tag:blogger.com,1999:blog-77682274931899567852024-03-05T02:43:52.831-08:00Henry's Western Round-upThe blog that brings you the latest news about western movies, TV, radio and print! Updated every weekend -- more often if anything good happens!Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.comBlogger363125tag:blogger.com,1999:blog-7768227493189956785.post-66519639245172561722023-04-10T19:18:00.002-07:002023-04-10T19:18:26.281-07:00Richard Dreyfuss Goes West to Yellowstone City!<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixer_1Dnvm1raZhE4nOp5MHWXIDrXUU-STulGVwfrP3GXtV-GI3it9ZO7GVqSxmpTULHeEndEfcaTtx8upUnq1Ud1DGSro-xIVZVQuu2QKYXAqJ4-ANUiHnp1TQb2GJewEnQRw-6tw_xLh7yXy3JyoXQ4QhEbX5RgChjLLcSc0_b1PAA3lX_H-04sXlA/s1000/Dreyfuss%20Yellowstone%20Saloon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="545" data-original-width="1000" height="174" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixer_1Dnvm1raZhE4nOp5MHWXIDrXUU-STulGVwfrP3GXtV-GI3it9ZO7GVqSxmpTULHeEndEfcaTtx8upUnq1Ud1DGSro-xIVZVQuu2QKYXAqJ4-ANUiHnp1TQb2GJewEnQRw-6tw_xLh7yXy3JyoXQ4QhEbX5RgChjLLcSc0_b1PAA3lX_H-04sXlA/s320/Dreyfuss%20Yellowstone%20Saloon.jpg" width="320" /></a></div><br /><p></p><p><b><span style="font-family: "Times New Roman", serif; font-size: 12pt;">His thoughts on <i>Murder at Yellowstone City</i>, his other Westerns, American Films in General, and </span><i style="font-family: "Times New Roman", serif; font-size: 12pt;">Mr. Smith Goes to Washington</i><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> in
Particular</span></b></p><p><span style="font-family: "Times New Roman", serif; font-size: 12pt;">By Henry C. Parke</span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Richard Dreyfuss, an
Oscar winner for <i>The Goodbye Girl</i>, beloved for <i>Jaws, American
Graffiti, Close Encounters</i> and so many more, has finally made a Western
movie. It’s about time: after all, the
American history enthusiast is a Civil War reenactor. “Why wouldn't I be? When you realize how
heavy their packs were, and what they did with all that weight on them, it's
astounding. We made America to build a different and better country than any
other country had ever tried. I have a great deal of pride, however badly we
might have done it. I call it an imperfect miracle.”<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhToKqFqgqe1N-x8lETZ2P7Cp-hijpbhDquZXG1fLtX3ml-FnMsxyos1mrwylCzQ-LmPv_wtT1wel1k61OXUoXWdKSQWojR_beFnrR7KaC0510NjfjRf3JJ4Nn-RQqpwzQVUj9rYKTQBpI5vlVVJdZQcpeSoFf-u0CJxxNpDSt-bUef9xKkGhnlSF8nqg/s2560/Dreyfuss%20Yellowstone%20Isiah.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1709" data-original-width="2560" height="214" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhToKqFqgqe1N-x8lETZ2P7Cp-hijpbhDquZXG1fLtX3ml-FnMsxyos1mrwylCzQ-LmPv_wtT1wel1k61OXUoXWdKSQWojR_beFnrR7KaC0510NjfjRf3JJ4Nn-RQqpwzQVUj9rYKTQBpI5vlVVJdZQcpeSoFf-u0CJxxNpDSt-bUef9xKkGhnlSF8nqg/s320/Dreyfuss%20Yellowstone%20Isiah.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="font-family: "Times New Roman", serif; font-size: 16px; text-align: left;">Isaiah Mustafa and Richard Dreyfuss</span></div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">In <i>Murder at
Yellowstone City, </i>a forlorn former goldrush town in Montana gets a sudden
influx of hope when a man dynamites the old mine, and creates a new gold
strike! Then a freed slave (Isaiah
Mustafa) arrives in town just as the gold striker turns up dead. Gabriel Byrne is the law, Thomas Jane is the
pastor, and Anna Camp is his wife. Richard Dreyfuss is the Shakespeare-quoting
saloon proprietor. Produced by RLJE Films, distributed by AMC, <i>Murder at
Yellowstone City</i> is available on AMC+, for rent or sale through Prime, and
on DVD and Bluray. “What appealed to me
about the film was that it was a kind of metaphor for America,” Dreyfuss
explains. “About people who had come to America, who were being given a second
chance.” It’s actually Dreyfuss’ third
chance at a Western; the first two were for television.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span> </span></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_4eJzDq-Xmq6m8n_XdMGXoRi7eFJ_8LTCB2oJEArermAodrNr8uZHXnwYy6Wum06xn9KNGybNJi_WCNm5IWYsVxHi_CT9jDwU0LEffbk55TNGX_riGDNKKjpxprNi-m67jgoZS3esJwcgF7_OUYbeZ0SsfURKEvT_Ouiqhg2eeDPXK0yGlvfgma6YGQ/s3840/Dreyfuss%20Yellowstone%20red%20carpet.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2160" data-original-width="3840" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_4eJzDq-Xmq6m8n_XdMGXoRi7eFJ_8LTCB2oJEArermAodrNr8uZHXnwYy6Wum06xn9KNGybNJi_WCNm5IWYsVxHi_CT9jDwU0LEffbk55TNGX_riGDNKKjpxprNi-m67jgoZS3esJwcgF7_OUYbeZ0SsfURKEvT_Ouiqhg2eeDPXK0yGlvfgma6YGQ/s320/Dreyfuss%20Yellowstone%20red%20carpet.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Svetlana and Richard Dreyfuss on the red carpet</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Big Valley</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
episode, <i>Boy into Man</i>, was a star-turn for young Dreyfuss as a boy
trying to protect his younger siblings when his mother disappears. And in addition to the <i>Big Valley</i>
stars, his mother was Diane Ladd, and he was directed by <i>Casablanca</i> star
Paul Henreid. “I worked with Barbara
Stanwyck, and that's no small thing: she's part of my innermost fantasy of what
it's like to be a movie star. And when I got to work the first morning, she had
been there since 4:00 AM, and the crew made it crystal clear to me that they
were Missy's crew and they were proud of it. And they didn't want to hear any
criticism of Missy. And I had seen every film she'd ever made. So my tongue
cloved to the roof of my mouth for most of the time that I was on that show.”<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvgqUzLaNZqRR8An-n7qxCDiEdCXo904sdcHoiVyVOgE8Wpq-nlnO-J26So-SHubf3Op8QvM7ev0Azc_S-n9WQw0RJ2KShCNm60Al7iy0VjNhEyLWrqDxnY1yNXcUzK_cm5CW_VNFj42KO8DJp2nET8xQRVLmJjpfypMYoQC_2qxgh0JSoL9h3_57KOw/s889/Dreyfuss%20Big%20Valley%20new.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="656" data-original-width="889" height="236" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvgqUzLaNZqRR8An-n7qxCDiEdCXo904sdcHoiVyVOgE8Wpq-nlnO-J26So-SHubf3Op8QvM7ev0Azc_S-n9WQw0RJ2KShCNm60Al7iy0VjNhEyLWrqDxnY1yNXcUzK_cm5CW_VNFj42KO8DJp2nET8xQRVLmJjpfypMYoQC_2qxgh0JSoL9h3_57KOw/s320/Dreyfuss%20Big%20Valley%20new.PNG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Richard Dreyfuss, Lee Majors, Darby Hinton </div><div class="separator" style="clear: both; text-align: center;">and Margot Jane on The Big Valley</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">“I walked in and there
was Paul Henreid, and I said, ‘Oh my God, it's an honor to meet you, Mr.
Henreid.’ And he then asked the question, which is always answered with the
actor's oath. The question was, do you know how to ride a horse? And I said, ‘I
was raised on a ranch outside of Las Vegas: of course I do!’” Actually, he grew
up in Brooklyn. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">There was a scene where
Dreyfuss had to drive away in a buckboard with his younger brother and sister
beside him. On the day of the shoot,
Dreyfuss pulled the wrangler aside, “And I said, ‘Excuse me, how do you do it?’
And he went, ‘Oh my God, this is really hard, and you've got two little kids
sitting next to you on this wagon.’ So I
was terrified, and I put the two kids on the buckboard and they yelled, Action!”
<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Darby Hinton, the boy in
the wagon, remembers, “He only had to go three or four feet, pull up, and
stop. But when they said action, he did the only thing he’d seen in the
Westerns. He yelled “Yee-haw!” and they took off!” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Dreyfuss recalls ruefully,
“And away they ran! Cut! Cut! Cut! I was
out of control,” he remembers with a laugh.
“They were afraid that I was gonna kill these kids.” The wranglers eventually caught up with the
wagon, got control of the horse, and brought them back.” Henreid was furious
with me. And he said, ‘Do you know why you got this part from me?’ I said, ‘I
did a good reading?’ And he said, ‘No! It
is because you said it is an honor to meet you Mr. Henreid!’”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Dreyfuss got through the
show somehow, “And at the end of the show, Barbara Stanwyck came up to me and
she said, "You know, you're the best actor that's ever guested on this
show." And walked away. And I believed her, and I did something I'd never
done before, or since. I invited my family and my friends to watch it with me.
And I realized, as we all were watching, that what Barbara Stanwyck had done
was to say to herself, ‘If I don't say something nice to this kid, he's gonna
blow his brains out because he's such a terrible actor.’ So she said this nice
thing, and I watched that performance, and I wanted to chop my tongue off. But
it certainly did provoke me into being better.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">“I did the first Jewish <i>Gunsmoke</i>.”
“This Golden Land” won the Mass Media Award from The National Conference of
Christians and Jews. Hal Sitowitz’
script was nominated for a Writers Guild award for Best Episodic Drama.
Dreyfuss plays a Russian-born Jewish son who is furious with his father for
refusing to bring charges against the three cowboys who killed his brother.
Here he gets to ride horses and fire shotguns. It felt good to play a Jewish
character in a western, “in the sense that, yeah, I'm Jewish and I like being
Jewish. And so it was an opportunity to kind of flaunt my being Jewish. But I
didn't think it was a particularly subtle, well-written script.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Growing up, Westerns were
not Richard Dreyfuss’ primary focus. “I was a fan of movies, sound American
films. What my daughter disdainfully calls ‘black and whites’. I had probably
seen every movie ever made by an American studio between 1931 and ’60, I knew
everything about everyone. I used to set my alarm for three o'clock in the
morning and watch <i>A Guy Named Joe </i>with Spencer Tracy. And I would sit
this close to the TV so I could keep it quiet, but my mother would inevitably
wake up and come down the hall looking very much like the Wreck of the
Hesperus. She would say, ‘What are you doing?’ And I would say, ‘Spencer Tracy.’
And she said, ‘I'll get some cheese.’ And we would sit there together and watch
Tracy, and [Charles] Laughton movies, and wow: they do not make them the way
they used to.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">“You know the story about
when the Germans occupied Paris? They said to the film theater owners, we’ll give
you a week to play anything you want. And then the German films will come in.
And every theater in Paris played <i>Mr. Smith Goes to Washington</i>. And at
the end of the occupation, every theater in Paris again played <i>Mr. Smith</i>.
You know why and I know why. I once was
the keynote speaker to a room of about a thousand people, and Jimmy Stewart.
