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But movies were not the consuming subject in my circle. Oh sure, the girls loved a Rudolph Valentino.
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There were no movie buffs, no autograph seekers with that almost unhealthy preoccupation with the famous. I can still remember the names of the specialists who attended me over sixty years ago, and I can’t account for what they did to that child. Somehow I knew they were wrong and I was right. I wasn’t allowed to play or eat a normal diet.
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I’m not sure something like this means as much to a kid as to a grown man. Yes, the doctors thought I was doomed by a heart ailment. It’s just that the one I had stood me better. Of course, I admire disciplined learning in others, the academic education. Instead of giving form and shape to my view of life, formal schooling would only have limited me. I regret this in a way because today I don’t think of myself as an educated man. You managed to avoid much formal schooling in your life, didn’t you? Between takes, he sips lemonade from a huge Styrofoam cup. He is seventy-five now and moves with a slow, stiff grace. He is dressed with almost deliberate anonymity, loafers, nondescript dark blue slacks, and one of the last white, messageless T-shirts in America. With his slat-thin arms and folded legs, he suggests a collapsible yardstick. He is slouched in the director’s chair, a gangling, seemingly fleshless man with a grizzled beard and deep creases radiating from his eyes like spokes.
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The interview began on the Burbank Studios set of Annie, Huston’s first musical. Along the way he has also been a big-game hunter, a high-stakes gambler, a long-time resident of Ireland and of Mexico, where he now lives, and he has been married five times. He won the Academy Award for best direction for The Treasure of the Sierra Madre in 1948 The Screen Directors Guild Award for The Asphalt Jungle in 1950 and the New York Film Critics Award for Moby Dick in 1956. Huston also occasionally acts in films and appeared in The Cardinal, The Bible, Chinatown, The Wind and The Lion, and Myra Breckinridge. He has directed thirty-eight movies, among them: The Maltese Falcon, The Treasure of the Sierra Madre, Key Largo, The Asphalt Jungle, The Red Badge of Courage, The African Queen, Moulin Rouge, Moby Dick, The Misfits, The Night of the Iguana, Reflections in a Golden Eye, and The Man Who Would Be King. He began his motion-picture career as a screenwriter on such films as The Killers and Sergeant York. The boy grew up following his mother around the country to a succession of reporting jobs spelled by visits to his father on the vaudeville circuit.Īs a young man he was a ranking lightweight boxer in California, winning twenty-two of twenty-five bouts, briefly attached to the Mexican cavalry, a street artist in Paris, and a reporter on the old New York Graphic. The parents separated when John was three and later divorced. John Huston’s mother was Rhea Gore Huston, a talented newspaperwoman, horse fancier, and inveterate traveler. Until his death, Walter Huston appeared in all his son’s films. He was forty-six before he made his first film and again achieved instant critical and popular success. He was the son of Walter Huston, who, after fifteen years as a vaudeville headliner, became one of America’s finest dramatic actors, best known for playing the old farmer in Eugene O’Neill’s Desire Under the Elms and for the title role in Dodsworth. John Huston was born on August 5, 1906, in Nevada, Missouri, a town that his grandfather won in a poker game, according to family legend.