John Ford

But here he is still the picture of youthful potential.

He's colorized to electric effect, like John Ford's Technicolor Westerns of the time, or like another contemporaneous icon, Superman.

okay now we have an article about marvelous museums of mexico city this is quite a long article and i'm just going to really quickly take a look and make sure that nobody else has read it so we'll start Nobody is entirely sure how many museums lie hidden in the sprawling megalopolis of Mexico City, but its government counts 171.

They range from the high-profile National Museum of Anthropology, which holds the world's largest collection, of pre-Columbian items and a superb modernist structure to such extravagantly specialized destinations as the Tequila and Mezcal Museum, the Antique Toy Museum, and the Mexican Sugar Art Museum.

right.

It's almost going back to old days Hollywood because in old days Hollywood, you know, John Ford made five movies in one year.

Alfred Hitchcock made like three or four movies in one year.

That's not possible anymore.

That was a very

John Ford-like answer from you.

Thanks.

I think we should really comment on Gabe's lighting tonight, because I think it was...

He doesn't present this as a kind of a bad outcome.

you know something to be feared but he talks about an exalting vision yeah an exalting vision um and the desert in america well he writes of various deserts here monument valley which he compares to john ford i think westerns um there is death valley which is uh he writes very lyrically about the geology i think and the animal

silence or something, I think, at

night, and the influence of the stars coming down from the heavens at night.

Yeah.

I mean, I wouldn't be able to, uh, to really say, but, uh, it is kind of funny.

Again, living in Utah, I'm not too far from where all those Monument Valley, where all those John Ford Westerns were filmed.

And, you know, it's like my backyard.

He said that in 1987, so about five years before this movie, but I think it is never more apparent than here, just the dire state that Hollywood of the 80s was in at the time of this film's production.

And I think it's particularly relevant when you're looking at kind of Carpenter's career because like to me anyway he is absolutely an auteur he's the guy with his name above the title but he's not someone like Spielberg or Scorsese like he's not someone who like breathes cinema there's not that kind of cinephilic element to his filmography nor I think would he want there to be like he is in the vein of someone like Howard Hawks someone like John Ford, like a studio filmmaker who is, at the end of the day, a consummate professional.

And I think that is as cool a way to go about being a director as anything else.

Again, like, Hollywood was essentially built by guys like this, where, like, if you were John Ford or Howard Hawks and you talked about movies the way that, you know, so many of our beloved old man auteurs talk about movies today, like, you would get a kick in the pants from, like, a studio chief who...

Who is like, great, you love this so much, we can exploit you for all you're worth and ruin your life.

You got another two features to shoot by Wednesday.

No, she's not

watching John Ford movies.

I feel like she's a bit like Trump where she's watching whatever her equivalent of is of like the Seagal movies with all the dialogue scenes cut out.

What do you mean? That's not what Trump watches.

Ida Lupino and Robert Ryan.

And Ward Bond, who's just in like every John Ford movie.

Number six, Where the Sidewalk Ends.

Number five, Leave Her to Heaven.

Yes.

I want you to give me ten films that the BFI have called his...

I've called John Ford's ten essential films.

Oh, interesting.