And I described Jimmy Stewart as a metaphor for America, that he was the
perfectly innocent American before the war. And I was specific about saying, in
<i>Mr. Smith</i>, there's this scene when he meets Claude Rain's daughter. And
he's so nervous, he keeps dropping his hat. It's hysterical. And then he went
to war, a very real war. His war was from the sky. And when he came back, he
never made another innocent American film again. And he never made a film that
blamed the Indians for everything. He was a complicated guy. At the end of that
luncheon, I was on my way out, and his daughters ran up to me and said, our dad
can't talk to you right now because he's crying. But he wanted you to know that
he never knew that anyone had ever watched him that closely. And I thought,
God, this guy's been a star since 1934. And he didn't know that people watched
him that closely.”<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>AND THAT'S A WRAP!</b></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: Times New Roman, serif;">I hope to see many of you good folks starting this Thursday at the TCM Classic Film Festival in Hollywood! It has the best Western representation in years, beginning at Grauman's Chinese Theatre, with the premiere of the restoration of Howard Hawks' <i>Rio Bravo!</i> And yes, the lovely star Angie Dickinson will be there! They'll also be showing the great <i>noir</i> Western <i>Blood on the Moon</i>, the great musical Western <i>7 Brides for 7 Brothers</i> -- Russ Tamblyn will be there (!), plus the great silent Western <i>Clash of the Wolves</i>, plus <i>The Wild Bunch</i>, and <i>Treasure of the Sierra Madre</i>!</span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: Times New Roman, serif;">And the following weekend, it's the Santa Clarita Cowboy Festival! It's a wonderful free event -- if you'd like to attend, go <a href="https://cowboyfestival.org/schedule/">HERE</a> for the official website. And be sure to visit the Buckaroo Book Shop at the Festival, where you can meet your favorite Western authors, and hear their presentations. Click the </span><span style="font-family: "Times New Roman", serif;"> </span><a href="https://www.facebook.com/search/top/?q=rendezvous%20with%20a%20writer%20outwest" style="font-family: "Times New Roman", serif;">Rendezvous with a Writer Facebook Page</a> link to get the details!</p><p class="MsoNormal" style="line-height: 200%;">Happy Trails,</p><p class="MsoNormal" style="line-height: 200%;">Henry</p><p class="MsoNormal" style="line-height: 200%;">All Original Contents Copyright April 2023 by Henry C. Parke. All Rights Reserved</p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><p class="MsoNormal" style="line-height: 200%;"><br /></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></p>
<p><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span> </p>Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-7297341431902962522022-11-28T01:13:00.001-08:002022-11-28T01:13:33.383-08:00TOM WOPAT ON HIS INSP ‘COUNTY LINE’ MOVIES, VITAGRAPH -- THE PERFECT GIFT BOOK FOR THE MOVIE-HISTORY LOVER, I’VE GOT A BOOK DEAL, AND MORE!<p><a name="_Hlk120475030"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>TOM
WOPAT – NOT <i>JUST</i> A GOOD OL’ BOY</b></span></a></p><p><a name="_Hlk120475030"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></a></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPgksLFSmaHcc2YyQ5QNpEmGFJ3voqaA2Jpvjyu7ozbRc_5fPqEBM-YEAlDjoaljf-KChgniOknguwf9p_xCBYF7vATPktCdb_7wGvb_HnX1Lw9zculowPODq1LDr_iofV1pA8k1EBaVIiGLuo5vgPkOt3dmOZzsDMWx7BMqolaPmzvhqqNBKz2q0iNw/s640/CLAI-keyartwo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="432" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPgksLFSmaHcc2YyQ5QNpEmGFJ3voqaA2Jpvjyu7ozbRc_5fPqEBM-YEAlDjoaljf-KChgniOknguwf9p_xCBYF7vATPktCdb_7wGvb_HnX1Lw9zculowPODq1LDr_iofV1pA8k1EBaVIiGLuo5vgPkOt3dmOZzsDMWx7BMqolaPmzvhqqNBKz2q0iNw/s320/CLAI-keyartwo.jpg" width="216" /></a></div><b><br /></b><p></p>
<b><span style="mso-bookmark: _Hlk120475030;"></span>
</b><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>TOM WOPAT <a name="_Hlk120475059">ON HIS INSP ‘COUNTY LINE’ MOVIES</a>, BEING LUKE DUKE, HIS
WESTERNS, AND MUSICALS </b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">By Henry C. Parke<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">On Monday, November 28<sup>th</sup>,
at 10 p.m. Eastern time, the second of INSP’s <i>County Line</i> movies
starring Tom Wopat, <i>County Line: All In</i>, will play on INSP.<span style="mso-spacerun: yes;"> </span>It’s also streaming on Vudu, and is available
to purchase on Amazon.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">No disrespect to Waylon
Jennings, there’s nothing wrong with being a good ol’ boy, but fans who know Tom
Wopat by his portrayal of rural characters in movies like <i>County Line</i>
and series like <i>The</i> <i>Dukes of Hazzard</i> may be surprised to learn
that he’s also a major Broadway musical star. Tom certainly has his country
credentials, growing up in Lodi, Wisconsin, “On a farm.<span style="mso-spacerun: yes;"> </span>Every other farmer had a little dairy farm.”<span style="mso-spacerun: yes;"> </span>But his goals would soon draw him beyond his
state’s border, and he credits Wisconsin’s education system for preparing him.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT:<span style="mso-spacerun: yes;"> </span>Back in the sixties. you remember when
Kennedy said we we're going to the moon in nine years?<span style="mso-spacerun: yes;"> </span>We did, you know. I think that our schools in
Wisconsin were exceptional, in that decade especially. And I was fortunate
enough to have really fine music teachers, even when I was a little kid.<span style="mso-spacerun: yes;"> </span>The local music teacher kind of took me under
her wing and encouraged me to learn songs and do solos. And then a guy from
North Carolina came to the University of Wisconsin, and he, again, took me
under his wing and taught me. I sang opera, I sang German Lieder art songs. I
had a really wonderful musical education in our little high school.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: So you were
first attracted to music, rather than acting?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT: Definitely. I
did my first musical when I was 12.<span style="mso-spacerun: yes;"> </span>I
kinda learned acting just in self-defense (laugh). I started getting better and
better parts and, when I went to the University, (I did) <i>West Side Story</i>,
and <i>Godspell</i> and <i>Jesus Christ Superstar</i> -- I played Judas in
that. It was amazing. And also there were guys that, again, took me under their
wing. I was directed towards the summer stock theater in Michigan, where I
could get my [theatre actors’ union] Equity card. After I got my Equity card, I
took my ‘68 Chevy and 500 bucks and two guitars and drove to New York. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">When I got to New York,
it was pretty quick. I got there in the fall of ‘77, and by the spring of 78 I
was in an off-Broadway musical. I left that one to go to D.C., where I played
the lead character in <i>The Robber Bride Room</i>, the Bob Waldman musical. I
left that to go back to Broadway and replace Jim Naughton in <i>I Love My Wife</i>.
So within six or seven months of being in New York, I was on Broadway in the
leading role.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: When you
were doing so well on Broadway, why did you go to Hollywood?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT: To quote Larry
Gatlin, they made me an offer I couldn't understand (laugh). It was shortly
after I finished an off-Broadway run in <i>Oklahoma</i>. I read for <i>Dukes</i>,
and that afternoon they called and said, you want to fly to LA and do a screen
test? I said, I guess so. I don't know (laugh), I'm just a farm boy from
Wisconsin. So I packed up a few things in a paper bag and got on a plane. And
10 days later, we were shooting in Georgia.<span style="mso-spacerun: yes;">
</span>I mean, I went from Wisconsin in the fall of '77 to New York, and was on
Broadway in the summer of 78. And in the fall of 78 we were making the <i>Dukes
of Hazzard</i>.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgzuLG77NjER8e5Asplsf8Lqmd1Qg8Fhmq4bXszvOkLjp9veAZijvn356WHorV-V_5P08z-iEF44l8DaA5hPH_Oo5slt4CJzH0YAt1cknYh8lvx5sB4IpQt8LAUIbINglZ39l11RvEyAdN01sGzdm9hRZ-PXi99aBoy_LVvU75FR4ebcCoCXKW_seGdg/s1920/Dukes%20Better%20Tom%20John.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1080" data-original-width="1920" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgzuLG77NjER8e5Asplsf8Lqmd1Qg8Fhmq4bXszvOkLjp9veAZijvn356WHorV-V_5P08z-iEF44l8DaA5hPH_Oo5slt4CJzH0YAt1cknYh8lvx5sB4IpQt8LAUIbINglZ39l11RvEyAdN01sGzdm9hRZ-PXi99aBoy_LVvU75FR4ebcCoCXKW_seGdg/s320/Dukes%20Better%20Tom%20John.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Tom Wopat and John Schneider</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: That's
amazingly fast.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT: Yeah, it was a
bit of a whirlwind. When I found out I got the part, I was more frightened than
relieved. I had just put my toes into the water in New York City, doing
Broadway, and then all of a sudden I gotta go and do a role in an action
series. I had no idea how to approach television. It's a different ballgame
than being on stage.<span style="mso-spacerun: yes;"> </span>But I figured I'd
make a little money and go back to Broadway, but not so: <i>Dukes</i> was a big
hit immediately. So then I moved to LA for a few years.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>You mentioned going to Georgia to shoot. I
thought the series was shot at <i>Warner Brothers</i> in Burbank.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT:<span style="mso-spacerun: yes;"> </span>We shot five shows in Georgia, and it was a
little grittier, a little more adult show than what it ended up being. They
started preaching to the choir a little bit. And some of the scripts got fairly
cartoonish for a while. We even had a visitor from outer space in one episode (laugh),
which is really bizarre.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>How did you get along with John
Schneider?<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT:<span style="mso-spacerun: yes;"> </span>I’ve got six brothers, but I count John as
number seven. <span style="mso-spacerun: yes;"> </span>I really, really enjoyed
my time. I enjoyed our cast. Our cast was very close and still is, really a
nice bunch of people. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: You worked
with two of my favorite actors in that regularly, Denver Pyle as Uncle Jesse,
and James Best as Sheriff Rosco Coltrane. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT: Terrific actors,
terrific. And Sorrell Booke [Boss Hogg] might have been the best of the bunch.<span style="mso-spacerun: yes;"> </span>Denver and Jimmy probably had more
visibility, but Sorrel was kind of ubiquitous for a while. He's in <i>What's
Up, Doc?</i> He was on <i>M.A.S.H.</i> And he was a really, really talented
guy. All three of them were very talented and very helpful to the younger crew.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Why did you and John Schneider famously walk
out?<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT: Well, they [the
<i>Dukes</i> producers] sell all the dolls and the cars and all that
merchandise stuff, and we were supposed to get a pretty good taste of that.<span style="mso-spacerun: yes;"> </span>But the way they did it is they had a series
of shell companies.<span style="mso-spacerun: yes;"> </span>So they would buy
the company that made the toys, they would buy the company that licensed
everything. They were making half a billion dollars a year, and we were getting
a check for a couple of grand. So we thought we were being cheated. And
unfortunately, that's the word we used in our lawsuit, and they took umbrage to
that and then sued us. In retrospect, it might not have been the best bunch of
decisions that we made. However, it was the first time that two stars of a show
had walked out together, and that meant something to other actors in the
business.<span style="mso-spacerun: yes;"> </span>We didn't really get a raise
(laugh). They just dropped all the lawsuits. And we did get a couple of new
writers, and I was able to direct a half a dozen episodes. I very much enjoyed
that.<span style="mso-spacerun: yes;"> </span>We had a little more control of
the artistic input into the show. I mean, that could be an oxymoron for <i>Dukes
of Hazzard</i>, but John and me, we had a lot of skin in the game. We were out
there every week doing this stuff, and they kept shortening the shooting
schedule.<span style="mso-spacerun: yes;"> </span>And they wanted to use
miniature cars and barns and stuff. They were doing stunts that weren't stunts,
filming stuff with toys and presenting it like it was real. And that was kind
of an insult. So, for one of my last episodes, I took out all the miniature
stunts that they were gonna do, and I put in footage from earlier shows, different
angles of jumps and crashes that we did that weren't used.<span style="mso-spacerun: yes;"> </span>We had this huge backlog of stuff like that,
and I put it to good use. And John got to direct; John directed the final one. In
retrospect, we may have shortened the life of the show a little bit with our
walkout, but you know, hindsight's 20-20. We moved on and had a lot of success.
