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‘Gunsmoke’ Director Andrew McLaglen Went on to Make Westerns with John Wayne – My Blog

Gunsmoke Director Andrew McLaglen had his good friend John Wayne to thank for his directorial run in Hollywood.

According to an interview with the Directors Guild of America, McLaglen got his start in the industry as an actor. He followed in the footsteps of his Oscar-winning father, Victor McLaglen. But after only two gigs, he realized he wanted to work on the other side of the camera as a director.
So once he graduated high school, he started working towards his dreams.
Eventually, McLaglen landed a job as the assistant director for the 1952 film Big Jim McLain, which starred John Wayne and James Arness.

At the time, the then 32-year-old already had a movie that he wanted to make. However, he had no way of funding the project. But once John Wayne recognized his talents, he decided to help McLaglen get his idea to theaters.
“Duke knew that I wanted to be a director,” McLaglen said. “And he called me aside one day and he said, ‘Listen Andy McSandy (did you read that in Wayne’s voice, too?), I’ll guarantee the loan. I know it isn’t a big picture. I’ll guarantee the loan and why don’t you go ahead and make an arrangement to make your movie.’”
And with that, Andrew McLaglen made his directorial debut. The project was the 1956 thriller Man in the Vault, which tells the story of a locksmith who gets caught up in a bank robbery.
That same year, he also released his first Western Gun the Man Down, starring James Arness.Andrew McLaglen Went on to Work with John Wayne Five More Times
After working with McLaglen, Arness was so impressed that he got him a job directing an episode of Gunsmoke. And that job led to 95 more. Thanks to that series, McLaglen found his niche in Hollywood, and he went on to make dozens of Westerns.
Some of his works include The Way West with Kirk Douglas and Bandolero! with James Stewart and Dean Martin. He also reconnected with The Duke to direct McLintock!, The Undefeated, Chisum and Cahill U.S. Marshal. And he directed Wayne in his 1968 action-drama Hellfighters.‘Gunsmoke’ Helped Make Burt Reynolds A Bonefied Hollywood Legend
Gunsmoke didn’t just help director Andrew McLaglen earn a place in Tinsel Town, it also helped turn Burt Reynolds into a legend.
Though Reynolds had a few jobs before finding a regular spot on the iconic Western, Gunsmoke was definitely his big break. And after a few episodes with the series, he started getting offers to star in major movies.
However, his obligations with the series made it impossible for Reynolds to take on too many side gigs. So while starring next to Will Arness and Amanda Blake got him noticed, it eventually held him back.
So one of his co-stars told him to quit, and he did.
“I enjoyed being on Gunsmoke,” Reynolds shared Cowboys and Indians. “But if it hadn’t been for Milburn Stone, this interview might not even be taking place.”
According to Reynolds, Stone told him that his movies were “taking off — get out of here.”
“I said, ‘Don’t you like me?’ He said—total gentleman that he was—’ I love your work. But it’s time to think about your movie career,” the actor continued. “I knew he was the smartest guy on the set — I always thought that. He was so wonderful. So I quit.”

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John Wayne’s words to his daughter before taking his last breath . – My Blog

John Wayne was in around 170 movies during his long career in the acting world. It’s hard to determine exactly how many because he had starred in so many early on in his career that was considered more obscure.


By the time he was done acting, fans heard him deliver hundreds of thousands of lines to the cameraWhile his acting career was the life he projected, Wayne also had a life outside of the set. He was married three times and divorced twice. In total, John Wayne had seven children during his life. Wayne will always be remembered as the epitome of the Western genre. The tough, macho man behind countless iconic films. He was in movies like “True Grit,” “The Shootist,” “The Cowboys,” and “El Dorado.”

John Wayne’s Last Words : When he was lying in his death bed, however, he wasn’t talking about the Old West or old-fashioned violence. Instead, family was his main concern. According to a Neatorama post from actor, comedian, and voiceover artist Eddie Deezen, Wayne spent his last days in a hospital bed in-and-out of consciousness. He passed away on June 11, 1979, surrounded by many family members.

His daughter, Aissa Wayne (born March 31, 1956) was at his bedside. She held his hand and asked if he knew who she was. He responded with his very last words ever, “Of course I know who you are. You’re my girl. I love you.”

Wayne passed away from stomach cancer. He had been suffering from poor health for several years at this point. Deezen described Wayne on the set of his last movie, “The Shootist” by saying he was often irritable and missed days on set due to poor health. He even had an oxygen tank on set.

Beyond the stomach cancer, John Wayne also had heart issues. He had a long life of smoking, drinking, and a questionable diet. He actually had a pig valve put into his heart. His last appearance would be at the 1979 Academy Awards where he was notably thinner and very sick. He even had a wetsuit on underneath his outfit to make him look bigger.

According to Mental Floss his grave in Corona del Mar, Newport Beach reads, “Tomorrow is the most important thing in life. Comes into us at midnight very clean. It’s perfect when it arrives and it puts itself in our hands. It hopes we’ve learned something from yesterday.”

