. we expected at least
over-shoulders or something.
653
00:39:03,858 --> 00:39:06,236
But he said:
654
00:39:06,394 --> 00:39:10,433
“I think that's enough of that scene.“
655
00:39:11,199 --> 00:39:14,146
- We get a setup. isn't that right, Brick?
- Yes. sir.
656
00:39:15,603 --> 00:39:17,947
And photograph it
where everybody's face is seen...
657
00:39:18,106 --> 00:39:22,748
...and the movements are all laid out
and rehearsed...
658
00:39:22,911 --> 00:39:24,913
...and usually get it in the first take.
659
00:39:25,079 --> 00:39:28,117
He's very unhappy
if he doesn't get it on the first take.
660
00:39:28,283 --> 00:39:30,285
He likes...
661
00:39:32,186 --> 00:39:36,066
...the emotion to be the first-time emotion.
662
00:39:37,191 --> 00:39:39,865
- The actor is fresher--
- Mm-hm.
663
00:39:40,028 --> 00:39:41,530
--And he's up and he's more enthused.
664
00:39:41,696 --> 00:39:43,903
And the more takes you take...
665
00:39:44,365 --> 00:39:47,107
...if somebody misses a line.
I mean. you know...
666
00:39:47,268 --> 00:39:49,145
...the scene goes down and down and down.
667
00:39:49,304 --> 00:39:52,649
It gets tiresome. And they get tired.
668
00:39:52,807 --> 00:39:54,946
Right after the first day.
I was pretty sure...
669
00:39:55,109 --> 00:39:57,646
...that he tried to get everything
on the first take...
670
00:39:57,812 --> 00:40:01,282
...because it was more spontaneous
and people were up and keyed up.
671
00:40:01,449 --> 00:40:05,591
The great ambition an actor has is to try
to make it sound like this is the first time...
672
00:40:05,753 --> 00:40:08,427
...this thought's ever been transmitted...
673
00:40:08,590 --> 00:40:13,266
...and it's the first time this thought's.
these words have ever been spoken.
674
00:40:13,428 --> 00:40:16,170
If you do it 30 times...
675
00:40:16,331 --> 00:40:19,710
...uh. the actor is working strictly
on technique...
676
00:40:19,867 --> 00:40:23,314
...to kind of try to give that illusion
like it's the first time.
677
00:40:23,471 --> 00:40:25,576
If you're trying for it on the first take...
678
00:40:25,740 --> 00:40:28,220
When the scene starts...
679
00:40:29,043 --> 00:40:33,992
...you suddenly realize that you're not sure
what's going to happen...
680
00:40:34,148 --> 00:40:36,788
...because you haven't rehearsed it.
you haven't--
681
00:40:36,951 --> 00:40:39,795
You don't know exactly
what's going to happen.
682
00:40:39,954 --> 00:40:44,926
Uh. I suppose you might call it
planned improvisation.
683
00:40:46,327 --> 00:40:48,068
Well. there's an element of chance...
684
00:40:48,229 --> 00:40:51,176
...but I don't think
there's any nervousness in it.
685
00:40:51,332 --> 00:40:53,778
- It always came off.
- Hmm.
686
00:40:53,935 --> 00:40:56,575
And the actors after all. I mean. uh...
687
00:41:00,174 --> 00:41:04,953
...are good. and they.
you know. I mean they're pros...
688
00:41:05,113 --> 00:41:08,526
...and they'll take advantage
of any accident that happens.
689
00:41:08,683 --> 00:41:12,597
I've heard him say most of the good things
in movies happen by accident.
690
00:41:22,797 --> 00:41:25,505
It's the kind of thing
that gave Ford the reputation...
691
00:41:25,667 --> 00:41:30,047
...of having the luck of the Irish.
because things would happen for him...
692
00:41:30,204 --> 00:41:32,184
...that wouldn't happen for anybody else.
693
00:41:32,340 --> 00:41:34,911
One of the all-time great examples
was during the war...
694
00:41:35,076 --> 00:41:38,421
...when he was. um.
head of the field photo service...
695
00:41:38,579 --> 00:41:43,722
...and he was on his way into the Pacific
and staged through Midway.
696
00:41:43,885 --> 00:41:48,095
Now. Ford certainly didn't know that
the Japs were hitting the next morning.
697
00:41:48,256 --> 00:41:50,896
They didn't know at Midway.
so you know Ford didn't know.
698
00:41:51,059 --> 00:41:53,300
But he happened to be there that night...
699
00:41:53,461 --> 00:41:56,135
...and stayed overnight
and was flying out the next day...
700
00:41:56,297 --> 00:41:58,971
...to wherever he was going.
maybe it was Australia.
701
00:41:59,133 --> 00:42:02,637
But at dawn the next day. the Japs struck.
702
00:42:02,804 --> 00:42:06,377
And here's Ford asleep in his bunk
at BOO when it all happens.
703
00:42:06,541 --> 00:42:12,719
And he gets up and grabs
his 16 mm cartridge-loading camera...
704
00:42:12,880 --> 00:42:14,689
...and rushed up onto the roof.
705
00:42:31,099 --> 00:42:34,672
Yes. this really happened.
706
00:42:50,284 --> 00:42:54,494
Now. that's not something you could say.
“I missed it, do it again.“ Heh.
707
00:42:54,655 --> 00:42:57,226
But it was one of the all-time great shots
for Ford...
708
00:42:57,391 --> 00:43:00,235
...and he's there at the right time.
709
00:43:01,062 --> 00:43:03,269
No. that's just luck.
710
00:43:04,198 --> 00:43:07,441
That's just occasionally
you get some luck in pictures.
711
00:43:07,602 --> 00:43:10,014
More occasionally you have bad luck.
712
00:43:10,171 --> 00:43:12,549
If something happens
that wasn't premeditated...
713
00:43:12,707 --> 00:43:16,883
...I mean. and it happens.
I mean. photograph it.
714
00:43:18,646 --> 00:43:22,753
Like the scene in-- What is it?
She Wore a Yellow Ribbon.
715
00:43:23,851 --> 00:43:26,297
A terrific thunderstorm
came up with lightning...
716
00:43:26,454 --> 00:43:29,867
...I mean. flashing all over the skies...
717
00:43:30,892 --> 00:43:34,669
...and. uh. all the tourists.
I mean. broke for their cars.
718
00:43:36,864 --> 00:43:38,935
And I said, “Let's shoot it.“
719
00:43:41,602 --> 00:43:45,209
We had a very. very pedantic cameraman on it.
720
00:43:47,108 --> 00:43:52,524
Very slow. and he says.
“So we shot this under protest.“
721
00:43:52,680 --> 00:43:57,220
Winnie Hoch said. later on.
“I never refused to do the shot.“
722
00:43:57,385 --> 00:43:59,296
He said. “I never refused to do the shot.
723
00:43:59,453 --> 00:44:02,900
I just said,
'I'm not sure if it will work out."'
724
00:44:04,158 --> 00:44:07,867
So we had the cavalry
riding into the thunderstorm...
725
00:44:08,029 --> 00:44:12,478
...lightning flashing
and. uh. thunder rolling and everything else.
726
00:44:12,633 --> 00:44:15,512
It made it an interesting shot.
727
00:44:15,970 --> 00:44:18,883
Then we finished it up in the studio.
I mean. the operation.
728
00:44:19,040 --> 00:44:20,383
Mm-hm.
729
00:44:20,942 --> 00:44:23,946
He put “under protest“ on it
and won the Academy Award.
730
00:44:33,187 --> 00:44:35,463
The arrowhead's right over
Quayne's heart, Nathan.
731
00:44:35,623 --> 00:44:36,795
It's got to come out.
732
00:44:36,958 --> 00:44:40,337
- Well?
- It's a risky operation at best.
733
00:44:40,494 --> 00:44:42,974
- Can you halt?
- You know I can't.
734
00:44:43,130 --> 00:44:44,575
For 30 minutes. Nathan.
735
00:44:44,732 --> 00:44:46,439
Twenty minutes. For a man's life.
736
00:44:46,601 --> 00:44:50,310
Doctor. I couldn't give you five minutes.
Not if it was my own son.
737
00:44:50,471 --> 00:44:53,577
Quayne's a soldier.
He'll have to take a soldier's risks.
738
00:44:53,741 --> 00:44:56,654
He knows that. I'm the one that's begging.
739
00:44:56,811 --> 00:44:57,949
I'll give you all I can.
740
00:44:58,112 --> 00:45:01,116
Troop halt! Dismount leads.
741
00:45:01,282 --> 00:45:02,989
Thank you. Nathan.
742
00:45:03,150 --> 00:45:05,721
Hold your cap in the ranks.
743
00:45:24,305 --> 00:45:29,118
So many times I have read
and been told about the Ford luck.
744
00:45:29,277 --> 00:45:30,312
Ford luck.
745
00:45:30,478 --> 00:45:33,152
But that wonderful scene
when I walked down...
746
00:45:33,314 --> 00:45:35,851
...after being married
to the mine owner's son.
747
00:45:36,017 --> 00:45:38,930
And I walked down the steps
from the church...
