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tire it'll be on a Montana ranch where I can tend cattle, ride and paint. I can take any kind of motor apart and put it together in perfect shape. I had plenty of experience at that sort of thing when I repaired the tractors on the ranch. I did a lot of architectural drafting and mechanical drawing fairly well.
Q. What type of role do you like best?
A. Any good rough and tumble outdoor guy. I don't like drawing room, playboy roles. I really enjoyed my part in China Girl, not because it's my current picture but because it's a he-man part, about an adventurous newsreel cameraman in China.
Q. What would you say are your worst faults?
A. A bad memory for names, eating too fast and spelling.
Q. And your greatest virtue? A. Being naturally healthy.
Q. What are your future plans?
A. I expect to be in service soon, and hope to continue on the screen after we've licked the Nazis and the Japs.
Q. What was your most exciting offscreen experience?
AMERICA IN 1950 IF THE JAPS WIN . . .
. . . there'll be poverty in this country of a type you've never seen — for the wealth will go back to Japan!
IF AMERICA WINS . . .
. . . there'll be a future to guarantee an American standard of living for every citizen in the country. But we have to fight for that standard — with more and more of those War Bonds and Stamps!
A. Being caught in a blizzard when I was rounding up cattle one winter in Montana. I lost my way (not to mention the cattle) in a gale so violent I couldn't keep my feet on the icy ground. I finally pulled some limbs off pine trees, built myself a shelter against the storm to try lo keep myself from being blown off the map and freezing to death ; then when I ran out of bullets I tried to scare the coyotes away, wondering how soon they'd get me. It sounds exciting and I suppose it was, but it was a little too close a call for comfort.
Q. What was the turning point of your life?
A. The time the studio was ready to drop me; they never said so but I knew I was going down and out. One day I met Producer Ralph Dietrich in the office of head cutter Hector Dods. I told him I was going to pull out of the business and go back to Montana. I got Dietrich interested enough to ask me about my life. Then he and Walter Morosco wrote a movie called The Cowboy and the Blonde, based partially on my own life and had enough faith in me to let me play myself. From then on I was set.
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