I started making records, and from 1991 until 2013, I was probably in a dozen
different shows on Broadway.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Including your first historical Western role,
as Frank Butler in <i>Annie Get Your Gun</i>.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwOu0kaPXM0MUWEDz1tWsxUF4Jsn_z9IYSdYh60imMk5ZHTQ2CGAB4sO6mJHdXyGOm2pr6tYn7BK7OWapWB7CO_jeXNr-caCBZBwcpOmsds3DnC0QtrCQxwax4JHFAqmxtWIqN7lWehVnNjuJMW52v8JQNHKjRAhVbhxpSm-Xd4m5vgVmauDgKFIRjXw/s634/Annie%20Gun%20Peters%20Wopat%202.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="541" data-original-width="634" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwOu0kaPXM0MUWEDz1tWsxUF4Jsn_z9IYSdYh60imMk5ZHTQ2CGAB4sO6mJHdXyGOm2pr6tYn7BK7OWapWB7CO_jeXNr-caCBZBwcpOmsds3DnC0QtrCQxwax4JHFAqmxtWIqN7lWehVnNjuJMW52v8JQNHKjRAhVbhxpSm-Xd4m5vgVmauDgKFIRjXw/s320/Annie%20Gun%20Peters%20Wopat%202.PNG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Bernadette Peters and Tom Wopat</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT:<span style="mso-spacerun: yes;"> </span>We had so much fun!<span style="mso-spacerun: yes;"> </span>Bernadette Peters is the perfect leading
lady, and I worked with her for almost two years.<span style="mso-spacerun: yes;"> </span>That's really the high point of my Broadway
career.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Then <i>Glengarry Glenn Ross</i> opened up a
whole different territory of parts to me. People were not aware that I had any
range. They're used to seeing me as the big dog in a musical. And in <i>Glengarry</i>,
I was the patsy, I was the one who got taken advantage of. That was interesting;
that was hard. Because I'm so used to playing the hero.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Playing
somebody that gets skunked, it's not a feeling I wanna walk around with all day
(laugh), but I've had other interesting parts. I did a thing with Cicely Tyson,
<i>The Trip to Bountiful</i>. That's the last time I was on Broadway.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>And you played Sky Masterson in <i>Guys and
Dolls.<o:p></o:p></i></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT: Oh man, what a
dream cast. Nathan Lane was Nathan Detroit, Faith Prince was Miss Adelaide,
Josie de Guzman was Sister Sarah.<span style="mso-spacerun: yes;"> </span>One of
my favorite parts is playing Billy Flynn in <i>Chicago</i>, because he shows up
late and leaves early, and he wears one outfit.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>In 2010 you did the film <i>Jonah Hex, which</i>
is certainly an edgy Western --somewhere between historical and steampunk. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjcBJ3Mt7WepN_TomiG8tjA37mU4Z8NDh6qNee6LubUNtfZF15QYgbVWb3fTLjTQInHjDCsL6PxzjGCNVz93JHIlN2l101waqOVMBpZCg2fCPiA9te4wc-1ZOeqTIVBieASrPX2kbFgJ44CD03Ndt_UdDfqWBfVVOpDDUpQXuTr9wysqzG30YfAy_NdQ/s552/Wopat%20Django%202.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="552" data-original-width="452" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjcBJ3Mt7WepN_TomiG8tjA37mU4Z8NDh6qNee6LubUNtfZF15QYgbVWb3fTLjTQInHjDCsL6PxzjGCNVz93JHIlN2l101waqOVMBpZCg2fCPiA9te4wc-1ZOeqTIVBieASrPX2kbFgJ44CD03Ndt_UdDfqWBfVVOpDDUpQXuTr9wysqzG30YfAy_NdQ/s320/Wopat%20Django%202.PNG" width="262" /></a></div><div class="separator" style="clear: both; text-align: center;">Tom Wopat in Django Unchained</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT:<span style="mso-spacerun: yes;"> </span>It's like, metaphysical.<span style="mso-spacerun: yes;"> </span>I read for it and they decided I could wear a
dental prosthesis and (laugh) pull it off. That was kind of a complicated
situation. I think they went through three directors getting that thing filmed.<span style="mso-spacerun: yes;"> </span>We worked in Louisiana.<span style="mso-spacerun: yes;"> </span>I enjoyed it. It wasn't the most fun I've had;
I'll tell you the most fun I’ve had doing a Western was <i>Django Unchained</i>.
Oh my gosh. That was great. Basically, my part [as a U.S. Marshall] is kind of
a one- trick-pony, but what I did in the movie is exactly what I did in the
audition.<span style="mso-spacerun: yes;"> </span>Tarantino was very, very
gracious. People don't know, but Tarantino used to study acting with James
Best. [Tarantino] would take a bus up from Torrance, and he would have a class
on Thursday night, and then Jim would let him sleep in the classroom.<span style="mso-spacerun: yes;"> </span>Then he would come over to <i>Warner Brothers</i>
the next day, I think he's 18, 19 years old, and hang out on the set being one
of Jim's guests. So now he has a habit of using TV stars in his films; like Don
Johnson was so super in <i>Django.</i> I enjoyed <i>Longmire</i>, another
Western.<span style="mso-spacerun: yes;"> </span>I'm playing kind of a villain
in a sense. It's always implied that I'm taking money from the oil companies to
let them do what they want in my county. That was a quality organization. And
one of the producers was the daughter of one of the people that worked on <i>Dukes</i>
at <i>Warner Brothers</i>.</span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_bw9Zevp7ZG_XidZ2-lrdCIrj7DrsotBvFZTCMeJiwEbYI-AvhJCiRGG8kbANJfP4KqEzXkfGR9x2RUBvDDl2Ar1AIkN_Z1xJ7qCjJVmfR82QSBDpoVlGstr8JmJm2UboamVfXwynqH2eZ6IAJTJsC6bPUxk2QOhBJBvgjMdLkd1Y6o9cgfPlnh0SPQ/s600/Wopat%20Longmire.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="340" data-original-width="600" height="181" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_bw9Zevp7ZG_XidZ2-lrdCIrj7DrsotBvFZTCMeJiwEbYI-AvhJCiRGG8kbANJfP4KqEzXkfGR9x2RUBvDDl2Ar1AIkN_Z1xJ7qCjJVmfR82QSBDpoVlGstr8JmJm2UboamVfXwynqH2eZ6IAJTJsC6bPUxk2QOhBJBvgjMdLkd1Y6o9cgfPlnh0SPQ/s320/Wopat%20Longmire.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Tom Wopat in Longmire </div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span style="font-size: 12pt;">HENRY PARKE: You shot </span><i style="font-size: 12pt;">Django</i><span style="font-size: 12pt;"> at Melody Ranch.</span></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT:<span style="mso-spacerun: yes;"> </span>Right, the Gene Autry place.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>As a singer, did you feel any Gene Autry
vibes there?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT:<span style="mso-spacerun: yes;"> </span>No. But you feel the vibes of his horse
that's buried there standing up -- you know that?<span style="mso-spacerun: yes;"> </span>He buried Champion standing up. We had a good
time. One notable thing that Tarantino does is, when you go to the set, you
check your phone. There's no cell phones on the set.<span style="mso-spacerun: yes;"> </span>Which I thought was genius, and it's not
brain surgery to do that.<span style="mso-spacerun: yes;"> </span>You want
everybody focused on what they're supposed to be doing, not checking their
email.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Right. And
there's way too much of that on sets these days. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT:<span style="mso-spacerun: yes;"> </span>When I was doing <i>A Catered Affair</i> one
time, there was a kid down in the front row and he was looking at a cell phone
and I was like six feet away.<span style="mso-spacerun: yes;"> </span>I'm
sitting at a table right at the edge of the stage and I just looked down there
and I just shook my head back and forth and he put the phone away.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>I was surprised to realize that the first <i>County
Line</i> movie you made for INSP was four years ago. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT: Yeah, it was a
while back, and it was actually their first action movie. Their previous movies
had largely been romcoms, maybe with a little bit of drama to them.<span style="mso-spacerun: yes;"> </span>Ours was the first action one. I had so much
fun. I had such a great time. And then, they asked if I wanted to do two more, two
sequels back-to-back. I said, yeah, you bet. So we filmed them down in
Charlotte and around there. And again, a lot of fun, the most fun, really, I've
had since <i>Django</i> or <i>Dukes</i>. Because in these shows I'm kind of
the big dog, the leader of the pack and I enjoy being able to set the tone on
the set, and making sure everybody has a good time. So I take the cast and crew
out bowling, or I'll bring in a big pot of chili that everybody has to have a
taste of, or make ribs for everybody. I enjoy that kind of hosting situation, and
being the alpha male.<span style="mso-spacerun: yes;"> </span>It's not probably
the most attractive thing to be the alpha male, but (laugh) I enjoy it.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: And you need
one. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT: Usually
there's a leader on the set. When we were doing <i>Dukes</i>, the leader on our
set was a director of photography, Jack Whitman, may he rest in peace. He set
the tone. He had come from shooting <i>Hawaii 5-0</i>, so him and his crew had
all come from Hawaii. And there was a certain vibe on the set that was focused
but gentle. And erudite. He was a real leader in a very soft-spoken way. He was
a good guy to learn from.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: For folks
who haven’t seen the first <i>County Line</i> movie, and don’t know your
character, Sheriff Alden Rockwell, what does the title refer to?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT:<span style="mso-spacerun: yes;"> </span>There’s a café, basically a diner, that sits on
the county line, on the road.<span style="mso-spacerun: yes;"> </span>There's a
line that runs down the middle of the café, a line drawn across the table
exactly where the county line is, so if I have a beer, I have to put it in the
other county, because we don't drink in my county.<span style="mso-spacerun: yes;"> </span>There was cooperation between me and the
sheriff in the next county [Clint Thorne, played by Jeff Fahey], and we had
actually served together in Vietnam as Marines, so we’re heavily bonded.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>I don’t want to give away too much, because
it’s a good mystery as well as a rural crime story.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT:<span style="mso-spacerun: yes;"> </span>It's a little bit like <i>Walking Tall</i>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Yes. Alden Rockwell became a widower in the
first film.<span style="mso-spacerun: yes;"> </span>And the diner’s
proprietress, Maddie Hall, is played by Patricia Richardson.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipL05XLhSm0g-wqc3tzTAgmr9fpzfGo7Lg4VfRL4AXiwUivDr4DM7A5hZ9xramnNVOeBa8Y2v4WbuUv7_xuH5ppUeKhiW0A_QbioODvkJ5IHJoOCgbL917TGE_dJVrbujmLH8spoYgwuIeArS8wCwcLfSsU8BnP6khwXza6fSY_SmviB2YOkKiVUQyWw/s354/CLAI_SS_115.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="354" data-original-width="354" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipL05XLhSm0g-wqc3tzTAgmr9fpzfGo7Lg4VfRL4AXiwUivDr4DM7A5hZ9xramnNVOeBa8Y2v4WbuUv7_xuH5ppUeKhiW0A_QbioODvkJ5IHJoOCgbL917TGE_dJVrbujmLH8spoYgwuIeArS8wCwcLfSsU8BnP6khwXza6fSY_SmviB2YOkKiVUQyWw/s320/CLAI_SS_115.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Patricia Richardson</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT:<span style="mso-spacerun: yes;"> </span>And Pat Richardson has a really nice quality.