748
00:45:39,086 --> 00:45:42,795
...and my veil up on the back of my neck
went and spiraled up in the sky.
749
00:45:42,957 --> 00:45:45,096
And everybody said. “Oh. that Ford luck.
750
00:45:45,259 --> 00:45:48,240
How wonderful that was.
What an effect it had.“
751
00:45:48,396 --> 00:45:50,569
Rubbish. It wasn't Ford luck.
752
00:45:50,731 --> 00:45:53,940
It was three wind machines.
placed by John Ford...
753
00:45:54,101 --> 00:45:56,945
...and I had to walk up and down
those steps many times...
754
00:45:57,104 --> 00:46:01,883
...while he worked out that
the wind machine would do exactly that.
755
00:46:27,001 --> 00:46:29,242
Now. in that clip. the man under the tree...
756
00:46:29,403 --> 00:46:32,384
...is Walter Pidgeon.
who's the minister of that church.
757
00:46:32,540 --> 00:46:34,884
He's madly in love
with Maureen O'Hara's character.
758
00:46:35,042 --> 00:46:38,114
She's madly in love with him.
but she has to marry someone else...
759
00:46:38,279 --> 00:46:42,955
...because their relationship
has been deeply frowned on by the society.
760
00:46:43,117 --> 00:46:46,496
So he's obviously very unhappy
under the tree.
761
00:46:46,654 --> 00:46:51,433
And Ford has them ride off.
and you just see him under the tree...
762
00:46:51,592 --> 00:46:54,471
...and that's the end of the sequence.
763
00:46:55,129 --> 00:46:57,803
So they shot this shot...
764
00:46:57,965 --> 00:47:01,674
...and the cameraman. Artie Miller.
came over to Ford...
765
00:47:01,836 --> 00:47:05,716
...and said. “Jack. you think we should get
a close-up of Walter under the tree?“
766
00:47:05,873 --> 00:47:09,320
And Ford said.
“Oh. Jesus. no. I mean. they'll just use it.“
767
00:47:09,477 --> 00:47:11,889
Because he shot in the studio system...
768
00:47:12,046 --> 00:47:15,118
...and all those people shot
in the studio system in those days...
769
00:47:15,282 --> 00:47:20,459
...where groups of executives
would come and scrutinize your dailies...
770
00:47:20,621 --> 00:47:23,625
...and they could come along
and maybe bring in another editor...
771
00:47:23,791 --> 00:47:27,967
...and try to edit along simultaneously
with you or something.
772
00:47:28,129 --> 00:47:29,802
I think they didn't want to do that.
773
00:47:29,964 --> 00:47:32,877
They wanted to just put down their picture.
so they would quit.
774
00:47:33,034 --> 00:47:36,948
I've worked with directors like that.
They would just cut. stop...
775
00:47:37,104 --> 00:47:41,246
...where they wanted the camera to stop
so that you couldn't edit it...
776
00:47:41,409 --> 00:47:42,683
...too many different ways.
777
00:47:42,843 --> 00:47:44,982
You know. Ford. always said:
778
00:47:45,146 --> 00:47:49,026
“I had a thousand fights with the studios
and I lost them all.“
779
00:47:49,183 --> 00:47:54,394
And. uh. still there's The Grapes of Wrath
and My Darling Clementine...
780
00:47:54,555 --> 00:47:58,628
...and They Were Expendable, and so...
781
00:47:58,793 --> 00:48:01,000
I'd like to lose some fights like that.
782
00:48:01,162 --> 00:48:04,700
I really admired the way he would
stage and block his characters.
783
00:48:04,865 --> 00:48:10,110
And often he would hold shots
where everybody would be in a full shot...
784
00:48:10,271 --> 00:48:12,376
...composed in a painterly fashion...
785
00:48:12,540 --> 00:48:17,387
...not as archly operatic
as Cecil B. DeMille...
786
00:48:17,545 --> 00:48:21,254
...but they still looked like.
you know. beautiful poses.
787
00:48:21,415 --> 00:48:27,127
And yet he'd find some naturalistic way
to get your mind off of the frame...
788
00:48:27,288 --> 00:48:30,030
...and get yourself inside the story.
789
00:48:30,191 --> 00:48:33,331
The beauty of his compositions.
I just said at the time...
790
00:48:33,494 --> 00:48:35,804
...the pictures. the way they looked.
791
00:48:35,963 --> 00:48:41,311
Um. and later on I tried to analyze why.
and. um. obviously it's the authenticity.
792
00:48:41,469 --> 00:48:44,541
In a sense. the authenticity
of the way the people behave...
793
00:48:44,705 --> 00:48:47,709
...the dust on the clothes.
uh. body language.
794
00:48:47,875 --> 00:48:49,479
Nobody ever staged better.
795
00:48:49,643 --> 00:48:54,319
Nobody ever staged actors to camera better.
796
00:48:54,482 --> 00:48:57,429
But at the same time. it seems organic.
797
00:48:57,585 --> 00:48:59,963
He would just allow a shot to be set.
798
00:49:00,121 --> 00:49:03,466
And the shot would just evolve.
and it would just keep evolving.
799
00:49:03,624 --> 00:49:06,537
Pretty soon you got a chance
to study it. much like a painting.
800
00:49:06,694 --> 00:49:10,574
I think the thing I learned so much about.
you know. by watching John Ford films...
801
00:49:10,731 --> 00:49:12,574
...is he is a painter.
802
00:49:12,733 --> 00:49:14,838
And. uh. he was a great painter.
803
00:49:15,002 --> 00:49:18,381
It just took him a hundred crew members
to help him paint the canvas.
804
00:49:18,539 --> 00:49:22,146
The opening scene in The Searchers where
Ward Bond. uh. arrives at the house...
805
00:49:22,309 --> 00:49:25,085
...and asks for some coffee.
and. uh. asks for those doughnuts...
806
00:49:25,246 --> 00:49:27,954
...and the way he's behaving.
the way everybody's moving...
807
00:49:28,115 --> 00:49:30,288
...in that frame. in the kitchen...
808
00:49:30,451 --> 00:49:33,330
...I think to me that was Ford.
809
00:49:33,487 --> 00:49:37,526
Um. that when I felt that I wanted
to spend time with people I love...
810
00:49:37,691 --> 00:49:40,467
...and I knew they were being handled
with love in the film.
811
00:49:40,628 --> 00:49:41,902
That was Ford to me.
812
00:49:42,062 --> 00:49:43,666
- Morning. Lucy.
- Reverend.
813
00:49:43,831 --> 00:49:45,572
- Debbie. you been baptized?
- No.
814
00:49:45,733 --> 00:49:48,339
- Aaron. get Martin. will you?
- Martin.
815
00:49:51,005 --> 00:49:54,282
I can sure use that coffee.
Pass the sugar. son.
816
00:49:54,441 --> 00:49:56,421
Oh. fine. fine.
817
00:49:56,577 --> 00:49:59,148
Wait a minute. sister.
I didn't get any coffee yet here.
818
00:49:59,313 --> 00:50:00,917
Oh. doughnuts. Thank you. sister.
819
00:50:01,081 --> 00:50:03,994
I'm sure fond of them doughnuts.
820
00:50:04,451 --> 00:50:07,227
Aaron. Martin. come on up here.
821
00:50:07,388 --> 00:50:08,662
Come on.
822
00:50:08,822 --> 00:50:10,961
- Raise your right hand-- Martin.
- Yes, sir.
823
00:50:11,125 --> 00:50:12,570
Raise your right hand.
824
00:50:12,726 --> 00:50:16,868
You are hereby voluntary privates
in Company A of the Texas Rangers.
825
00:50:17,031 --> 00:50:19,443
- You will faithfully discharge--
- Can I go with you?
826
00:50:19,600 --> 00:50:22,581
- Go get my shirt. boy.
- Shh! Quiet. Where was I?
827
00:50:22,736 --> 00:50:24,181
Faithfully fulfill.
828
00:50:24,338 --> 00:50:26,614
- You will faithfully discharge--
- Mrs. Edwards.
829
00:50:26,774 --> 00:50:28,583
Shut up!
830
00:50:29,143 --> 00:50:32,386
You will faithfully discharge your duties.
as such...
831
00:50:32,546 --> 00:50:35,550
...without recompense
or monetary consideration.
832
00:50:35,716 --> 00:50:38,322
Amen. That means no pay.
And better get a shirt on.
833
00:50:38,485 --> 00:50:40,829
I ain't going volunteering
till I've had my coffee.
834
00:50:40,988 --> 00:50:43,264
- Drink your own. Reverend.
- Just call me captain.
835
00:50:43,424 --> 00:50:46,837
Captain.
The Reverend Samuel Johnston Clayton.
836
00:50:46,994 --> 00:50:50,134
- Mighty impressive.
- Well.
837
00:50:50,297 --> 00:50:54,677
He starts the day by everybody being
there on time at 9:00 in the morning.
838
00:50:54,835 --> 00:50:56,439
Then he calls you over to the set.
839
00:50:56,604 --> 00:50:57,639
Usually he'd say:
840
00:50:57,805 --> 00:51:00,979
“Well. you come in that door.
you come in this door over here...
