>PLAYBOY: What kind of films do you consider perverted? >WAYNE: Oh, Easy Rider, Midnight Cowboy—that kind of thing. Wouldn't you say that the wonderful love of those two men in Midnight Cowboy, a story about two fags, qualifies?
>WAYNE: Well, the liberals seem to be quite willing to have Communists teach their kids in school. The Communists realized that they couldn't start a workers' revolution in the United States, since the workers were too affluent and too progressive. So the Commies decided on the next-best thing, and that's to start on the schools, start on the kids. And they've managed to do it. They're already in colleges; now they're getting into high schools. I wouldn't mind if they taught my children the basic philosophy of communism, in theory and how it works in actuality. But I don't want somebody like Angela Davis inculcating an enemy doctrine in my kids' minds.
>PLAYBOY: Angela Davis claims that those who would revoke her teaching credentials on ideological grounds are actually discriminating against her because she's black. Do you think there's any truth in that? >WAYNE: With a lot of blacks, there's quite a bit of resentment along with their dissent, and possibly rightfully so. But we can't all of a sudden get down on our knees and turn everything over to the leadership of the blacks. I believe in white supremacy until the blacks are educated to a point of responsibility. I don't believe in giving authority and positions of leadership and judgment to irresponsible people.
>PLAYBOY: Many militant blacks would argue that they have it better almost anywhere else. Even in Hollywood, they feel that the color barrier is still up for many kinds of jobs. Do you limit the number of blacks you use in your pictures? >WAYNE: Oh, Christ no. I've directed two pictures and I gave the blacks their proper position. I had a black slave in The Alamo, and I had a correct number of blacks in TheGreen Berets. If it's supposed to be a black character, naturally I use a black actor. But I don't go so far as hunting for positions for them. I think the Hollywood studios are carrying their tokenism a little too far.
>PLAYBOY: Can blacks be integrated into the film industry if they are denied training and education? >WAYNE: It's just as hard for a white man to get a card in the Hollywood craft unions.
>PLAYBOY: That's hardly the point, but let's change the subject. For years American Indians have played an important—if subordinate—role in your Westerns. Do you feel any empathy with them? >WAYNE: I don't feel we did wrong in taking this great country away from them, if that's what you're asking. Our so-called stealing of this country from them was just a matter of survival. There were great numbers of people who needed new land, and the Indians were selfishly trying to keep it for themselves.
>PLAYBOY: In your distaste for socialism, aren't you overlooking the fact that many worthwhile and necessary government services—such as Social Security and Medicare—derived from essentially socialistic programs evolved during the Thirties? >WAYNE: I know all about that. In the late Twenties, when I was a sophomore at USC, I was a socialist myself—but not when I left. The average college kid idealistically wishes everybody could have ice cream and cake for every meal. But as he gets older and gives more thought to his and his fellow man's responsibilities, he finds that it can't work out that way—that some people just won't carry their load.
Henry Barnes
Based and redpilled. Not even Mel Gibson has the balls to drop truth bombs like this.
Julian Rodriguez
>PLAYBOY: How do you feel about the state of the motion-picture business today? WAYNE: I'm glad I won't be around much longer to see what they do with it. The men who control the big studios today are stock manipulators and bankers. They know nothing about our business. They're in it for the buck. The only thing they can do is say, "Jeez, that picture with what's-her-name running around the park naked made money, so let's make another one. If that's what they want, let's give it to them." Some of these guys remind me of high-class whores. Look at 20th Century-Fox, where they're making movies like Myra Breckinridge. Why doesn't that son of a bitch Darryl Zanuck get himself a striped silk shirt and learn how to play the piano? Then he could work in anyroom in the house. As much as I couldn't stand some of the old-time moguls—especially Harry Cohn—these men took an interest in the future of their business. They had integrity. There was a stretch when they realized that they'd made a hero out of the goddamn gangster heavy in crime movies, that they were doing a discredit to our country. So the moguls voluntarily took it upon themselves to stop making gangster pictures. No censorship from the outside. They were responsible to the public. But today's executives don't give a damn. In their efforts to grab the box office that these sex pictures are attracting, they're producing garbage. They're taking advantage of the fact that nobody wants to be called a bluenose. But they're going to reach the point where the American people will say, "The hell with this!" And once they do, we'll have censorship in every state, in every city, and there'll be no way you can make even a worthwhile picture for adults and have it acceptable for national release.
Henry Flores
>I've directed two pictures and I gave the blacks their proper position. I had a black slave in The Alamo
Nolan Adams
This is the future of America. John Wayne was just a retarded boomer who didn't understand that progressive politics and diversity are what make countries great.
John Wayne was actually really smart. Today I learned.
Sebastian Ortiz
The Searchers Stagecoach Red River The Quiet Man Rio Bravo They Were Expendable
Jaxson Cooper
There was a time when actors were as intelligent as the rest of the populace. But as he says, the producers are only in it for the money so they've filtered that out of the system now, leaving brain-dead sloths as the only acceptable actor, ones who simply do whatever they're told.
youtube.com/watch?v=umHEax4N29o&t=20 >"John Wayne once said 'I believe in a white supremacy until blacks are educated to a point of responsibility', why did you retweet that?"
Jacob Hill
>There were great numbers of people who needed new land, and the Indians were selfishly trying to keep it for themselves.
The sun is sinking in the west, the cattle go down to the stream........keep it going user
Jaxon Gray
PUUUUUUUUURPLE LIGHT
Angel Powell
I watched Tycoon not long ago. Didn't think much of it. Went on too long.
Kevin Nguyen
One of the comfiest films ever
Charles Myers
Give me top 5 John Wayne westerns. And I mean good, for real, not "indians are bad"- kinda films.
I've seen Searchers and The Man who Shot Liberty Valance. Both were very good.
Ian Barnes
In the canyon, thats where i long to be, with my three good companions just my rifle, pony and me, gonna hang my sombrero on the limb of a tree...... Come on user you know the rest
Connor Peterson
One of the best
Ryan Collins
Besides those two you've seen:
Red River Stagecoach Rio Bravo
Also check out some of his films outside westerns like The Quiet Man
Noah Ortiz
>This is the future of America until black women all rise up and start murdering white women who steal their men.
Sebastian Foster
>Armenians >White
Michael Adams
>The term Caucasian originally referred in a narrow sense to the native inhabitants of the Caucasus region guess where armenia is white boy...
Nathan Brown
The Man Who Shot Liberty Valance Rio Bravo El Dorado The Shootist Stagecoach
The Searchers is not that good, the best part is the cinematography and Wayne's perfprmance