It gives you a sense of comfort to see somebody that you know and recognize. I
mean, being kind of my girlfriend and also running a diner and looking after my
health, there's a comforting part of that. I think one of the real attractions
of <i>Dukes</i> to families is that it's about family, and it's about taking
care of your family, and making sure that nobody comes to harm. And when we're
talking family, we talk extended family. So if Boss or Rosco got their tail in
a crack somewhere, Jesse would make sure that we helped them out of it. I liken
it to <i>The Andy Griffith Show.</i><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Oh, I can see that immediately. In the <i>County
Line</i> films Abby Butler plays your daughter, and it’s a very interesting and
very unusual relationship between you two, with her as a recently returned Iraq
War vet.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT: Well, she's a
pistol, man! She didn't take any guff off me. I'm proud of her for joining the
service, but I'm frightened for her at the same time.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Right.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT:<span style="mso-spacerun: yes;"> </span>There's that one scene in the original <i>County
Line</i> where we're out on the porch and breaking down pistols that we've just
taken from a bunch of nefarious dudes. And I asked the director, I said keep
this in a two-shot. Because it really works, and any cuts back and forth would
be more of a distraction than a help. If you look at old movies, a lot of the
really good scenes are shot in a two shot.<span style="mso-spacerun: yes;">
</span>They let you decide who you want to watch for the reactions and who you
want to listen to. It's not like [single close-up] ‘talking heads’, which
television in the eighties got into a lot. We had a lot of fun making <i>County
Line</i> and we had just as much fun making these two new movies.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD6g-AhuzGJRZfEqsj4bLdwGEFyI1vO8NEIh5hlgXKKZmZ2kmCFnGLZ2Umwm-wu5zHCSLNw2faEDU-Dq10-sb53FiyZo8FAPwP2j65tyfwcGbUAP3T3oyhsmaK_f_d4b7t_a2Nv9aXlQEuauj7xF3MJDUaM_2wq2LIf99KiW9LI_0OlKl5ncSQPqT3sA/s412/CLAI_PS_Tom_Kelsey_01623NEW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="412" data-original-width="412" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgD6g-AhuzGJRZfEqsj4bLdwGEFyI1vO8NEIh5hlgXKKZmZ2kmCFnGLZ2Umwm-wu5zHCSLNw2faEDU-Dq10-sb53FiyZo8FAPwP2j65tyfwcGbUAP3T3oyhsmaK_f_d4b7t_a2Nv9aXlQEuauj7xF3MJDUaM_2wq2LIf99KiW9LI_0OlKl5ncSQPqT3sA/s320/CLAI_PS_Tom_Kelsey_01623NEW.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Tom Wopat and Kelsey Crane</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Someone who’s new to the mix is Kelsey Crane,
who plays Jo Porter, who is now the sheriff across the county line.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT:<span style="mso-spacerun: yes;"> </span>She's terrific. She's got a lot of talent and
she also has the moxie to know how to work a set and how to let people do their
jobs without getting in their stuff. Cause a lot of actors will kind of try to
be the center of attention all the time. And that gets pretty old.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV73ilMHbyEhkqkQGC63T6Pf7ApjCQk0ZUFqKbcRgmFZz-dPWgkxH4shlCaXGAEgxJia9PxR15RPsLnm_autnoFaDCJcpjU1LfiABGZ5VgnJjrilxUk9w9laLs4Alxmyw9mcPi8AxnWg8eBwb7pmRi365jCu5BFpxlzdKjhtb2yULCNeSWJD6UkPCtjA/s412/CLAI_SS_645NEW.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="412" data-original-width="412" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV73ilMHbyEhkqkQGC63T6Pf7ApjCQk0ZUFqKbcRgmFZz-dPWgkxH4shlCaXGAEgxJia9PxR15RPsLnm_autnoFaDCJcpjU1LfiABGZ5VgnJjrilxUk9w9laLs4Alxmyw9mcPi8AxnWg8eBwb7pmRi365jCu5BFpxlzdKjhtb2yULCNeSWJD6UkPCtjA/s320/CLAI_SS_645NEW.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Tom Wopat and Denim Richards</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>If there are going to be more <i>County Line</i>
movies, or possibly a series, the determining factor will probably be how
audiences relate to your character.<span style="mso-spacerun: yes;"> </span>Why
do you think viewers will keep coming back?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TOM WOPAT:<span style="mso-spacerun: yes;"> </span>Because Alden is the kind of a guy who, if he
sees an injustice, he's gonna try and do something to make it right. Whether he
really has the power to do that, the agency to do that, that doesn't matter.
He's going to do what he can, legally, mostly.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>THE PERFECT GIFT FOR THE
MOVIE-HISTORY LOVER:</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>VITAGRAPH – AMERICA’S
FIRST GREAT MOTION PICTURE STUDIO</b><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuoLGprnEbTHPYYQyHv2D0spujLVo87FJIf8R9yS8ZgeUh7Z-Vjiw3WEdsZbqGJ-vOKfuW1BFX-y1h68kV3EoOUdUhmPdyyCPfzCTSk_RaRjY7DDGxogDagsCz4CwQj43BbXz_UEuCdWtXza-960qyYpi8YNynFotTvIoz2FZN4Ovg3ZNtIQ1u3a_TVA/s300/Vitagraph%20Book.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="200" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuoLGprnEbTHPYYQyHv2D0spujLVo87FJIf8R9yS8ZgeUh7Z-Vjiw3WEdsZbqGJ-vOKfuW1BFX-y1h68kV3EoOUdUhmPdyyCPfzCTSk_RaRjY7DDGxogDagsCz4CwQj43BbXz_UEuCdWtXza-960qyYpi8YNynFotTvIoz2FZN4Ovg3ZNtIQ1u3a_TVA/s1600/Vitagraph%20Book.jpg" width="200" /></a></div><b><br /></b><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>BY ANDREW A. ERISH <o:p></o:p></b></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>ARTICLE BY HENRY C. PARKE</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">NOTE: The videos you’ll
see embedded throughout the article are not merely clips, they are complete
films, some running just three minutes, others nearly half an hour.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">While most film
biographers and historians set out to teach you more about the films and personalities
you’ve already grown to love, educator, historian and author Andrew Erish has
set himself a more ambitious task: he seeks out the film pioneers who have been
undeservedly written out of the histories.<span style="mso-spacerun: yes;">
</span>The depth and detail of his research is astonishing, and his prose is
accessible and entertaining. <span style="mso-spacerun: yes;"> </span>With his
previous tome, the fascinating<i> Col. William N. Selig, the Man Who Invented
Hollywood</i>, he told of the life and work of a film pioneer whose name
belongs alongside D.W. Griffith, Jesse Lasky, and Cecil B. DeMille.<span style="mso-spacerun: yes;"> </span>He wants to save Vitagraph from the same sort
of obscurity.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The output of this
initially Brooklyn-based movie studio was remarkable.<span style="mso-spacerun: yes;"> </span>“They were leading the way,” Erish explains. <span style="mso-spacerun: yes;"> </span>“From 1905 on, they were producing more movies
than anyone else in America. They were the first to consistently release a film
a week; then it became two films a week until, by 1911 or 1912, they were
releasing six shorts and one feature every week. It's just an astounding output,
and covering every kind of movie imaginable.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The men who formed
Vitagraph were unlike any of the other movie moguls.<span style="mso-spacerun: yes;"> </span>Sam Goldwyn was a glove salesman. Louis Mayer
was a nickelodeon theatre operator. They all came to movies from business.<span style="mso-spacerun: yes;"> </span>But not Vitagraph’s J. Stuart Blackton and
Albert E. Smith.<span style="mso-spacerun: yes;"> </span>“They started out as vaudeville
entertainers.”<span style="mso-spacerun: yes;"> </span>Both English immigrants,
who arrived in America at the age of ten, Smith was a magician, ventriloquist,
and impressionist.<span style="mso-spacerun: yes;"> </span>Blackton was a cartoonist
and quick-sketch artist.<span style="mso-spacerun: yes;"> </span>“They
understood the aesthetic that ruled vaudeville, which was a variety of
entertainment that would appeal to the widest possible audience, with something
for every segment of the audience. And understanding firsthand what audiences
reacted to, as stage performers, they had insight that really no mogul coming
after them had; they had experience.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Erish makes a convincing
case that Blackton created the first animated films.<span style="mso-spacerun: yes;"> </span>“There's absolutely no doubt about it,” he
asserts. “A lot of history books mistakenly credit, a Frenchman named Emile Cohl,
but Cohl's first animated film was made after Blackton had already made four or
five. And Cohl's very first film is actually aping a film which Blackton had
made a year earlier.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Below is Blackton’s wonderful
1907 film, <i>The Haunted Hotel</i>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>The Haunted Hotel – 1907 dir.