841
00:51:01,141 --> 00:51:05,419
...you're sitting on the couch."
and just run through the lines.
842
00:51:05,579 --> 00:51:08,355
Now. he'd let you run through those lines...
843
00:51:08,515 --> 00:51:12,930
...and develop your, uh. actions...
844
00:51:13,087 --> 00:51:17,729
...your physical actions to the lines
in those rehearsals.
845
00:51:17,891 --> 00:51:20,303
He doesn't say. uh.
“I want you to come into the door...
846
00:51:20,461 --> 00:51:23,169
...and come over
and stand right there by that plant.“
847
00:51:23,330 --> 00:51:26,436
He doesn't-- There's no. “You must.
you must. you must.“
848
00:51:26,600 --> 00:51:29,740
He just says.
“Rehearse the scene quietly.“ You know?
849
00:51:30,004 --> 00:51:33,952
Ford has-- He puts some flats up
and has a long table...
850
00:51:34,108 --> 00:51:40,616
...and we go before a scene
and. uh. we read the scene.
851
00:51:40,948 --> 00:51:45,693
But I've never really felt
that Ford. uh. used this as a rehearsal.
852
00:51:45,853 --> 00:51:48,265
I've always felt that he used it...
853
00:51:48,422 --> 00:51:53,496
...because he wasn't sure
he liked some of the dialogue.
854
00:51:53,661 --> 00:51:55,299
He has such an analytical mind.
855
00:51:55,462 --> 00:51:57,669
He knows the difference between the trivia...
856
00:51:57,831 --> 00:52:02,337
...and the meat of a scene
like no one I ever worked with.
857
00:52:02,503 --> 00:52:06,610
He would have Dudley Nichols
rewrite scene after scene after scene--
858
00:52:06,774 --> 00:52:09,254
This was before the picture started.
859
00:52:09,410 --> 00:52:12,220
--And then just reach down
and take a line out of this one...
860
00:52:12,379 --> 00:52:14,859
...a line out of this one.
and then three lines...
861
00:52:15,015 --> 00:52:17,188
...out of all this wonderful writing...
862
00:52:17,351 --> 00:52:22,061
...but. uh. flowery. uh. language
of Dudley Nichols.
863
00:52:22,222 --> 00:52:26,364
He'd just go right to the valuable thoughts.
864
00:52:26,527 --> 00:52:30,100
Because I'd know we've done this
and we've read something...
865
00:52:30,264 --> 00:52:32,266
...and I would read something. and he'd say:
866
00:52:32,433 --> 00:52:36,813
“Wait a minute. What script do you have?“
867
00:52:37,404 --> 00:52:41,614
Well. you know. I said.
“This is the script you gave.“
868
00:52:41,775 --> 00:52:44,449
He said. “This. it's not the script I have.
869
00:52:44,611 --> 00:52:47,421
I never had-- That's a terrible line.“
870
00:52:47,581 --> 00:52:49,959
I said. “Well. there. there's the line.“
871
00:52:50,117 --> 00:52:53,496
He said. “Well. isn't everybody
agreed that that's awful?“
872
00:52:54,855 --> 00:52:56,801
Everybody said. “ Yeah.“
873
00:52:56,957 --> 00:53:00,336
Duke Wayne said. "Well. maybe
it's the way Stewart reads it, you know.“
874
00:53:00,494 --> 00:53:04,533
And. uh. pretty soon the page is torn out.
875
00:53:04,698 --> 00:53:08,373
And he said.
“Now let's go over it without that page.“
876
00:53:08,535 --> 00:53:12,915
I think that. uh.
lots of times he does that...
877
00:53:13,073 --> 00:53:16,646
...just to sort of cut down on the dialogue.
878
00:53:16,810 --> 00:53:19,051
He hates dialogue in the first place.
879
00:53:19,213 --> 00:53:24,219
He likes a sparsity of words.
Uh. if you'll remember The Informer...
880
00:53:24,385 --> 00:53:27,423
...I know that they had
a long. highly dramatic scene...
881
00:53:27,588 --> 00:53:34,062
...when the British officer
paid off. uh. Vic McLaglen as the informer.
882
00:53:34,228 --> 00:53:40,076
And. uh. when he finished with the scene.
It was a silent scene.
883
00:53:48,876 --> 00:53:51,652
Twenty pounds. You'd better count it.
884
00:53:51,812 --> 00:53:53,951
Show him out the back way.
885
00:54:01,989 --> 00:54:07,029
He always said. “If you don't need
all that talk. throw it out.“
886
00:54:07,194 --> 00:54:10,334
You know. too much talking.
He'd throw a lot of lines out.
887
00:54:10,497 --> 00:54:12,773
The actors would get upset
because they thought...
888
00:54:12,933 --> 00:54:15,573
...the size of your part had a lot to do
with dialogue.
889
00:54:15,736 --> 00:54:19,343
But it didn't make any difference.
He threw all this dialogue out.
890
00:54:19,506 --> 00:54:23,215
Because if you could tell it
with the camera...
891
00:54:23,377 --> 00:54:27,154
...it was better than having to speak...
892
00:54:27,314 --> 00:54:29,225
...you know. lines to explain the scene.
893
00:54:29,383 --> 00:54:31,886
What do you think of talk in pictures?
894
00:54:32,052 --> 00:54:35,829
Oh. it's necessary.
I mean. people expect it now.
895
00:54:35,989 --> 00:54:38,765
It helps as long as the. uh...
896
00:54:40,227 --> 00:54:44,801
As long as the dialogue is crisp.
you know. and cryptic.
897
00:54:45,966 --> 00:54:49,573
And as long as they're not
long soliloquies or...
898
00:54:50,237 --> 00:54:52,547
Oh. I like talking pictures.
899
00:54:52,706 --> 00:54:55,915
They're much easier to make
than silent pictures.
900
00:54:57,478 --> 00:54:59,253
I mean...
901
00:54:59,713 --> 00:55:02,557
...silent pictures were hard work.
902
00:55:03,517 --> 00:55:07,363
You know. they were very difficult, I mean.
to get a point over.
903
00:55:07,521 --> 00:55:10,525
You had to move the camera around so much.
904
00:55:10,691 --> 00:55:16,039
A talking picture. I mean. uh.
just as you and I are talking...
905
00:55:16,196 --> 00:55:19,939
...I mean. it gets over. I hope.
906
00:55:20,534 --> 00:55:22,707
Ask the sound man.
907
00:55:23,337 --> 00:55:26,011
Yet still the most
important aspect of your pictures...
908
00:55:26,173 --> 00:55:27,516
...has always been the visual.
909
00:55:27,674 --> 00:55:29,381
Wouldn't you agree?
910
00:55:29,810 --> 00:55:30,845
Perhaps.
911
00:55:55,387 --> 00:55:56,991
Bugler...
912
00:55:57,823 --> 00:55:59,666
...sound forward.
913
00:56:02,728 --> 00:56:06,039
Forward.
914
00:56:06,198 --> 00:56:12,149
Forward. ho!
915
00:56:22,248 --> 00:56:23,989
There was an interesting duality...
916
00:56:24,150 --> 00:56:27,324
...in Ford's visual style
during the '30s and '40s...
917
00:56:27,486 --> 00:56:30,660
...varying between
a kind of conscious pictorialism...
918
00:56:30,823 --> 00:56:33,303
...and a more natural simplicity.
919
00:56:33,459 --> 00:56:36,906
By 1948,
when he made this film, Fort Apache...
920
00:56:37,062 --> 00:56:40,566
...these two elements
had been memorably combined.
921
00:56:46,338 --> 00:56:51,378
Despite the undeniable artistry
of his famous 1935 film The Informer...
922
00:56:51,544 --> 00:56:57,153
...his style in it belongs nonetheless
to a tradition of studio atmosphere.
923
00:58:19,131 --> 00:58:22,340
And it became
increasingly clear in the '50s and '60s...
924
00:58:22,501 --> 00:58:26,449
...that the style and manner
closest to Ford's real nature...
925
00:58:26,605 --> 00:58:33,045
...could be found in the seeming simplicity
of a 1950 masterpiece like Rio Grande.
926
00:59:35,641 --> 00:59:40,454
Well. actually. he has the capacity
for making those silent scenes.
927
00:59:40,612 --> 00:59:43,786
And one of the things that you must learn
when working for him...
928
00:59:43,949 --> 00:59:46,361
...is to relax and look.
929
00:59:46,518 --> 00:59:50,625
On some occasions. you've naturally
been given enough of the story...
930
00:59:50,789 --> 00:59:54,794
...before and after. that you know
about how the person is thinking.
931
00:59:54,960 --> 00:59:56,997
But it really doesn't matter.
932
00:59:57,162 --> 00:59:59,164
He plays a little soft music on the set.
933
00:59:59,331 --> 01:00:02,437
He has music off the side.
They don't use that track.
934
01:00:02,601 --> 01:00:04,945
And. uh. you just look...
935
01:00:05,104 --> 01:00:10,452
...and the audience will put the thoughts
that they wanna put in to that scene...