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How does John Wayne comment and evaluate the person and film of Julie Andrews? – My Blog

John Wayne and Julie Andrews were both huge icons in the 1960s, however, Wayne was not a fan of one of Andrews’ movies. He felt one of her films “fell on its face” because of one of her ideas. Here’s what he thought of her as a performer.

During the late 1960s, Hollywood underwent a lot of changes. For example, the industry started embracing graphic violence and sexuality –or, at least, what constituted graphic violence and sexuality at the time. Explicit movies like Psycho, Bonnie and Clyde, and The Graduate that never could have been made in a more restrictive era were finding success.Wayne was not a fan of the increased sexuality in American films. “All the real motion picture people have always made family pictures,” he told Roger Ebert in 1969.
“But the downbeats and the so-called intelligentsia got in when the government stupidly split up the production companies and the theaters. The old giants–Mayer, Thalberg, even Harry Cohn, despite the fact that personally I couldn’t stand him – were good for this industry. Now the goddamned stock manipulators have taken over. They don’t know a goddamned thing about making movies. “They make something dirty, and it makes money, and they say, ‘Jesus, let’s make one a little dirtier, maybe it’ll make more money,’” Wayne opined. “And now even the bankers are getting their noses into it.”

John Wayne felt Julie Andrews was trying to be like another star
Wayne felt Andrews had succumbed to this trend. “Take that girl, Julie Andrews, a refreshing, openhearted girl, a wonderful performer,” he said. “Her stint was Mary Poppins and The Sound of Music. But she wanted to be a Theda Bara. And they went along with her, and the picture fell on its face.”

Which of Julie Andrews’ movies was he talking about?
For context, Bara was a silent movie actor who was an early Hollywood sex symbol who often played femmes fatale. In the interview, Wayne never specifies which movie he was discussing. Between the release of The Sound of Music in 1965 and the time Wayne gave the interview, Andrews starred in five films: Torn Curtain, Hawaii, Think Twentieth, Thoroughly Modern Millie,and Star!. It’s impossible to know for sure which movie Wayne criticized, but it may well have been Thoroughly Modern Millie, whose plot involves sex trafficking.

It’s unclear if Wayne meant the movie he mentioned “fell flat on its face” artistically or commercially. Obviously, whether Thoroughly Modern Millie is a good movie is a matter of taste. However, the movie performed well for the time. According to The Numbers, it earned $34,335,025. In addition, Thoroughly Modern Millie inspired the famous musical of the same name. Regardless of which of her movies he disliked, Wayne still praised Andrews’ talent.

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John Wayne doesn’t want to be an actor and likes a director . – My Blog

He became one of Hollywood’s biggest stars, but John Wayne once saw acting as just ‘a brief detour’. His real dream was to become a film director.Cinema’s most iconic cowboy could have spent his days behind the camera had he not inadvertently stepped in front of one on a John Ford set, allow the director to see his potential.


The disclosure is in a memoir he was working on that lay undiscovered among family papers. It said Wayne, who ԁıеԁ in 1979, was working at 20th Century Fox in the 1920s simply to pay the bills.It added: ‘I had no thoughts of becoming an actor. Acting was a kind of apprenticeship toward becoming a director. It was also a source of petty cash…

‘I was ԁеаԁ-set on becoming a director.Elsewhere, he adds: ‘If need be, I would take a brief detour into acting or whatever else was necessary to accomplish my goal.’The memoir was found by Michael Goldman in inquire his book, John Wayne: The Genuine Article, published this month. Even Wayne’s family did not know of its existence in their archives.

Its 72 typed pages paint a portrait of an ordinary man who became the Oscar-winning star of True Grit and The Searchers, a larger-than-life icon nicknamed the Duke.Wayne was working on it shortly before his ԁеаtһ in 1979, having repeatedly rejected requests for an autobiography.He wrote about the 1920s, when he headed for Twentieth Century Fox’s studio and found menial jobs in props and stunt-work, learning his for horse-riding, roping, ɡսոѕ and fighting.

he memory of being desperate for money never left him and in the memoir he writes: ‘The big Depression was still two years away, but my one personal depression was staring at me from the bottom of my empty soup bowl.’I needed a job .’He describes working as an extra – kicked off John Ford’s set for inadvertently stepping in front of a camera – and, like some star-struck teenager, was overwhelmed by the excitement of seeing his own movie heroes.On encountering Tom Mix, a silent Western star, Wayne writes of trying ‘to figure out how to make the best impression possible on the greatest cowboy star in the world’.
He records Mix ignoring him on his attempt to ingratiate himself.Mr Goldman notes the irony of Wayne idolising Mix: ‘The man who would become “the most iconic cinematic cowboy in history” was racking himself over how to make an impression on “the most Cinematic cowboy in history”.’The biographer says of Wayne’s ‘brief detour’ in front of the camera: ‘It was a detour that lasted until his ԁеаtһ.’Wayne would ultimately direct just four films, including The Alamo and The Green Berets , “passion projects” for him. But directing was not what he became known for.Wayne does not elaborate in the manuscript on why he never made directing a priority in subsequent years.

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