Blackton</b><o:p></o:p></span></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/rO8vfO4iYnk" width="320" youtube-src-id="rO8vfO4iYnk"></iframe></div>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">While Blackton was
pioneering animation, “Smith, on the other hand, was very interested in making
action-oriented films, and great with moving camera ideas and staging dramatic
moments and action to their greatest effect, in real locations, so that these
stories would appear more real. And if he was staging something at a steel
mill, he would photograph at real steel plants, and put real steel workers
mixed in with his lead actors, and it all looked real.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">They excelled in
Westerns, eventually. “The very first Westerns Vitagraph made were in Prospect
Park in Brooklyn. And they're really bad, there’s just no getting around it. But
they had a great story guy named Rollin Sturgeon, who they promoted to
director. The guy had such a strong story sense and such a strong visual sense,
and they sent him out to Los Angeles to open up a second studio, primarily to
make Westerns. He made a film about the Oklahoma land rush called <i>How States
are Made</i>. <span style="mso-spacerun: yes;"> </span>When the starting cannon
is fired, he covers everything in an amazing, extraordinary wide-angle shot
that starts with an empty hill.<span style="mso-spacerun: yes;"> </span>And you
start to see the crest of the hill is covered in these little dots.<span style="mso-spacerun: yes;"> </span>Then they start to move down the hill and you
realize these are people on horseback, covered wagons, the horse-buggies --
they're all coming towards the camera. That shot lasts over three minutes and
it's absolutely stunning to let it play out in real time in a single shot.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>How States are Made</b> -- 1912<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><a href="https://www.youtube.com/watch?v=7cVVGcQtW7U"></a></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.youtube.com/watch?v=7cVVGcQtW7U"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/7cVVGcQtW7U" width="320" youtube-src-id="7cVVGcQtW7U"></iframe></a></div><a href="https://www.youtube.com/watch?v=7cVVGcQtW7U"><br /></a><o:p></o:p><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">While Thomas H. Ince is credited
with “inventing” the Western, and the studio system (and for dying on William Randolph
Hearst’s yacht while sailing with Marion Davies and Charlie Chaplin), his
younger brother Ralph Ince was one of Vitagraph’s finest Western directors. “I
think Ralph Ince is second only to [D.W.] Griffith (for) his contributions to
the language of cinema.<span style="mso-spacerun: yes;"> </span>In <i>The
Strength of Men, </i>with<i> </i>the<i> </i>two guys shooting the rapids with
no protection, and then fighting in the midst of a real forest fire! It's in
front of your eyes, the way it would be if that dramatic story were really
happening for real.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>The Strength of Men –
Ralph Ince -- 1913</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><a href="https://www.youtube.com/watch?v=9xe1eidRLl0"></a></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.youtube.com/watch?v=9xe1eidRLl0"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/9xe1eidRLl0" width="320" youtube-src-id="9xe1eidRLl0"></iframe></a></div><a href="https://www.youtube.com/watch?v=9xe1eidRLl0"><br /><br /></a><o:p></o:p><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Vitagraph also excelled
in comedies, creating the first great movie comedian with John Bunny, here seen
assisted by fourteen-year-old Moe Howard!<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>Mr. Bolter’s Infatuation –
John Bunny -- 1912</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><a href="https://www.youtube.com/watch?v=NAfHga3_2pg"></a></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.youtube.com/watch?v=NAfHga3_2pg"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/NAfHga3_2pg" width="320" youtube-src-id="NAfHga3_2pg"></iframe></a></div><o:p><br /></o:p><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Another huge comedy star
was cartoonist-turned-actor Larry Semon.<span style="mso-spacerun: yes;">
</span>Although his hilarious sight-gag comedies are forgotten in America
today, “Around the world, Larry Semon's movies have been shown, non-stop to
this day on TV in Spain, Germany, throughout South America, and Italy.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">You can watch Semon
perform with a yet-to-team Stan Laurel…<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>Frauds and Frenzies – Larry Semon, Stan Laurel
--1918</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><a href="https://www.youtube.com/watch?v=Q0exzvmGLms"></a></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.youtube.com/watch?v=Q0exzvmGLms"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Q0exzvmGLms" width="320" youtube-src-id="Q0exzvmGLms"></iframe></a></div><a href="https://www.youtube.com/watch?v=Q0exzvmGLms"><br /><br /></a><o:p></o:p><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">… and Oliver Hardy.<span style="mso-spacerun: yes;"> </span>If you’re offended by black-face jokes, you
can skip Hardy.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>The Show – Larry Semon,
Oliver Hardy – 1922 Norman Taurog</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><a href="https://www.youtube.com/watch?v=f1N8rVDitpQ"></a></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.youtube.com/watch?v=f1N8rVDitpQ"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/f1N8rVDitpQ" width="320" youtube-src-id="f1N8rVDitpQ"></iframe></a></div><a href="https://www.youtube.com/watch?v=f1N8rVDitpQ"><br /><br /></a><o:p></o:p><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">While the story of the demise
of the Vitagraph company is by turns infuriating and heartbreaking – they barely
survived into the sound era -- their influence on film is inestimable.<span style="mso-spacerun: yes;"> </span>Many of their discoveries went on to notable
careers both in front of and behind the camera.<span style="mso-spacerun: yes;">
</span>“Edward Everett Horton made his first movies at Vitagraph, and became a
big silent star. Adolph Menjou started at Vitagraph, playing suave, debonair
characters. Frank Morgan, who played the Wizard of Oz, got his start in
Vitagraph movies, as a much younger man, back in the teens. And Larry Semon hired
a young guy who had directed one or two films, a kid named Norman Taurog, to be
his co-director and co-writer. And Northern Taurog went on to have an
illustrious career. He directed Bing Cosby and Bob Hope, he directed six Martin
and Lewis movies, he directed nine Elvis movies – he was Elvis' favorite
director.” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Vitagraph</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"> is
the winner of the 2022 Peter C. Rollins Book Award and received an award from
the Popular Culture Association as one of the best books of 2022.<span style="mso-spacerun: yes;"> </span>It’s available directly from The University
Press of Kentucky, in hardcover and paperback, here: <a href="https://www.kentuckypress.com/9780813195346/vitagraph/">https://www.kentuckypress.com/9780813195346/vitagraph/</a><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">It can also be ordered from
independent bookstores, Barnes and Noble, and Amazon.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>I’VE GOT A BOOK
DEAL!!!!!!!!!</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">I am thrilled to announce
that I am writing a book for TwoDot Publishing!<span style="mso-spacerun: yes;">
</span>Tentatively entitled<i> The Greatest Westerns Ever Made</i>, it will feature
many of my articles from <i>True West</i> magazine.<span style="mso-spacerun: yes;">
</span>It’s the perfect Christmas gift – but not <i>this</i> Christmas. <span style="mso-spacerun: yes;"> </span>It will be in book stores in the spring of
2024. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>THE INSP ARTICLES</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Just about a year ago,
the very fine folks at The INSP Channel, whom I’ve known for a decade, and
written for a little bit, hired me to write a couple of articles about Westerns
for them every month.<span style="mso-spacerun: yes;"> </span>I’ve been having a
great time doing it, although between writing for them, and being the Film and
Television Editor for <i>True West</i> magazine, I am sure you can understand why The
Round-up has been appearing less frequently than it used to.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">One really exciting thing
that has come from this was to chance to interview John Wayne’s son, Ethan, on
camera.<span style="mso-spacerun: yes;"> </span>I’m including below a link to
that interview, and links to several of my INSP articles enjoy!<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">ETHAN WAYNE INTERVIEW: <a href="https://www.youtube.com/watch?v=en6m52xW8Lw"></a></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://www.youtube.com/watch?v=en6m52xW8Lw"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/en6m52xW8Lw" width="320" youtube-src-id="en6m52xW8Lw"></iframe></a></div><a href="https://www.youtube.com/watch?v=en6m52xW8Lw">w</a><o:p></o:p><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">ROBERT TAYLOR<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><a href="https://www.insp.com/blog/robert-taylor-hollywood-star-husband-to-barbara-stanwyck-and-cowboy/">https://www.insp.com/blog/robert-taylor-hollywood-star-husband-to-barbara-stanwyck-and-cowboy/</a><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">LANA WOOD INTERVIEW<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><a href="https://www.insp.com/blog/exclusive-interview-with-lana-wood-child-star-of-the-searchers-with-john-wayne/">https://www.insp.com/blog/exclusive-interview-with-lana-wood-child-star-of-the-searchers-with-john-wayne/</a><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;">KATHARINE ROSS AND SAM ELLIOT</p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><a href="https://www.insp.com/blog/katharine-ross-and-sam-elliott-marriage-careers/">https://www.insp.com/blog/katharine-ross-and-sam-elliott-marriage-careers/</a><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;">REDFORD, NEWMAN, AND GEORGE</p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><a href="https://www.insp.com/blog/redford-newman-and-george/?utm_source=hs_email&utm_medium=email&utm_campaign=newsletter&mi_u=a53c941bef4f26da066e8b43bd542dac4f7d4aa4&_hsmi=223373055&_hsenc=p2ANqtz-9u5a1POqAkJUmj5-acWe7hQ2uqDPvfq6xoKeDFNl_IU_kisDRtZglcWJBc8fB08X&fbclid=IwAR0L1CTWJn3jfFYfWiOAzwxnz2Acf1Thyffg1zmpvb_IzXrniWqxG4YAi4s">https://www.insp.com/blog/redford-newman-and-george/?utm_source=hs_email&utm_medium=email&utm_campaign=newsletter&mi_u=a53c941bef4f26da066e8b43bd542dac4f7d4aa4&_hsmi=223373055&_hsenc=p2ANqtz-9u5a1POqAkJUmj5-acWe7hQ2uqDPvfq6xoKeDFNl_IU_kisDRtZglcWJBc8fB08X&fbclid=IwAR0L1CTWJn3jfFYfWiOAzwxnz2Acf1Thyffg1zmpvb_IzXrniWqxG4YAi4s</a><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;">JOHN WAYNE AND JAMES ARNESS - WHEN THE STARS ALIGN</p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><a href="https://www.insp.com/blog/john-wayne-and-james-arness-when-the-stars-align/?utm_source=hs_email&utm_medium=email&utm_campaign=ddom0520&mi_u=%25%25emailaddr%25%25&_hsmi=213805588&_hsenc=p2ANqtz-8WdYG89h0ACFnY5hsam7usu14ojQcTfqAPuo_uWTHfO_0NjUhbaeFlGKLdUyC9ZFk46i2sxSUiwM7YbjAuikuqfXDpjOfZ3CbNUVgXcIEPRphq_b8&utm_content=213805588&fbclid=IwAR21saXKfQ-vXHEyCBRguGzUJhueMeq2rSuaNqtctgXyciqyimMeFHGRdSc">https://www.insp.com/blog/john-wayne-and-james-arness-when-the-stars-align/?utm_source=hs_email&utm_medium=email&utm_campaign=ddom0520&mi_u=%25%25emailaddr%25%25&_hsmi=213805588&_hsenc=p2ANqtz-8WdYG89h0ACFnY5hsam7usu14ojQcTfqAPuo_uWTHfO_0NjUhbaeFlGKLdUyC9ZFk46i2sxSUiwM7YbjAuikuqfXDpjOfZ3CbNUVgXcIEPRphq_b8&utm_content=213805588&fbclid=IwAR21saXKfQ-vXHEyCBRguGzUJhueMeq2rSuaNqtctgXyciqyimMeFHGRdSc</a><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>…AND THAT’S A WRAP!</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">What better possible way
to follow up my interview with Tom Wopat?<span style="mso-spacerun: yes;">
</span>I’ll be talking with John Schneider about Dukes of Hazzard, his
Westerns, and his new movie, To Die For.<span style="mso-spacerun: yes;">
</span>Please check out the December 2022 issue of True West, with my article