936
01:00:10,609 --> 01:00:13,613
...and they'll give it the heart
that the scene needs.
937
01:00:36,535 --> 01:00:38,572
I think it's this thing about Ford.
938
01:00:38,737 --> 01:00:42,879
He believed different things
that pulled in different directions.
939
01:00:43,042 --> 01:00:45,989
And the tension between the ideas...
940
01:00:46,145 --> 01:00:49,854
...and the expression of the ideas
is so much of what makes him great.
941
01:00:50,015 --> 01:00:54,964
Ambiguity is the home of the artist.
the great artist.
942
01:00:55,154 --> 01:00:57,498
And. um...
943
01:00:57,656 --> 01:00:59,795
...Ford seemed rough-hewn...
944
01:00:59,958 --> 01:01:04,805
...and a simple fellow. and he wasn't.
and his films seem sometimes rough-hewn...
945
01:01:04,963 --> 01:01:08,206
...and simple and straightforward.
and they're not.
946
01:01:08,367 --> 01:01:10,176
They're very complicated.
947
01:01:10,436 --> 01:01:12,609
At the end
of The Man Who Shot Liberty Valance...
948
01:01:12,771 --> 01:01:17,186
...Ford's last great film. uh.
Jimmy Stewart has told the whole story...
949
01:01:17,342 --> 01:01:21,188
...of who really shot Liberty Valance.
950
01:01:21,346 --> 01:01:26,921
And at the end of it.
the newspaper reporter tears up the story.
951
01:01:32,324 --> 01:01:34,998
Well. you're not gonna use the story.
Mr. Scott?
952
01:01:36,161 --> 01:01:37,902
No. sir.
953
01:01:41,700 --> 01:01:43,509
This is the West, sir.
954
01:01:43,669 --> 01:01:47,276
When the legend becomes fact.
print the legend.
955
01:01:47,439 --> 01:01:49,646
He's right, Gramps.
956
01:01:58,417 --> 01:02:01,762
Now. this ending. which is similar
to the ending of Fort Apache...
957
01:02:01,920 --> 01:02:07,734
...in which John Wayne tells
a cleaned-up version of the massacre...
958
01:02:07,893 --> 01:02:10,271
...that Henry Fonda was responsible for--
959
01:02:10,662 --> 01:02:13,040
No man died more gallantly.
960
01:02:13,198 --> 01:02:15,200
Now. one more honor for his regiment.
961
01:02:15,367 --> 01:02:19,110
Of course you're all familiar with the
famous painting of Thursday's charge. sir?
962
01:02:19,271 --> 01:02:21,046
Yes. I saw it when last in Washington.
963
01:02:21,206 --> 01:02:22,742
That was a magnificent work.
964
01:02:22,908 --> 01:02:24,979
There were these massed columns of Apaches...
965
01:02:25,144 --> 01:02:27,055
...in their war paint and feather bonnets.
966
01:02:27,212 --> 01:02:29,988
And here was Thursday leading his men
in that heroic charge.
967
01:02:30,149 --> 01:02:32,026
Correct in every detail.
968
01:02:32,184 --> 01:02:33,959
He has become almost a legend already.
969
01:02:34,119 --> 01:02:36,030
He's a hero of every schoolboy in America.
970
01:02:36,188 --> 01:02:37,963
But what of the men who died with him?
971
01:02:38,123 --> 01:02:40,694
- What of Collingworth and--?
- Collingwood.
972
01:02:40,859 --> 01:02:42,805
Oh. of course. Collingwood.
973
01:02:42,961 --> 01:02:44,304
That's the ironic part of it.
974
01:02:44,463 --> 01:02:47,808
We always remember the Thursdays.
but the others are forgotten.
975
01:02:47,966 --> 01:02:49,536
You're wrong there.
976
01:02:49,701 --> 01:02:52,409
They aren't forgotten
because they haven't died.
977
01:02:52,905 --> 01:02:57,786
They're living. right out there.
Collingwood and the rest.
978
01:02:57,943 --> 01:03:01,356
They'll keep on living
as long as the regiment lives.
979
01:03:01,513 --> 01:03:07,862
A lot of people have said that Ford agrees
with the point “print the legend.“
980
01:03:08,020 --> 01:03:13,094
But in fact. that isn't the point at all.
because Ford has just told you the truth...
981
01:03:13,258 --> 01:03:19,038
...in two films, vividly. showing
that Henry Fonda was desperately wrong...
982
01:03:19,198 --> 01:03:22,611
...and that Jimmy Stewart
didn't kill Liberty Valance.
983
01:03:22,768 --> 01:03:26,910
So he's printed the truth. not the legend.
984
01:03:27,072 --> 01:03:29,951
And that's the point of the films. irony.
985
01:03:30,108 --> 01:03:33,317
That history is never necessarily correct.
986
01:03:33,478 --> 01:03:39,258
One time. I asked Ford. I said. “Well. do you
think it's correct to print the legend?“
987
01:03:39,418 --> 01:03:44,367
And Ford typically said. “Yeah.
because heroes are good for the country...
988
01:03:44,623 --> 01:03:46,933
...like Abe Lincoln.“
ANN: How ambitious you are too.
989
01:03:47,092 --> 01:03:48,935
Ford is able to convey more deeply...
990
01:03:49,094 --> 01:03:51,938
...what people are feeling
by the way they behave...
991
01:03:52,097 --> 01:03:56,409
...the looks that pass between them,
than by what they say.
992
01:03:56,568 --> 01:04:00,482
In Young Mr. Lincoln. released in 1939...
993
01:04:00,639 --> 01:04:03,483
...he employs music in a similar way...
994
01:04:03,642 --> 01:04:05,713
...and composer Alfred Newman's theme...
995
01:04:05,877 --> 01:04:11,020
...for Ann Rutledge, Lincoln's first love,
becomes synonymous with her character.
996
01:04:11,183 --> 01:04:14,426
Just had my heart set on your
going over to Jacksonville to college...
997
01:04:14,586 --> 01:04:18,227
...when I go to the seminary there. and...
998
01:04:27,733 --> 01:04:29,178
You're mighty pretty, Ann.
999
01:04:34,006 --> 01:04:37,544
Some folks I know don't like red hair.
1000
01:04:39,278 --> 01:04:41,087
I do.
1001
01:04:44,049 --> 01:04:46,120
Do you. Abe?
1002
01:04:47,052 --> 01:04:49,123
I love red hair.
1003
01:06:01,727 --> 01:06:03,900
Pretty. aren't they?
1004
01:06:04,062 --> 01:06:06,838
I got them at Bull and Green's place.
1005
01:06:06,998 --> 01:06:09,103
You never saw anything like them
in your life.
1006
01:06:09,267 --> 01:06:13,272
Sitting there in the snow
like scared rabbits.
1007
01:06:14,272 --> 01:06:16,980
Bet the woods are full of them too.
1008
01:06:20,479 --> 01:06:23,153
Snow's nice. isn't it? The way it's drifting.
1009
01:06:23,315 --> 01:06:25,591
Later in the movie, in Springfield...
1010
01:06:25,751 --> 01:06:28,425
...Lincoln is with Mary Todd.
1011
01:07:03,688 --> 01:07:06,066
In The Man Who Shot Liberty Valance...
1012
01:07:06,224 --> 01:07:11,697
...made in 1962,
23 years after Young Mr. Lincoln...
1013
01:07:11,863 --> 01:07:15,367
...Hallie Stoddard comes back to visit
the ruins of a ranch house...
1014
01:07:15,534 --> 01:07:18,811
...that belonged to an old friend
who has just died...
1015
01:07:18,970 --> 01:07:22,474
...and to whose funeral she will soon go.
1016
01:07:22,641 --> 01:07:24,587
Note the music.
1017
01:07:29,514 --> 01:07:32,427
You knew where I wanted to go, didn't you?
1018
01:07:32,584 --> 01:07:37,033
Well. you said you wanted to see
the cactus blossoms.
1019
01:07:37,189 --> 01:07:40,261
There's his house down there.
what's left of it...
1020
01:07:40,425 --> 01:07:42,371
...blossoms all around it.
1021
01:07:46,231 --> 01:07:50,873
He never did finish that room
he started to build on. did he?
1022
01:07:51,570 --> 01:07:56,178
No. Oh. well. you know all about that.
1023
01:07:56,341 --> 01:07:58,947
Recognizing that Ann Rutledge music...
1024
01:07:59,110 --> 01:08:02,557
...its effect in Liberty Valance
becomes heightened.
1025
01:08:02,714 --> 01:08:04,921
Because as we come to know
later in the film...
1026
01:08:05,083 --> 01:08:08,360
...the ranch owner
was the lost love of Hallie's youth...
1027
01:08:08,520 --> 01:08:11,057
"just as Ann was for Lincoln.
1028
01:08:11,223 --> 01:08:15,638
John Ford told great stories but John Ford
also. I think. did something...
1029
01:08:15,794 --> 01:08:18,274
...that directors haven't done before
or since.
1030
01:08:18,430 --> 01:08:20,501
Hawks might have done a little bit of it.
