Tyrone Power, 20th Century Fox's [picture] must be considered one of that company's more sober and meritorious contributions to the historical drama." In response, Fox and the theater that presented the film reduced their advertising in The New York Times for months, costing the paper $50,000. His review of Fox's The Grapes of Wrath led to an offer from Fox studio head Darryl F. Zanuck to work as a script editor for $400 a week, a very generous salary at the time. By then he had written almost a thousand film reviews for the Times. Career in films Nugent continued to write for the Times on a freelance basis during his first several years in Hollywood. For Zanuck he worked on scripts, reviewing others' screenplays and providing criticism. He said later that "Zanuck told me he didn't want me to write, that he just thought the studio would save money if I criticized the pictures before they were made." Fox terminated him in 1944 and Nugent turned to work as a freelance writer. His sharp critiques served Zanuck, but won him no screenwriting work, while his criticism of his colleagues' work, just as clever as when he was a journalist, was not designed to win collaborators. He returned one script to Zanuck with a note saying: "My opinion of this script is unchanged. As far as I'm concerned, there's nothing wrong with it that a waste basket can't cure." Nugent was working on a magazine article about The Fugitive (1947), while the film was being shot, when he met the film director John Ford on the set in Mexico. Their meeting led to Nugent's long and fruitful association with the John Ford Stock Company. Ford hired him to work on his next film, Fort Apache (1948), and Nugent wrote screenplays for several more of Ford's westerns, including 3 Godfathers (also 1948), She Wore a Yellow Ribbon (1949), Wagon Master (1950) and The Searchers. Of the 21 film scripts Nugent worked on, 11 were for Ford. They had a difficult working relationship, as did everyone who worked with Ford, but Nugent later said "it was a small price to pay for working with the best director in Hollywood." In assessing their work together, Glenn Frankel credits Nugent with providing Ford with more sophisticated male-female relationships than his other scripts and tempering the racism so endemic to the western genre's portrayal of