on the best mountain man movie ever made, <i>Jeremiah Johnson</i>!<span style="mso-spacerun: yes;"> </span>And if I don’t get to post before the
holidays, have a very merry Christmas, a happy Chanukah, a happy New Year, and
a joyous anything and everything else that you celebrate!<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Happy Trails,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">All Original Content
Copyright November, 2022 by Henry C. Parke – All Rights Reserved <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p>Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-59851872546444471942022-05-15T22:07:00.005-07:002022-05-15T22:07:36.936-07:00HENRY’S WESTERN ROUND-UP IS BACK! ‘THE COWBOYS’ 50TH ANNI CELEBRATION AT THE AUTRY! PIONEERTOWN FILM FESTIVAL! SAN FERNANDO VALLEY MOVIE HISTORY AT VALLEY RELICS! INSP DUKE DAYS OF SUMMER CONTINUES! AND MORE! <p> </p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>CELEBRATE ‘THE COWBOYS’
WITH ‘A WORD ON WESTERNS’ TUESDAY AT THE AUTRY!</b><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeER2RfXKaYBGBLmXjiKwc9buD1Tg1q4ss4w3nykligp_0-pR-OCJExrKpurum2hWPaK1xl7NWwR_MSnsWtOtAvPGRW4zvlbhrXt1P-CKIClQcXWbl9VdX9HgtFoiwxoYPktp8aagkGICbsJWRFhrGqRnL0WPPkVSRqGMTSeAXr5vFsihajQ_ym9ED8g/s676/Cowboys%20poster%20foreign.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="676" data-original-width="454" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeER2RfXKaYBGBLmXjiKwc9buD1Tg1q4ss4w3nykligp_0-pR-OCJExrKpurum2hWPaK1xl7NWwR_MSnsWtOtAvPGRW4zvlbhrXt1P-CKIClQcXWbl9VdX9HgtFoiwxoYPktp8aagkGICbsJWRFhrGqRnL0WPPkVSRqGMTSeAXr5vFsihajQ_ym9ED8g/s320/Cowboys%20poster%20foreign.jpg" width="215" /></a></div><b><br /></b><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">It’s been over two years
since Western historian, master interviewer and host Rob Word has held a live <i>A
Word on Westerns</i> event at The Autry!<span style="mso-spacerun: yes;">
</span>And he returns right on time this Tuesday, May 17<sup>th</sup>, to
celebrate the 50<sup>th</sup> anniversary of the classic John Wayne Western, <i>The
Cowboys</i>.<span style="mso-spacerun: yes;"> </span>Western fans know that May
is the month of the Duke’s birth, and Rob has always found a new Wayne theme
for the <i>Word on Westerns</i> celebration, but he’ll have a hard time topping
this one.<span style="mso-spacerun: yes;"> </span>For anyone who doesn’t know
the film, when Wayne’s ranch-hands run off after a gold strike, the only way he
can bring his herd to market is to hire a dozen school-boys for his
cattle-drive.<span style="mso-spacerun: yes;"> </span>Few boys, or men who once
were be boys, have ever seen the film and not ached to be a part of it.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Cowboys</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
stars scheduled to attend include:<span style="mso-spacerun: yes;">
</span>Robert Carradine, who plays Slim; Nicolas Beauvy, who plays Dan, the kid
with glasses that Bruce Dern terrorizes; Alfred Barker Jr., who plays Fats; Steve
Benedict, who plays Steve; Stephen R. Hudis, who plays Charlie Schwartz; and
Sean Kelly, who plays Stuttering Bob.<span style="mso-spacerun: yes;"> </span>A
Martinez, who plays the outsider cowboy Cimarron, planned to attend, Word
explains, “But he got a job in Vancouver, and he said, ‘I’m really anxious to
get back to work.’ The COVID has been tough for everybody. So he came to the
house and we shot an interview,” part of which will be shown at the event.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">And don’t think Rob has
taken the last two years off.<span style="mso-spacerun: yes;"> </span>With no
live events, he became even more committed to posting weekly videos on his <i>Word
on Westerns </i>YouTube page, interviewing so many Western filmmakers from both
sides of the camera.<span style="mso-spacerun: yes;"> </span>And all through
COVID, “we've never missed a Sunday, and it's been over a hundred shows now.<span style="mso-spacerun: yes;"> </span>I'm using more clips and more stills. It
takes 30 to 40 hours a week, every week. There is no break, there is no
vacation.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">And the fans are
appreciative.<span style="mso-spacerun: yes;"> </span>His <i>9 Stars Over 90
Share Hollywood Secrets</i> has been watched more than 279,000 times since
posted.<span style="mso-spacerun: yes;"> </span>Among his many great ‘gets’, Rob
has recently posted an interview with the great actor – and villain of <i>The
Comancheros </i>– Nehemiah Persoff, “and then he passed away in April. But I'm
so lucky to not only have talked to him, because he was a wealth of wonderful
memories, but he got to see the episode. He’d written his autobiography, and at
the end of the Zoom, he says, ‘Hold that book up one more time!’ And so I held
it up.<span style="mso-spacerun: yes;"> </span>Then he calls and says, ‘I sold
150 copies that day!’<span style="mso-spacerun: yes;"> </span>He was just
thrilled. I'm so glad that he saw that.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The celebration of <i>The
Cowboys</i> will be Tuesday, May 17<sup>th</sup>, at The Autry, in the Wells
Fargo Theatre.<span style="mso-spacerun: yes;"> </span>Doors open at 10:30, and
the program begins at 11 a.m.<span style="mso-spacerun: yes;"> </span>I hope to
see you there!<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Here’s a link to the Nehemiah
Persoff interview, which will lead you to over 100 more!<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><a href="https://www.youtube.com/watch?v=mLaT2UzNocc">https://www.youtube.com/watch?v=mLaT2UzNocc</a></span></p><p class="MsoNormal" style="line-height: 200%;"><br /></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>PIONEERTOWN INTERNATIONAL
FILM FESTIVAL May 27<sup>th</sup> - May 29<sup>th</sup>!</b><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj3S-zcGMeWb2-kcopnWNa9v4p25GSOCYuOmKHcQ7BfSGc6YvvX59V2nUeC4LdAzKNoMeho9itfqaWbs87GxBqS3cpkfSj0MC6Gzgt8E62EHb2Nvj5LADG7zP2Hy_uyEfbKD51uprsa9cxO1jyXRmua5ktApaNtIOiviHUZcyD4FuhwiWhvRVmfOptDg/s761/Pioneertown%20Roy%20Sons.PNG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="592" data-original-width="761" height="249" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhj3S-zcGMeWb2-kcopnWNa9v4p25GSOCYuOmKHcQ7BfSGc6YvvX59V2nUeC4LdAzKNoMeho9itfqaWbs87GxBqS3cpkfSj0MC6Gzgt8E62EHb2Nvj5LADG7zP2Hy_uyEfbKD51uprsa9cxO1jyXRmua5ktApaNtIOiviHUZcyD4FuhwiWhvRVmfOptDg/s320/Pioneertown%20Roy%20Sons.PNG" width="320" /></a></div><b><br /></b><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The movie town located in
the San Bernadino Desert, where hundreds of Western films and TV episodes were shot,
will play host to the Pioneertown International Film Festival from Friday May
27<sup>th</sup> through Sunday May 29<sup>th</sup>.<span style="mso-spacerun: yes;"> </span>The first of what is planned as an annual
event, it was an unavoidably long time in the making.<span style="mso-spacerun: yes;"> </span>“It's been about five years since we started this
idea,” festival founder Julian Pinder recalls.<span style="mso-spacerun: yes;">
</span>“We did all kinds of legwork, launched a website and announced the
festival; and about a month later, suddenly the whole world was shut down. We're
really happy that we survived COVID.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Back in 1946, Western
movie villain Dick Curtis, Roy Rogers, and the band Sons of the Pioneers pooled
their resources and bought the 32,000 acres of desert that started out to be
the movie town of Rogersville, before it was decided to name the ranch after
the band.<span style="mso-spacerun: yes;"> </span>Unlike other movie towns, this
one was built with not just facades, but practical buildings, and real motel accommodations,
so crews could actually live there during production rather than
commuting.<span style="mso-spacerun: yes;"> </span>Hopalong Cassidy wing-man
Russell Hayden joined in, and soon he was shooting the <i>Judge Roy Bean</i> series,
Gene Autry was shooting <i>The Gene Autry Show</i>, and Duncan Reynaldo and Leo
Carrillo were filming <i>The Cisco Kid</i> on the lot.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Nearly 70 years later,
the joint is once again jumping, and featuring a remarkably eclectic mix of Western
films and entertainments.<span style="mso-spacerun: yes;"> </span>Events will be
happening at five venues: The Desert Willow Ranch, The Historic Soundstage, Pioneertown
Motel, Historic Red Dog Saloon, and the Super X Ranch.<span style="mso-spacerun: yes;"> </span>Among the films being screened are a double
bill of “Acid Westerns” directed by Monte Hellman and starring Jack Nicholson,
and presented by their daughters; <i>Buck and the Preacher</i>, starring and
directed by Sidney Poitier and co-starring Harry Belafonte; the premiere of a
documentary about the <i>Durango Kid</i> films; and <i>From Dusk Till Dawn</i>,
introduced by producer and special effects creator Robert Kurtzman.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Pinder notes, “The
traditional classic westerns obviously were made to be seen on a big screen. <span style="mso-spacerun: yes;"> </span>We really wanted to reintroduce folks to these
great classics like they should be seen. So we partnered with Paramount to
screen some of their recently restored westerns.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">There are plenty of new
films as well.<span style="mso-spacerun: yes;"> </span>“<i>Inglorious Serfs</i> is
a Ukrainian Western that was made in the last couple years. And the director,
because of the war he's been exiled in the U.S., so he's able to come.”<span style="mso-spacerun: yes;"> </span>There will even be the premiere of the much-anticipated
<i>The Last Manhunt</i>, produced by Jason Momoa.<span style="mso-spacerun: yes;"> </span>Inspired by the same events that were the
basis of <i>Tell Them Willie Boy is Here</i>, this version is based on the oral
history of the Chemehuevi tribe and, Pinder notes, “<i>The Last Manhunt</i> was
shot actually all around Pioneertown.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">And in a wonderful sort
of homecoming, there will be a performance by the current Sons of the Pioneers,
fronted by Roy’s son Dusty Rogers, and peopled by sons of the sons.<span style="mso-spacerun: yes;"> </span>And if that isn’t your musical taste, there
will also be a performance by The Dandy Warhols.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">For tickets and
information, go here: <span style="mso-spacerun: yes;"> </span><a href="https://www.pioneertownfilmfest.com/screenings-venues">https://www.pioneertownfilmfest.com/screenings-venues</a><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">VALLEY RELICS MUSEUM
PRESENTS MOVIE HISTORY OF THE SAN FERNANDO VALLEY MAY 28TH<o:p></o:p></span></b></p><p class="MsoNormal" style="line-height: 200%;"><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBW86Y5W3SxTYKOSKixEJiTkf11712EoAfl_f0AmUCermyMhAoyORuiEo3Vj6fMN55fAWe4EgrlAB5vQCvIQB9ABkZrJwcchAHbUuo8Hu-Zh34YZBD3p_qU7yjfSnnS0vUtruSueikafVuoC3uYhpg12pWgtBohfAteqjPwfZxLXCu6oTfKLMmg1iTKA/s932/darby%20event.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="932" data-original-width="720" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBW86Y5W3SxTYKOSKixEJiTkf11712EoAfl_f0AmUCermyMhAoyORuiEo3Vj6fMN55fAWe4EgrlAB5vQCvIQB9ABkZrJwcchAHbUuo8Hu-Zh34YZBD3p_qU7yjfSnnS0vUtruSueikafVuoC3uYhpg12pWgtBohfAteqjPwfZxLXCu6oTfKLMmg1iTKA/s320/darby%20event.jpg" width="247" /></a></b></div><b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></b><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">On Saturday, May 28<sup>th</sup>,
from 4 ‘til 6 p.m., Hollywood Film Historian Dennis R. Liff will share a Powerpoint
Presentation about the movie-making history of the San Fernando Valley.<span style="mso-spacerun: yes;"> </span>Joining him will be special guest Darby Hinton,
a busy and talented actor, and so well-remembered for playing son to Fess
Parker on <i>Daniel Boone</i>.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> To learn more, go here: </span></span><a href="http://valleyrelicsmuseum.org" style="font-family: "Times New Roman", serif; font-size: 12pt;">valleyrelicsmuseum.org</a></p><p class="MsoNormal" style="line-height: 200%;"><br /></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>INSP’S ‘DUKE DAYS OF MAY’