1031
01:08:20,665 --> 01:08:22,941
Raoul Walsh may have done
a little bit of it also.
1032
01:08:23,101 --> 01:08:27,982
But that is, John Ford's movies
were a collection of rituals...
1033
01:08:28,139 --> 01:08:33,851
...whether they were, you know. American
folklore rituals. they were Irish rituals...
1034
01:08:34,012 --> 01:08:38,358
...whether they were rituals
from the native American Lakota culture...
1035
01:08:38,517 --> 01:08:42,465
...or rituals that he just read about
in the untamed West...
1036
01:08:42,621 --> 01:08:44,259
...there were all sorts of rituals.
1037
01:09:08,847 --> 01:09:11,691
Here he lies where he longed to be
1038
01:09:13,018 --> 01:09:18,331
Home is the sailor. home from the sea
1039
01:09:19,190 --> 01:09:22,034
And the hunter home from the hill
1040
01:09:29,467 --> 01:09:31,538
Is it all right, sir?
1041
01:09:32,737 --> 01:09:34,546
Sure.
1042
01:10:16,448 --> 01:10:19,452
- With Mrs. Yorke's permission.
- Thank you.
1043
01:11:59,250 --> 01:12:01,321
It's what's in between the lines...
1044
01:12:01,486 --> 01:12:05,366
...so often that makes Ford films Ford films.
1045
01:12:05,523 --> 01:12:11,201
Uh. you're familiar with-- We all know
how scripts are. you know. they dance.
1046
01:12:11,362 --> 01:12:12,864
Heh. heh. You know. that's what it is.
1047
01:12:13,031 --> 01:12:17,480
And Ford. purposely. would go out...
1048
01:12:17,635 --> 01:12:22,084
...and seize these moments.
these director moments...
1049
01:12:22,240 --> 01:12:25,084
...and because he understood
that that was the essence...
1050
01:12:25,243 --> 01:12:29,282
...of what separated motion pictures
from other forms.
1051
01:12:36,087 --> 01:12:37,896
- Come on. Ma. let's dance.
- Oh. come on.
1052
01:12:40,892 --> 01:12:43,304
Well. all right. Heh. heh.
1053
01:12:47,232 --> 01:12:48,438
Stop. stop-
1054
01:13:27,839 --> 01:13:34,347
He seemed to have a compulsion not to talk
about script or the part. character. picture.
1055
01:13:34,512 --> 01:13:38,892
If you came to his office. you were
more apt to talk about fishing or politics...
1056
01:13:39,050 --> 01:13:41,030
...or almost anything else.
1057
01:13:41,186 --> 01:13:42,529
If you asked him questions...
1058
01:13:42,687 --> 01:13:46,191
...he would avoid answers about
specific questions about the character.
1059
01:13:46,357 --> 01:13:47,563
He didn't seem to want to.
1060
01:13:47,725 --> 01:13:52,231
I think when he's working
on a script to begin with...
1061
01:13:52,397 --> 01:13:56,903
...he goes back in the life
of each one of his characters...
1062
01:13:57,068 --> 01:13:59,605
...and that's usually how
he explains the character...
1063
01:13:59,771 --> 01:14:03,583
...to the fellow that's gonna play it.
He never tells him how to read a line.
1064
01:14:03,741 --> 01:14:05,743
He explains the background of the character.
1065
01:14:05,910 --> 01:14:08,186
So he has studied that character
enough to know...
1066
01:14:08,346 --> 01:14:12,556
...what his reaction would be
in a certain type of situation.
1067
01:14:12,717 --> 01:14:15,493
And I said. “If you're gonna
kiss her. for heaven's sakes...
1068
01:14:15,653 --> 01:14:17,929
...I mean. you're supposed to be her lover.
1069
01:14:18,089 --> 01:14:20,968
I mean. clasp her in your arms
and kiss her on the mouth...
1070
01:14:21,125 --> 01:14:22,832
...and clasp her to your arms.“
1071
01:14:22,994 --> 01:14:27,739
And he said.
“Mr. Ford. she's playing my daughter.“
1072
01:14:27,899 --> 01:14:30,573
“Oh. really? Let me read this damn thing.“
1073
01:14:33,471 --> 01:14:36,714
He said. “Now. uh. you've read the script?“
1074
01:14:36,875 --> 01:14:38,821
I said. “Yes.“
1075
01:14:38,977 --> 01:14:42,322
“Uh. now. you're kind of lazy. Sit down.“
1076
01:14:42,480 --> 01:14:47,293
I sat down. He said. “Now put your feet up
and. uh. lean back...
1077
01:14:47,452 --> 01:14:51,025
...lean back, maybe put
your hat down over your eyes.“
1078
01:14:51,189 --> 01:14:52,224
And I did.
1079
01:14:52,390 --> 01:14:55,599
He said.
“Well. is that the way you're gonna do it?“
1080
01:14:55,760 --> 01:14:57,535
And I said. “Well. l...“
1081
01:14:57,695 --> 01:15:02,303
He said.
“All right. all right. let's. um. roll.“
1082
01:15:02,467 --> 01:15:06,210
And it was just a set shot. doing nothing...
1083
01:15:06,371 --> 01:15:09,841
...but in the middle of it.
for some reason. I yawned...
1084
01:15:10,008 --> 01:15:14,354
...a big enormous yawn. which. you know...
1085
01:15:14,512 --> 01:15:17,959
...isn't the highest class
of inventive acting. you know.
1086
01:15:18,116 --> 01:15:23,589
If you're a lazy fellow sitting
in the sun. yawning isn't--
1087
01:15:23,755 --> 01:15:24,859
But I yawned.
1088
01:15:38,703 --> 01:15:39,943
And he said. “Right.“
1089
01:15:40,104 --> 01:15:42,812
And that was the first time
I'd ever heard him say “right“...
1090
01:15:42,974 --> 01:15:46,114
...and. uh. then we went to something else.
1091
01:15:46,444 --> 01:15:50,859
And two days later. uh.
when we were in a different location...
1092
01:15:51,015 --> 01:15:53,723
...he came up and he said. “I like the yawn.“
1093
01:15:53,885 --> 01:15:58,061
And I said, “Oh, oh, oh.“
1094
01:15:58,222 --> 01:16:00,031
But it meant a great deal to me.
1095
01:16:00,191 --> 01:16:01,295
In Darling Clementine...
1096
01:16:01,459 --> 01:16:05,464
...you remember when Henry Fonda is out
on the porch there and he puts his feet up...
1097
01:16:05,630 --> 01:16:08,634
...and. uh-- And. uh--
1098
01:16:09,067 --> 01:16:12,139
And he doesn't cut to close-ups.
1099
01:16:12,303 --> 01:16:15,375
He just stays in this big shot
of this guy sitting there...
1100
01:16:15,540 --> 01:16:17,679
...with his legs up on the post.
1101
01:16:17,842 --> 01:16:21,813
As we got ready to do it.
Ford said. um. “Turn your chair a little bit.“
1102
01:16:21,980 --> 01:16:23,891
So I did. and he said. “Lean back in it.“
1103
01:16:24,048 --> 01:16:28,588
And there was a veranda post there.
and he said. “Put your foot up on there.“
1104
01:16:28,753 --> 01:16:31,734
So I put my foot up.
He said. “Put your other foot up there.“
1105
01:16:31,889 --> 01:16:34,893
So I put my other foot up there
and leaning back.
1106
01:16:35,059 --> 01:16:38,438
He said. “Change the position.“
So I did like this.
1107
01:16:38,596 --> 01:16:40,667
And it became a little choreographed dance...
1108
01:16:40,832 --> 01:16:44,746
...of pushing away.
changing the position of my feet.
1109
01:16:44,902 --> 01:16:48,975
And it became a little moment
that was not indicated until then...
1110
01:16:49,140 --> 01:16:52,417
...that. um. everybody remembers
and comments about.
1111
01:16:52,577 --> 01:16:55,751
And as for you, when Doc finds out
you butted him last night...
1112
01:16:55,913 --> 01:16:58,757
...he'll twist that tin badge
around your heart.
1113
01:17:11,996 --> 01:17:14,636
It's typical. you don't know
when he's thought of that...
1114
01:17:14,799 --> 01:17:17,803
...whether it was at the moment
or driving the hour and a half...
1115
01:17:17,969 --> 01:17:19,971
...to the location in the morning.
1116
01:17:20,138 --> 01:17:23,347
He never gives you a clue until that moment.
1117
01:17:23,608 --> 01:17:28,853
He has a great, uh. keen sense
of when a thing is sentimental...
1118
01:17:29,013 --> 01:17:31,050
...and when it is maudlin.
1119
01:17:31,215 --> 01:17:35,459
And. uh. he's not afraid
of those kind of scenes.
1120
01:17:35,620 --> 01:17:41,593
As a matter of fact. one of the things
that he told me early in my career was:
1121
01:17:41,759 --> 01:17:46,401
“Duke. you're gonna get a lot of scenes
during your life...
1122
01:17:46,564 --> 01:17:49,010
...and they're gonna seem corny to you.“
1123
01:17:49,167 --> 01:17:51,010
And he said.
