Long before he becomes a real icon on the screen we know as today, Johnon Wayne began his show -working career with literally knocking director Johnon Ford. The couple established their long -standing collaborative relationship, who saw them working together on 14 features, in an unusual way when a young Wayne, then a student at the USC, met Ford during his summer work as a props. In the memory of Wayne, the director pulled his legs from under him to test his metal as a footballer, only for the young duke to give him another shot before he hit him in the chest.

This seemingly sad at the first meeting, in fact, appeared at Ford's "Young Propt", with the director climbing Wayne in his 1928 film "Haucman of Hangman". The role was small, to say at least. Wayne was given some of the trouble as a spectator of the horse race (a kind of non-industry called Sylvester Stallone "atmosphere"). Wasn't until a decade later that Ford actually gave Wayne a lead role in his classic "Stagecoach" from 1939, "Stagecoach", " Allowing the young Starwar to finally break into the big leagues after more than a decade to fuel the "poverty order" of the west.

The same confrontative energy that characterized the first meeting of the couple seemed to convey "Stagecoach", where Ford and Wayne clashed During the director's insensitive style, which included pushing Wayne to do, even though he appeared only in the background of certain scenes. This controversial employment remained over the next decades, which would suggest that Wayne was not so fond of man who had tormented all those years. But it seems that the legend of the screen always retained a sense of what Ford did such a great director.

In 1976 InterviewJimim Wiley asked Johnon Wayne that set out Johnon Ford from other directors. Instead of moving away from the question and emphasizing the aggressive way of Ford, which at times borders abuse, the duke responded by expanding man's talents in two ways. "I think (Ford) would be the best painter in the country," he said, "because he knew how to use his color. His people, his compositions were wonderful, and I think he would be, and he was probably as big as I know."

Ford's eye for the composition made the impression of Wayne, but the actor also admired the editorial eye of his longtime associate when it comes to scripts. "In the early days he had great patience with the writers," the duke said, "and will make them write a scene in one way, and then (...) made them write it in another way, until he was carrying them. And then he would reach and from the passage, he would take three rows here, two rows, and he would cut them all, The patience for that kind of script processing as he was, but as the actor said, "that didn't stop him from making great pictures."

Wayne was then clearly a fan of Ford during his career, despite the fact that he clearly acknowledged the director's splendor of pushing too far. Case in point: Wayne saved his young co-Starvist, Johnon Aar, from Ford's anger on the Fort Apache set Explaining that the director gave him a difficult time in the early days and encouraged Agar to miss him.

Johnon Wayne was able to neglect the dubious methods of directing Johnon Ford to the point that the director's fondilist remained throughout his life. His comments to Jimim Wiley, for example, came after he was filming what would fall as his last film, the "Snowman", in which he starred in a nursing gun, which was a very analogue to the screen of then Avelling Wayne. As such, it may seem like the actor was a tad sentimental when he praised Ford as "great". But he was always nothing but complimentary to the man who gave him his big break.

The admiration was seemingly with each other. Ford waited for Wayne to give the lead role because he knew the young man should defend his craft before debuting as Henry, Ring -Ring in Ringo in "Stagecoach". The actor's play in that picture may have been drawn from him by forceBut it was all for the bigger good. After that film, Wayne's Starwear began to rise seriously, with Ford eventually throwing Wayne in 13 of his other films, including the 1956 "The Searchers", which is probably the biggest and most famous project of the actor ever. After that movie, Wayne even wrote a letter to Ford, writing: "It's just a wonderful picture. You have great performances from all, and there is cruel brutality without any detail or meanings. All I can say is - thank you again, coach."

Wayne's later comments on Ford were a clearly honest assessment of his longtime associate and were not colored by nostalgia or sentimentality. He really thought that Ford was one of the best he had ever done, and many of the duo collaborations stand as a testimony to that point of view.