CONTINUES!</b><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlinsvfaqXRSP4O8mVes4lFShfFdEkNkPtOVe6BghRIpVilFdA8N-AFOZARQzSBvNvk7_2r8-DsPMox4L6p4yBHQKLaFTa9j07tHq7HZ8KO-Ss66wKQwQ1bTgwhf58Tk8ozCn7uIMB0OijsjAJ615O969dqwxDnTnE7-THZOSgQaVrBkWxuJEJL_KH5w/s1350/Duke%20Days%20of%20May.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlinsvfaqXRSP4O8mVes4lFShfFdEkNkPtOVe6BghRIpVilFdA8N-AFOZARQzSBvNvk7_2r8-DsPMox4L6p4yBHQKLaFTa9j07tHq7HZ8KO-Ss66wKQwQ1bTgwhf58Tk8ozCn7uIMB0OijsjAJ615O969dqwxDnTnE7-THZOSgQaVrBkWxuJEJL_KH5w/s320/Duke%20Days%20of%20May.jpg" width="256" /></a></div><b><br /></b><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">I hope you’ve been
enjoying the Duke Days of May on INSP, but if you’re a little late to the party,
you happily have two more weekends left in May, including Memorial Day Weekend,
and 14 more John Wayne movies to watch on INSP. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>And
there are quizzes and contests going on.<span style="mso-spacerun: yes;">
</span>Check out their Facebook page for details!<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>ONE MORE THING…</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Obviously, it’s been a
long time since I wrote a new Round-up – last July, to be specific.<span style="mso-spacerun: yes;"> </span>This has caused some readers to ask questions
like, “Hey Henry, did you fall off a cliff or something?”<span style="mso-spacerun: yes;"> </span>Happily, no.<span style="mso-spacerun: yes;">
</span>The fact is, in addition to writing the Round-up, I’ve been the Western
Film & TV Editor for True West magazine for about seven years, and starting
this past September, the INSP Channel hired me to write regular articles for
their blog.<span style="mso-spacerun: yes;"> </span>So, while I haven’t been
writing the Round-up much, I’ve been writing about Westerns elsewhere.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">I’m going to be updating
this Round-up post next week, and I’m going to add links to all of the articles
I’ve written for True West, and INSP in the last six months or so, as well as
links to the Writer’s Block podcasts, where I do an update on the Western film
biz on the first Thursday of every month.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Happy Trails!<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">All Original Content
Copyright May 2022 by Henry C. Parke – All Rights Reserved<o:p></o:p></span></p>Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com1tag:blogger.com,1999:blog-7768227493189956785.post-89462550971898132362021-07-11T22:54:00.002-07:002021-07-11T22:58:31.817-07:00MIRACLE WORKERS: OREGON TRAIL PREMIERES TUES. TBS; IDRIS ELBA WESTERN IN POST PRODUCTION; WALTER HILL WESTERN IN PRE-PRODUCTION; PLUS REPUBLIC-SET DETECTIVE NOVEL: STARDUST TRAIL!<p><b><span style="font-family: "Times New Roman", serif; font-size: 12pt;"><br /></span></b></p><p><b><span style="font-family: "Times New Roman", serif; font-size: 12pt;">DANIEL RADCLIFFE GOES
WEST IN </span><i style="font-family: "Times New Roman", serif; font-size: 12pt;">MIRACLE WORKERS: OREGON TRAIL!</i></b></p><p><b><i style="font-family: "Times New Roman", serif; font-size: 12pt;"><br /></i></b></p><p><b></b></p><div class="separator" style="clear: both; text-align: center;"><b><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUOSf9cfunSSkXpwjpXRec5iQ-iBWldZxDp8AvHMWWG_zyIcjflK8Wqta5xKKWHZ7wX-83-jw52bn71CRp0ZgfovB1TaoW5_8frjBSDZzoKrQF5Shbo_t5j9PGKYaX0Za_0438KkFFCOFD/s1485/miracle+workers+poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1485" data-original-width="1000" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUOSf9cfunSSkXpwjpXRec5iQ-iBWldZxDp8AvHMWWG_zyIcjflK8Wqta5xKKWHZ7wX-83-jw52bn71CRp0ZgfovB1TaoW5_8frjBSDZzoKrQF5Shbo_t5j9PGKYaX0Za_0438KkFFCOFD/s320/miracle+workers+poster.jpg" /></a></b></div><b><br /><i style="font-family: "Times New Roman", serif; font-size: 12pt;"><br /></i></b><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">For two seasons, former
Harry Potter portrayer Daniel Radcliffe, and co-star Steven Buscemi have
starred as an odd pair of angels in the series <i>Miracle Workers</i>.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>It’s
about angels that are sent down to Earth to perform miracles, and convince God
not to destroy the planet. It’s based on the novel <i>What in God’s Name</i>,
by Simon Rich.<span style="mso-spacerun: yes;"> </span>It sure sounds to me like
<i>It’s a Wonderful Life</i> meets <i>The Horn Blows at Midnight</i>, which are
two of my favorite comedies.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">The first season was set
in heaven.<span style="mso-spacerun: yes;"> </span>The second season was set in
Europe during Medieval times.<span style="mso-spacerun: yes;"> </span>And happily,
season three is set in the Old West, on the Oregon Trail! <span style="mso-spacerun: yes;"> </span>Incidentally, this is Steve Buscemi’s first
Western since <i>Lonesome Dove</i>. <span style="mso-spacerun: yes;"> </span>The
new season premieres this Tuesday, July 13<sup>th</sup>, on TBS.<span style="mso-spacerun: yes;"> </span>Here’s a peek!<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/b-W5wEljcKY" width="320" youtube-src-id="b-W5wEljcKY"></iframe></div><br /><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><br /></span><p></p><p class="MsoNormal" style="line-height: 200%;"><b><span style="font-family: "Times New Roman", serif; font-size: 12pt;">IDRIS ELBA’S </span><i style="font-family: "Times New Roman", serif; font-size: 12pt;">THE
HARDER THEY FALL</i></b><span style="font-family: "Times New Roman", serif; font-size: 12pt;"><b> COMING TO NETFLIX THIS FALL!</b></span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"><b> </b></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Idris Elba is a Brit, but
he surely must love Westerns!<span style="mso-spacerun: yes;"> </span>In 2017 he
starred as a gunslinger in Stephen King’s futuristic Western <i>THE TALL TOWER</i>.<span style="mso-spacerun: yes;"> </span>In 2020 he starred in the contemporary
Western <i>CONCRETE COWBOY</i>.<span style="mso-spacerun: yes;"> </span>And this
fall he’ll be starring in his first historic Western, <i>THE HARDER THEY FALL</i>.<span style="mso-spacerun: yes;"> </span>He plays Rufus Buck, and when his sworn
enemy, Nat Love, played by Jonathan Majors, learns that Buck is getting out of
jail, he pulls his old gang together to run Buck down.<span style="mso-spacerun: yes;"> </span>Most of the characters are based on real
people – in addition to Buck and Love, there’s Stagecoach Mary (Zazie Beetz),
Bill Pickett (Edi Gathegi), Cherokee Bill (LaKieth Stanfield), Jim Beckworth
(R.J. Cyler), and Delroy Lindo as Bass Reeves.<span style="mso-spacerun: yes;">
</span>When I posted about this on Facebook, I got some angry responses from
readers who assumed that heroic figures like Stagecoach Mary, Bill Pickett and
the great Bass Reeves are portrayed as members of Nat Love’s gang.<span style="mso-spacerun: yes;"> </span>I don’t know if they are or they aren’t.<span style="mso-spacerun: yes;"> </span>Here’s a peek.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/J50ALgqS6cM" width="320" youtube-src-id="J50ALgqS6cM"></iframe></div><br /><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Incidentally, <i>Harder They
Fall</i> is directed by another Brit who must love the Western genre.<span style="mso-spacerun: yes;"> </span>Jeymes Samuels, who has many film music
credits, previously directed the 2013 Western, <i>They Die By Dawn</i>.<span style="mso-spacerun: yes;"> </span>While, at 49 minutes, it’s short by today’s
standards, that’s close to the average running-time of Western Bs of the ‘30s
and ‘40s. For some reason, I'm not being allowed to upload the link, but the whole movie is available on Youtube under its title. </span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><br /></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><b>WALTER HILL TO DIRECT <i>DEAD
FOR A DOLLAR</i>!</b><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhROPfPtyBFzHRzeX9QKTq2Zzx-8__RgcjBFJ56BxKnsgQxfK8ECrcUyI2wZel7Tj89XQLP5-vEAzYS9SddR9H2I57iTx6uO6WtI__TMeNdgI3DHJaerB9keT0Fne8upK-emejbpUqhea7B/s1000/walter+hill.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="520" data-original-width="1000" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhROPfPtyBFzHRzeX9QKTq2Zzx-8__RgcjBFJ56BxKnsgQxfK8ECrcUyI2wZel7Tj89XQLP5-vEAzYS9SddR9H2I57iTx6uO6WtI__TMeNdgI3DHJaerB9keT0Fne8upK-emejbpUqhea7B/s320/walter+hill.jpg" width="320" /></a></div><span style="mso-spacerun: yes;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">There was great
excitement at the Cannes Film Festival for <i>Dead for a Dollar</i>, a new
Western in <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>pre-production, co-written and to be directed
by Walter Hill, and to star Willem Dafoe and Cristoph Waltz!<span style="mso-spacerun: yes;"> </span>Hill, a marvelous writer and director whose previous
Westerns have included <i>The Longriders, Geronimo, Wild Bill, </i>and the pilot
for <i>Deadwood</i>, has not made a Western since his excellent 2003 miniseries
for AMC, <i>Broken Trail</i>.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Dafoe hasn’t done a
Western since his uncredited role in 1980’s <i>Heaven’s Gate</i>, but Hill
directed him in <i>Streets of Fire</i>.<span style="mso-spacerun: yes;">
</span>Waltz will be making his second Western, his first being Quentin Tarantino’s
<i>Django Unchained</i>, and just like in <i>Django</i>, Waltz plays a
legendary bounty hunter.<span style="mso-spacerun: yes;"> </span>Willem Dafoe is
his sworn enemy.<span style="mso-spacerun: yes;"> </span>I gave a brief summary
of the plot on Facebook: <span style="mso-spacerun: yes;"> "</span>Waltz is hired
to go to Mexico and rescue the kidnapped wife of an important industrialist," and though I gave no more details, many readers cut to the chase and said it
sounds very much like a remake of Richard Brooks’ <i>The Professionals</i>.<span style="mso-spacerun: yes;"> </span>The more you know of the plot, the more it
does.<span style="mso-spacerun: yes;"> </span>But Walter Hill is a great and
original talent, and I am sure he will do something wonderful with it.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><b>STARDUST TRAIL – by J. R. Sanders</b></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><b>A Book
Review</b> </span><b style="font-family: "Times New Roman", serif; font-size: 12pt;">By Henry C. Parke</b></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><br /></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxGJ_0a02Jo6jmCKq7O5X5cCs9w4eHe9nHCLYt7u2CWHcqkE0TGZkWDitCqAbujHiZwIXRq2pcqTBuwejIsDT1hug7pBnb3BaV06-S_-7JrQmTjXKDGF-FE2T2V_INxbLquROB_FZlpETu/s499/stardust+trail+cover.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="333" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxGJ_0a02Jo6jmCKq7O5X5cCs9w4eHe9nHCLYt7u2CWHcqkE0TGZkWDitCqAbujHiZwIXRq2pcqTBuwejIsDT1hug7pBnb3BaV06-S_-7JrQmTjXKDGF-FE2T2V_INxbLquROB_FZlpETu/s320/stardust+trail+cover.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I love STARDUST TRAIL,
the new mystery novel by J. R. Sanders.<span style="mso-spacerun: yes;">
</span>It’s his first in a series featuring private detective Nate Ross, and I’m
happy to say J.R. is already hard at work on the next one.<span style="mso-spacerun: yes;"> </span>It belongs to that sub-genre, the Hollywood
murder mystery, which is exceptionally hard to write.<span style="mso-spacerun: yes;"> </span>That’s because in addition to all the already
necessary skills for a mystery writer and a novelist, one must also write
knowledgably about the film industry, specific studios, and particular
real-life characters at a chosen moment in time.<span style="mso-spacerun: yes;"> </span>Stuart Kaminsky, with his Toby Peters books,
and Andrew Bergman, with his two Hollywood and Levine mysteries, have succeeded
where most have failed.<span style="mso-spacerun: yes;"> </span>J.R. Sanders has
joined this select group, as he strides confidently into the world of Raymond
Chandler and Dashiell Hammett.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">And, in an exhilarating change
of locale, Sanders has placed <i>Stardust Trail</i> not at any of the seven Majors
– MGM, Warner Brothers, Paramount, Universal, et al – but at Republic, the
greatest of the Minors, the thrill factory where Gene Autry and Roy Rogers
reined (or should that be reigned?)!<span style="mso-spacerun: yes;"> </span>It’s
where John Wayne made his name, and the Duke actually makes a guest appearance
in the novel, not the <i>Stagecoach</i> star Wayne, but a younger star in the
beloved B-Western series of films, <i>The Three Mesquiteers.</i><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">It’s 1938, and former L.A.