“Play them. play them to the hilt.
1124
01:17:51,169 --> 01:17:54,946
If it's east. then play it.“
And he says. “You'll get by with it.
1125
01:17:55,106 --> 01:17:56,847
But if you start trying to play it...
1126
01:17:57,008 --> 01:18:00,717
...with your tongue in your cheek
and getting cute...
1127
01:18:00,878 --> 01:18:04,849
...you'll lose size yourself
and the scene will be lost.“
1128
01:18:09,020 --> 01:18:10,795
C Troop present and accounted for. sir.
1129
01:18:10,955 --> 01:18:12,525
Thank you. sir.
1130
01:18:16,127 --> 01:18:17,765
Men.
1131
01:18:19,063 --> 01:18:21,270
I won't be going out with you.
1132
01:18:23,067 --> 01:18:26,913
I won't be here when you return.
1133
01:18:27,705 --> 01:18:29,548
I wish I could.
1134
01:18:31,476 --> 01:18:37,757
But I know your performance
under your new commander...
1135
01:18:38,549 --> 01:18:40,654
...will make me proud of you.
1136
01:18:42,019 --> 01:18:46,331
As I have always been proud of you.
1137
01:18:46,491 --> 01:18:47,868
One moment, please. captain.
1138
01:18:48,025 --> 01:18:50,767
Corporal Krumrein. front and center.
1139
01:18:53,331 --> 01:18:56,972
Sir. a small token from the troop.
1140
01:18:57,735 --> 01:18:59,737
They all put in a hat for it, sir.
1141
01:18:59,904 --> 01:19:02,111
Even Sergeant Hochbauer.
1142
01:19:08,146 --> 01:19:09,352
It's solid silver. sir.
1143
01:19:09,514 --> 01:19:11,516
Brought on from Kansas City.
1144
01:19:11,682 --> 01:19:14,128
There's a sentiment on the back of it.
1145
01:19:31,169 --> 01:19:36,881
“To Captain Brittles from C Troop.
1146
01:19:42,213 --> 01:19:44,420
Lest we forget.“
1147
01:19:53,057 --> 01:19:55,094
Thank you. corporal.
1148
01:19:55,893 --> 01:19:57,304
Thank you.
1149
01:19:58,496 --> 01:20:00,237
Thank all of you.
1150
01:20:07,605 --> 01:20:10,017
Take your troop. Mr. Pennell.
1151
01:20:10,174 --> 01:20:12,552
Proceed on your mission.
1152
01:20:13,911 --> 01:20:15,754
Good luck. C Troop!
1153
01:20:26,524 --> 01:20:29,437
Well. there he had a scene
that could have been very maudlin...
1154
01:20:29,594 --> 01:20:32,336
...and as a consequence.
he had to put something in...
1155
01:20:32,496 --> 01:20:37,741
...to not distract from the scene
but give it a little humor and warmth.
1156
01:20:37,902 --> 01:20:41,372
And that is when he came up with the idea
of those little square glasses...
1157
01:20:41,539 --> 01:20:45,146
...and had the fellow
look at all his troopers...
1158
01:20:45,309 --> 01:20:49,985
...and turn and put on the glasses
to read what the gold watch said.
1159
01:20:50,147 --> 01:20:54,254
And. uh. it just added enough humor...
1160
01:20:54,418 --> 01:21:00,232
...that it took the sting off
of the sentiment in the scene.
1161
01:21:00,491 --> 01:21:03,165
There's a sense of no matter
where that camera was placed...
1162
01:21:03,327 --> 01:21:05,830
...it was the best position.
the right position.
1163
01:21:05,997 --> 01:21:07,305
It was a position of poetry.
1164
01:21:08,499 --> 01:21:12,276
Just great storytelling.
Just a great storyteller.
1165
01:21:12,436 --> 01:21:15,280
He sort of. uh. to this day. you know...
1166
01:21:15,439 --> 01:21:18,909
...is one of the most patriotic
American directors...
1167
01:21:19,076 --> 01:21:21,852
...who's ever. you know. graced the screen.
1168
01:21:22,346 --> 01:21:26,385
Ford has chronicled the story
of the United States in no small detail...
1169
01:21:26,550 --> 01:21:32,000
- --ranging over 180 years, from before
the Revolution into the 1950s.
1170
01:21:32,156 --> 01:21:37,299
And throughout his work. as in
this funeral scene from 3 Bad Men...
1171
01:21:37,461 --> 01:21:43,810
...the personal story is always shown in
perspective with the flow of history behind.
1172
01:21:45,169 --> 01:21:47,945
1775, in the Mohawk Valley.
1173
01:21:48,105 --> 01:21:51,678
By thunder. I'll bet we can make
the whole world the way we march. Ha. ha!
1174
01:21:52,310 --> 01:21:55,985
Mistress Lana. Lana. here they come.
1175
01:21:56,147 --> 01:21:58,388
Come on out. here they come.
1176
01:22:03,387 --> 01:22:05,196
Welcome.
1177
01:22:07,391 --> 01:22:12,272
1845. toward the Western frontier.
1178
01:22:28,746 --> 01:22:32,091
1846, in Springfield, Illinois.
1179
01:22:32,249 --> 01:22:33,956
Ain't you going back, Abe?
1180
01:22:36,387 --> 01:22:39,596
No. I think I might go on a piece.
1181
01:22:41,025 --> 01:22:43,835
Maybe to the top of that hill.
1182
01:23:00,911 --> 01:23:04,120
1863. in the South.
1183
01:23:17,695 --> 01:23:21,165
Reverend. my boy. Johnny.
he's all I've got left.
1184
01:23:21,332 --> 01:23:26,543
First. his father. then his uncle.
his brothers. now him.
1185
01:23:26,704 --> 01:23:28,684
He's all I have left. Reverend.
1186
01:23:28,839 --> 01:23:32,082
I'm not gonna let him go.
I'm not gonna let him go.
1187
01:23:32,243 --> 01:23:35,417
Cadet drummer Buford.
you are relieved of duty.
1188
01:23:47,691 --> 01:23:52,003
April 15th, 1865, in Washington.
1189
01:23:53,097 --> 01:23:54,508
You know. friends...
1190
01:23:54,665 --> 01:23:58,135
...$400,000 is a big heap pile of money...
1191
01:23:58,302 --> 01:24:00,043
...to light a man's cigar with.
1192
01:24:20,191 --> 01:24:22,102
Mr. Lincoln has been shot.
1193
01:24:44,348 --> 01:24:47,989
The Indian Wars of the 1870s.
1194
01:25:22,119 --> 01:25:24,156
Recalcitrant swine. he must feel it.
1195
01:25:24,321 --> 01:25:26,096
He's only speaking the truth. sir.
1196
01:25:26,257 --> 01:25:29,204
Is there anyone in this regiment
that understands an order?
1197
01:25:29,360 --> 01:25:31,897
- What does the colonel wish me to say?
- I find him without honor.
1198
01:25:33,264 --> 01:25:35,642
They're talking
to the United States government.
1199
01:25:37,167 --> 01:25:39,408
That government orders them
to return to the reservation.
1200
01:25:40,871 --> 01:25:42,782
If they have not started
by dawn. we will attack.
1201
01:25:44,141 --> 01:25:45,518
Tell him that.
1202
01:26:10,701 --> 01:26:12,840
You will come with me.
1203
01:26:13,003 --> 01:26:15,813
Hunt buffalo together.
1204
01:26:15,973 --> 01:26:19,511
Smoke many pipes.
1205
01:26:19,677 --> 01:26:23,056
We are too old for war.
1206
01:26:24,348 --> 01:26:27,852
Yes. we are too old for war.
1207
01:26:28,018 --> 01:26:30,555
But old men should stop wars.
1208
01:26:43,867 --> 01:26:45,972
Old friend...
1209
01:26:48,372 --> 01:26:50,682
Old friend...
1210
01:26:51,842 --> 01:26:53,913
...what would you do?
1211
01:26:56,213 --> 01:26:59,786
1876, the great Dakota land rush.
1212
01:27:18,268 --> 01:27:23,445
October 1881. in Tombstone. Arizona.
1213
01:27:29,279 --> 01:27:30,656
Here they come. Pa.
1214
01:27:57,474 --> 01:28:00,455
The 1890s, along the Mississippi.
1215
01:28:12,222 --> 01:28:14,828
1917. over there.
1216
01:28:16,460 --> 01:28:18,462
Oliver!
1217
01:28:30,808 --> 01:28:34,779
1932. in Oklahoma.
1218
01:28:34,945 --> 01:28:36,788
I'm right here to tell you. mister...
1219
01:28:36,947 --> 01:28:39,223
...there ain't nobody
gonna push me off my land.
1220
01:28:39,383 --> 01:28:42,626
My grandpa took up this land 70 years ago.
1221
01:28:42,786 --> 01:28:45,926
My pa was born here. We was all born on it.
1222
01:28:46,090 --> 01:28:49,469
And some of us was killed on it.
1223
01:28:58,535 --> 01:29:02,142
And some of us died on it.
1224
01:29:02,906 --> 01:29:05,079
And that's what makes it our'n...
1225
01:29:05,242 --> 01:29:11,249
...being born on it and working on it...
1226
01:29:11,415 --> 01:29:14,589
...and dying. Dying on it.
1227
01:29:14,752 --> 01:29:18,461
And not no piece of paper with writing on it.
1228
01:29:29,533 --> 01:29:33,913
1942. in the Philippines.
1229
01:30:18,782 --> 01:30:20,853
Pretty rugged. isn't it?
1230
01:30:22,820 --> 01:30:24,766
Let's go, Rusty.
1231
01:30:57,988 --> 01:31:00,935
The inevitability of history
moving forward...
1232
01:31:01,091 --> 01:31:04,368
...quite often. the victim is the family.
1233
01:31:04,528 --> 01:31:06,132
The tragedy is the family.
1234
01:31:06,296 --> 01:31:09,368
His family life was terrible.
1235
01:31:09,766 --> 01:31:13,270
And yet it was marvelous in the movies.
the way he filmed it...
1236
01:31:13,437 --> 01:31:18,716
...and the warmth and the togetherness
and the love you felt...
1237
01:31:18,876 --> 01:31:22,915
...and the whole family unit
with Donald Crisp...
1238
01:31:23,080 --> 01:31:27,028
It didn't happen in his own home.
1239
01:31:27,184 --> 01:31:29,255
Maybe his own family life was bad...
1240
01:31:29,419 --> 01:31:34,391
...but he always dreamed of having
a more idyllic family life or a closer family...
1241
01:31:34,558 --> 01:31:38,700
...uh. as some of the old-world
Irish families were...
1242
01:31:38,862 --> 01:31:43,641
...and, uh, I suppose, maybe like
to try to place himself...
1243
01:31:43,800 --> 01:31:46,280
...using film to place himself in that.
1244
01:32:25,309 --> 01:32:29,951
We see Ford holding on to the very last
of the family of the 19th century almost.
1245
01:32:30,113 --> 01:32:33,219
The way my parents were holding on
but couldn't hold on anymore.
1246
01:32:33,750 --> 01:32:35,661
- Leave the table.
- I will leave the house.
1247
01:32:35,819 --> 01:32:39,062
- Will. tell your father you're sorry.
- I'm not sorry.
1248
01:32:40,290 --> 01:32:43,499
I'm with you.
We can find lodgings in the village.
1249
01:32:43,660 --> 01:32:45,537
Gwilym.
1250
01:32:51,635 --> 01:32:53,581
All of you. then?
1251
01:32:58,275 --> 01:33:00,482
For the last time. sit down.
finish your supper.
1252
01:33:00,644 --> 01:33:01,679
I will say no more.
1253
01:33:02,079 --> 01:33:04,958
We are not questioning your authority. sir.
1254
01:33:05,115 --> 01:33:07,618
But if manners prevent our
speaking the truth...
1255
01:33:07,784 --> 01:33:10,094
...we will be without manners.
1256
01:33:11,188 --> 01:33:13,429
Get your clothes and go.
1257
01:33:28,939 --> 01:33:30,782
I'm going with them to look after them.
1258
01:33:30,941 --> 01:33:33,217
Hold your tongue. girl.
Get on with your dishes.
1259
01:33:55,499 --> 01:33:57,240
Yes. my son.
1260
01:33:57,401 --> 01:33:59,642
I know you are there.
1261
01:34:02,339 --> 01:34:06,378
I found myself being very drawn in
by the characters...
1262
01:34:06,543 --> 01:34:11,083
...but primarily
by the sense of warmth that he had.
1263
01:34:11,248 --> 01:34:13,228
Uh. the sense of his love of humanity.
1264
01:34:13,383 --> 01:34:18,264
The sense of the importance
and the structure within the family unit.
1265
01:34:18,422 --> 01:34:21,835
Family is the protection against the world.
He understands that.
1266
01:34:21,992 --> 01:34:25,997
It's the thing that we have to lean on.
1267
01:34:26,163 --> 01:34:29,508
And when the family is destroyed...
1268
01:34:30,067 --> 01:34:34,379
...by what seems to be progress
and what is inevitable...
1269
01:34:34,538 --> 01:34:38,543
...this inspires some of his greatest poetry.
1270
01:34:40,243 --> 01:34:42,154
Give me your hand, Ma.
1271
01:34:44,781 --> 01:34:48,558
- Goodbye.
- Goodbye. Tommy.
1272
01:34:48,718 --> 01:34:54,031
Later. when this has blowed over.
you'll come back?
1273
01:34:54,191 --> 01:34:56,193
Sure. Ma.
1274
01:34:57,461 --> 01:35:01,409
Tom. we ain't the kissing kind. but...
1275
01:35:08,772 --> 01:35:10,718
Goodbye. Ma.
1276
01:35:11,341 --> 01:35:13,446
Goodbye. Tommy.
1277
01:35:21,651 --> 01:35:23,653
Tommy.
1278
01:35:55,085 --> 01:35:58,464
In 1936. John Ford made a movie
with Katharine Hepburn. Mary of Scotland.
1279
01:35:58,622 --> 01:36:00,465
Not his best film. not her best film...
1280
01:36:00,624 --> 01:36:03,571
...but the two of them
seemed to have fallen in love.
1281
01:36:03,727 --> 01:36:08,506
Um. ford had never had anybody stand up
to him the way Hepburn stood up to him...
1282
01:36:08,665 --> 01:36:10,167
...and he liked it.
1283
01:36:10,333 --> 01:36:13,109
He was a married Irish Catholic
with two children...
1284
01:36:13,270 --> 01:36:18,515
...but for a period of time.
they had some kind of intimate relationship.
1285
01:36:18,675 --> 01:36:20,586
And the result of that was that he made...
1286
01:36:20,744 --> 01:36:23,782
...probably the best series
of films in his career.
1287
01:36:23,947 --> 01:36:27,156
In a short, three-year period
between 1939 and 1941
1288
01:36:27,317 --> 01:36:31,629
...when he went into the Navy
and she fell in love with Spencer Tracy...
1289
01:36:31,788 --> 01:36:32,926
...John Ford directed:
1290
01:36:33,089 --> 01:36:35,933
Stagecoach, Young Mr. Lincoln...
1291
01:36:36,092 --> 01:36:40,006
...Drums Along The Mohawk.
The Long Voyage Home...
1292
01:36:40,163 --> 01:36:43,633
...The Grapes of Wrath, for which
he won the Oscar for Best Director...
1293
01:36:43,800 --> 01:36:47,976
...as he did again the following year
for How Green Was My Valley...
1294
01:36:48,138 --> 01:36:51,017
...which also won Best Picture.
1295
01:36:51,174 --> 01:36:54,781
It's hard to believe he just did those
in such a close proximity.
1296
01:36:54,945 --> 01:36:58,085
You know. of '39. '40. '41.
1297
01:36:58,248 --> 01:36:59,852
And they were just fabulous films.
1298
01:37:00,016 --> 01:37:04,988
And. uh. I think everybody. uh.
who grew up in that generation...
1299
01:37:05,155 --> 01:37:07,101
...was influenced forever by him.
1300
01:37:07,257 --> 01:37:10,534
In 1973. the year Ford died...
1301
01:37:10,694 --> 01:37:13,573
...his grandson. Dan Ford.
who was writing a book about him...
1302
01:37:13,730 --> 01:37:15,903
...brought Katharine Hepburn to see him.
1303
01:37:16,066 --> 01:37:22,483
And the two shared a long conversation
which was taped in his bedroom...
1304
01:37:22,639 --> 01:37:25,745
...and during the course of it, she said--
1305
01:37:25,909 --> 01:37:28,219
I think we had
fundamental respect for each other.
1306
01:37:28,378 --> 01:37:29,413
Mm-hm.
1307
01:37:29,579 --> 01:37:32,526
And I think that is
the most lasting quality in the world.
1308
01:37:32,682 --> 01:37:35,219
That and the fact
that you beat the hell out of me at golf.
1309
01:37:37,187 --> 01:37:40,896
Do you remember
when you called me up. uh. to do it...
1310
01:37:41,057 --> 01:37:45,130
...I said, "lam probably the worst choice
in the world for Mary of Scotland.“
1311
01:37:45,295 --> 01:37:49,766
And you said, "Well, you are no worse
a choice for Mary of Scotland...
1312
01:37:49,933 --> 01:37:54,712
...than lam as the director
of Mary of Scotland.“ Ha-ha-ha.
1313
01:37:54,871 --> 01:37:57,215
- Those are the nag jokes there.
- That's very good.
1314
01:37:57,374 --> 01:37:59,411
- Trying to tape me?
- Yeah. it's on.
1315
01:37:59,576 --> 01:38:05,049
After they finished recording. Dan Ford
went out to get something at the car...
1316
01:38:05,215 --> 01:38:09,095
...and inadvertently.
he left the tape machine running.
1317
01:38:09,252 --> 01:38:12,927
Ford and Hepburn
were recorded unbeknownst to them...
1318
01:38:13,089 --> 01:38:14,295
...until the tape ran out.
1319
01:38:14,457 --> 01:38:18,098
You're dropping ashes
all over the place here.
1320
01:38:18,261 --> 01:38:20,400
Take a snooze.
and I'll come by in the morning.
1321
01:38:20,563 --> 01:38:22,600
- Okay.
- Okay.
1322
01:38:22,766 --> 01:38:24,609
I love you.
1323
01:38:24,768 --> 01:38:26,304
It's mutual.
1324
01:38:26,469 --> 01:38:28,005
Thank you.
1325
01:38:28,171 --> 01:38:30,412
- It's thrilling to see you.
- Oh, good.
1326
01:38:32,309 --> 01:38:34,220
That's better.
1327
01:38:35,512 --> 01:38:39,392
- Okay, I'll be down in an hour.
- Well, anyway, Kate...
1328
01:38:39,549 --> 01:38:42,553
- Anybody listening?
- No.
1329
01:38:42,719 --> 01:38:45,325
Do you have woman's intuition?
1330
01:38:47,023 --> 01:38:49,799
- Hmm?
- Yes.
1331
01:38:51,494 --> 01:38:55,704
For the only passionate
love story he ever made, The Quiet Man...
1332
01:38:55,865 --> 01:38:59,540
...a very personal film
he spent 30 years trying to make...
1333
01:38:59,703 --> 01:39:03,708
...Wayne's character is named Sean.
Ford's real first name...
1334
01:39:03,873 --> 01:39:06,114
...and Maureen O'Hara's character is named...
1335
01:39:06,276 --> 01:39:09,052
...after the two women
Ford most loved in his life...
1336
01:39:09,212 --> 01:39:13,752
...Mary McBride Smith. his wife.
and Kate Hepburn.
1337
01:39:14,718 --> 01:39:17,790
Hello. Mary Kate Danaher.
1338
01:39:18,688 --> 01:39:22,226
Good morning. Sean Thornton.
1339
01:39:26,629 --> 01:39:31,203
“How do you describe someone
you really admired and loved...
1340
01:39:31,368 --> 01:39:35,441
...and yet he had so many aggravating traits?
1341
01:39:35,839 --> 01:39:37,944
He was an instinctive con man.
1342
01:39:38,108 --> 01:39:41,612
It was impossible to know when
to believe him or when to disbelieve him.
1343
01:39:41,778 --> 01:39:44,554
Everything he said or did was for effect.
1344
01:39:44,714 --> 01:39:47,194
That is why he was so difficult to interview.
1345
01:39:47,350 --> 01:39:51,594
He would deliberately say the opposite
of what he knew you wanted to hear.
1346
01:39:52,088 --> 01:39:55,661
He could be kind, gracious and gentle...
1347
01:39:55,825 --> 01:40:02,470
...with a wonderful sense of humor.
but he could also be vindictive and mean.
1348
01:40:02,632 --> 01:40:08,173
All one can do with John Ford is accept him
with all of his faults and virtues...
1349
01:40:08,338 --> 01:40:10,340
...and love him.“
1350
01:40:21,251 --> 01:40:25,063
You know. you value the guy
that staked it out first.
1351
01:40:25,221 --> 01:40:31,228
He got there first. he figured it out.
and he did it better.
1352
01:40:31,394 --> 01:40:33,499
One of the things
that sets John Ford apart...
1353
01:40:33,663 --> 01:40:35,870
...from virtually
any other American director...
1354
01:40:36,032 --> 01:40:39,741
...is his sense of spirituality...
1355
01:40:39,903 --> 01:40:42,782
...his sense that death is not the end.
1356
01:40:43,440 --> 01:40:44,919
And you can see this conveyed...
1357
01:40:45,074 --> 01:40:47,520
...in scenes. as in Young Mr. Lincoln...
1358
01:40:47,677 --> 01:40:51,352
...where the lead character speaks
to the spirit of one who's died.
1359
01:40:53,016 --> 01:40:55,792
1864.
1360
01:40:55,952 --> 01:40:58,193
1882.
1361
01:40:59,756 --> 01:41:01,929
Eighteen years.
1362
01:41:04,427 --> 01:41:07,203
Didn't get much of a chance. did you. James?
1363
01:41:16,673 --> 01:41:23,648
It's been a long time. honey.
since you and the baby...
1364
01:41:25,748 --> 01:41:27,625
...went away.
1365
01:41:30,119 --> 01:41:33,896
Oh. uh. Jerome come home tonight.
1366
01:41:37,794 --> 01:41:41,867
Little Robert E. would have been...
1367
01:41:43,533 --> 01:41:49,176
He would have been
just the same age as Jerome is now.
1368
01:41:54,010 --> 01:41:55,614
Well. Mary...
1369
01:41:56,379 --> 01:41:59,417
...only six more days to go...
1370
01:42:00,216 --> 01:42:03,857
...and your old Nathan
will be out of the Army.
1371
01:42:04,754 --> 01:42:09,567
Haven't decided what I'll do yet.
1372
01:42:09,726 --> 01:42:12,502
Somehow. I just can't picture myself...
1373
01:42:12,662 --> 01:42:18,578
...back there on the banks of the Wabash.
rocking in the front porch.
1374
01:42:18,935 --> 01:42:24,886
No. I've been thinking
I'd maybe push on west.
1375
01:42:25,241 --> 01:42:27,744
And it's most movingly conveyed...
1376
01:42:27,911 --> 01:42:29,913
...in the final. extraordinary sequence...
1377
01:42:30,313 --> 01:42:31,792
whom How Green Was My Valley.
1378
01:42:31,948 --> 01:42:35,486
Wait. Mr. Gruffydd!
1379
01:42:42,058 --> 01:42:44,971
The good old handiwork.
1380
01:42:53,803 --> 01:42:56,374
He came to me just now.
1381
01:42:56,940 --> 01:42:59,716
Ivor was with him.
1382
01:43:00,510 --> 01:43:06,461
He spoke to me
and told me of the glory he had seen.
1383
01:43:21,264 --> 01:43:22,641
Look.
1384
01:44:13,149 --> 01:44:16,358
Men like my father cannot die.
1385
01:44:16,519 --> 01:44:21,628
They are with me still, real in memory
as in they were in flesh.
1386
01:44:21,791 --> 01:44:24,567
Loving and beloved forever.
1387
01:44:24,727 --> 01:44:26,707
How green was my valley then.
1388
01:45:03,566 --> 01:45:07,878
Every John Ford movie is filled
with reverberation: from another...
1389
01:45:08,037 --> 01:45:10,847
...which makes his use
of the same players year after year...
1390
01:45:11,007 --> 01:45:14,181
...so much more
than just using a stock company.
1391
01:45:14,343 --> 01:45:19,122
And no picture of his should really
be looked at as separate from the rest.
1392
01:45:19,282 --> 01:45:24,322
They stand together
as one man's vision of the world...
1393
01:45:24,487 --> 01:45:26,592
...and of the past.
1394
01:45:36,532 --> 01:45:39,809
Frank Skeffington is leaving
his campaign headquarters right now.
1395
01:45:39,969 --> 01:45:41,004
Let's go.
1396
01:45:41,170 --> 01:45:42,877
With him are his loyal supporters.
1397
01:45:43,039 --> 01:45:45,383
Those who fought alongside of him
in this campaign.
1398
01:45:45,541 --> 01:45:48,784
There's an air of defeat here.
but it was not shared by the candidate.
1399
01:45:48,945 --> 01:45:53,223
There's only one way to describe him.
and that is that he was victorious in defeat.
1400
01:45:53,382 --> 01:45:56,226
I'm sorry the show
didn't have a happier ending.
1401
01:45:56,385 --> 01:45:58,524
Maybe I can do better next time. lad.
1402
01:45:58,688 --> 01:46:02,067
- Good night.
- Good night, Uncle Frank.
1403
01:46:04,293 --> 01:46:06,796
Victorious in defeat.
1404
01:46:06,963 --> 01:46:10,172
John Ford's history is filled with defeats...
1405
01:46:10,333 --> 01:46:13,405
...failures, last stands...
1406
01:46:13,569 --> 01:46:16,709
...their tragedy also their peculiar glory.
1407
01:46:16,873 --> 01:46:21,549
Finally, it's not the concentration on
Americana that gives unity to his work...
1408
01:46:21,711 --> 01:46:27,252
...but rather this singular poetic vision.
with which he sees all life...
1409
01:46:27,416 --> 01:46:31,796
...and through which he has created
his own particular world.
1410
01:46:31,954 --> 01:46:36,300
And his hero
has most often been a man alone...
1411
01:46:36,459 --> 01:46:39,872
msilhouetted against
the moving background of history...
1412
01:46:40,029 --> 01:46:46,537
...whether played by Henry Fonda
or Jimmy Stewart or Spencer Tracy.
1413
01:46:46,702 --> 01:46:51,845
From Harry Carey to John Wayne, the same.
1414
01:46:52,008 --> 01:46:58,254
And one of Harry Carey's. uh. stances
was grabbing his elbow and looking off...
1415
01:46:58,414 --> 01:47:01,418
...and he always seemed like
such a lonely character to me.
122982
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