cop, and current private detective Nate Ross stumbles upon a crime in
progress.<span style="mso-spacerun: yes;"> </span>When he rescues Republic’s
most wooden performer (prior to Sunset Carson) from kidnapping, the power that
be – studio head Herbert J. Yates – agrees that Ross is just the guy they need.<span style="mso-spacerun: yes;"> </span>A screenwriter name Prince has gone AWOL during
the production of what is meant to be Republic’s biggest Western to date, <i>Stardust
Trail</i>. <span style="mso-spacerun: yes;"> </span>Ross finds him alright, and
is soon in a swirl of gunplay, Hollywood nightspots from the ritzy Sardi’s to
the henchman-friendly Hackamore Club, fabled locales like Vasquez Rocks, Fat Jones’
Stables, various movie ranches, and Gower Gulch, where B-Western actors and riding
extras hope to pick up a day’s work.<span style="mso-spacerun: yes;"> </span>The
writing is breezy and smart, and Nate Ross, and ex-cop who is hated by cops,
and hates Hollywood, has considerable dimension.<span style="mso-spacerun: yes;"> </span>The supporting characters are realistic and
not overly familiar.<span style="mso-spacerun: yes;"> </span>The plot is
complex, but comprehensible, the dénouement satisfying. <span style="mso-spacerun: yes;"> </span>Stardust Trail is available from Amazon in
paper for $16.95, and for Kindle at $5.95.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I recently had the chance
to talk to J.R. about Stardust Trail.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><o:p> </o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuvKqAhnl4Kv7kt5TP5G2QQGn7fJfYCI8CTGUIvqtU9NLfE3wyyk29kNGa17TK4JhOETx4GC28R1UFTN90dw4LZvKQRSYadxk7aAdRtTuFKvED_jETWA0DWKq-9raWwKOPh_PiHzrikigU/s640/santa+clarita+%252716+and+floors+032.JPG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuvKqAhnl4Kv7kt5TP5G2QQGn7fJfYCI8CTGUIvqtU9NLfE3wyyk29kNGa17TK4JhOETx4GC28R1UFTN90dw4LZvKQRSYadxk7aAdRtTuFKvED_jETWA0DWKq-9raWwKOPh_PiHzrikigU/s320/santa+clarita+%252716+and+floors+032.JPG" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Author J. R. Sanders</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I’m a sucker for a well-written
Hollywood mystery anyway, but you really had me hooked the moment that I
realized the kidnap victim was Max Terhune’s ventriloquist dummy, Elmer
Sneezewood, <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">J.R. SANDERS:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">That was a lot of fun to
tinker with that. Actually, it's a supposedly true story. Years ago I was
touring the Autry Museum in L.A., and they had Elmer on display down in the
movie and TV Western section. And there was a little placard next to it that
told that back in the ‘30s, someone had stolen Elmer and sent either sent, a
ransom note and supposedly the ransom was paid. $500 is the figure that sticks
in my head. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I read your previous
book, <i>Some Gave All,</i> about real Western lawmen. And knowing that you've
been a law man and a private detective, I figured you were mainly a true crime
writer. So I was surprised to see that you'd written a novel. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">J.R. SANDERS:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I've never really tackled
(fiction) before, other than a children's book years ago, that I don't really
count as a serious fiction. But it was always in the back of my mind that I
wanted to do, and particularly a detective story. That's what I enjoyed reading
over the years and I always thought it would be fun to take a shot at it.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Your detective, Nate Ross,
has a very interesting background. Was he inspired by any real person?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">J.R. SANDERS:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Not at all. I just wanted
to do a character in the vein of the old classic Chandler, Hammet sorta
detective, but go with a little harder edge and maybe a little bit more
backstory.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Has your law enforcement
and detective background been helpful in writing the book?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">J.R. SANDERS:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I guess maybe, in the
broad brush strokes. But really policing was so very different back in the ‘30s
that I actually had to spend a lot of time looking at old law books and police
manuals and things like that from the ‘30s, the California penal code from the ‘30s,
just to get an idea of how different things were, both in terms of the law, in
terms of police procedures, how crimes were approached.<span style="mso-spacerun: yes;"> </span>It's a lot more sophisticated nowadays.
Policemen worked a lot less with ready access to backup back in the day. So in
some ways it was more hazardous. Although in some ways it’s more hazardous now:
just different hazards.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">You mentioned some
already, but what writers have influenced you, whose mysteries have you
enjoyed?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">J.R. SANDERS:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Well, Raymond Chandler,
Dashiel Hammet, any of the old Black Mask writers from back in the day.<span style="mso-spacerun: yes;"> </span>Most of those names are pretty much unknown
to the average reader now, but people like Lester Dent, Raoul Whitfield. <span style="mso-spacerun: yes;"> </span>James Ellroy, he's kind of a, an industry unto
himself. He's got a definite signature style and he's always interesting
reading, always entertaining; I always learn something. I'm a big fan also of
Michael Connelly. I'm about halfway through the Bosch books now. Not as far as
I should be, but I've watched the entire Harry Bosch series. It's phenomenal. It's
for my money, the best police series that's ever been made.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Why did he decide to set
your Nate Ross mystery at Republic Pictures?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">J.R. SANDERS:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Most of my writing
background has been based in or around old west history because it's just
always been a fascination of mine. It's always been a topic that I've studied and
been interested in. So I just thought that it would be neat to sort of combine
the traditional detective story with a Western story, or at least a story with
Western trappings and setting it in the ‘30s, in the era of the B westerns. It
just seemed like a natural to go with Republic. Republic, isn't usually dealt
with in those stories. Republic was never exactly poverty row, but it wasn't
MGM either. It was kind of a farm team in a lot of ways.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">With most Hollywood
behind-the-scenes stories, whether it's books or movies or TV, my main gripe is
that the writers either don't care or really don't know their turf; what the
studios were like, how filmmaking actually works. But your stuff is spot on. Did
you do a lot of research? <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">J.R. SANDERS:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Well, thank you.<span style="mso-spacerun: yes;"> </span>I did. I had to, because I'm far from an
expert on any of that. I've watched the movies, but as far as the technical
aspects of movie making, especially in the ‘30s, I didn't really know a whole
lot going in,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">It was a kind of a thrill
reading the book and imagining myself at places like Fat Jones’ Stable, or
Gower Gulch, when the Columbia Drugstore was there, and the movie ranches.<span style="mso-spacerun: yes;"> </span>Did you actually visit any of those locales?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">J.R. SANDERS:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I did.<span style="mso-spacerun: yes;"> </span>I’ve been to Vasquez Rocks many times over
the years, but made a particular visit just with this book in mind. <span style="mso-spacerun: yes;"> </span>Not much has changed other than the freeway blasting
by it. With Gower Gulch, there's nothing left. Although there is a nice little
strip mall that they've actually named Gower Gulch; with sort of a Western
false-front look to it. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I didn't know there was a
Sardi's on this coast. So that was very interesting to find out that you hadn't
made that up.<span style="mso-spacerun: yes;"> </span>But how about the
Hackamore Club? Is that your invention?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">J.R. SANDERS:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Well, yeah, just complete
fiction. I had read about a couple of honky-tonk type bars that the B-movie
Cowboys frequented, but there wasn't really anything on the scale of a
full-blown nightclub, but it just seemed like a neat touch that, <span style="mso-spacerun: yes;"> </span>if there wasn't a place like that, there
should have been.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I thought the movie
within the novel, also called <i>Stardust Trail,</i> was just right, because it
was just the sort of overreaching kind of thing that Herbert Yates would do for
a while. Those overblown musical westerns, where you wanted to yell at the
screen, "Enough dancing! Shoot someone!"<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">J.R. SANDERS:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Since it was going to be
set in late ’38, I had wanted from the beginning to deal with the making of <i>Stagecoach</i>
(1939).<span style="mso-spacerun: yes;"> </span>But again, not wanting to get
into the major studio sort of a milieu. I didn't want <i>Stagecoach</i> to take
center stage, and deal with all those name actors. John Wayne dropping him in
as sort of a peripheral character, I enjoyed it. I would not have wanted to,
probably wouldn't have had the audacity, to try and make him a central
character,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">But he contributes. And it's
such a nice choice to put him in there when he was a <i>Three Mesquiteers</i>
star and on the verge of being something big. I liked that a lot.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">J.R. SANDERS:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Well, thank you. I
enjoyed that probably as much as anything in the book, because it was just such
a different view of John Wayne than you typically get. I've seen him portrayed
in fiction here and there over the years, but it's always John Wayne, the icon,
and it was kind of fun to go back and deal with him at a time when he was
really still Duke Morrison. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">What's up next for Nate
Ross?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">J.R. SANDERS:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Actually, I'm sitting
here as we speak working on the second Nate Ross novel.<span style="mso-spacerun: yes;"> </span>In this book dealing with film piracy,
chasing a gang of bootleggers who are duplicating Hollywood films and selling
them over the border in Mexico. It’s called <i>Dead Bang Fall</i>.<span style="mso-spacerun: yes;"> </span>And it's due out in March.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">As a Republic fan, do you
have a favorite B Western star or a series?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">J.R. SANDERS:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">It's in the book; The
Three Mesquiteers.<span style="mso-spacerun: yes;"> </span>John Wayne and Max
Terhune, those were just such fun movies.<span style="mso-spacerun: yes;">
</span>Fluffy and nothing you could take too seriously, but they're just a kick
to watch.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">One last question.<span style="mso-spacerun: yes;"> </span>Where did the title <i>Stardust Trail</i>
come from?<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">J.R. SANDERS:<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">There was a quote I ran
across in my research from (Gene Autry’s sidekick), Smiley Burnett. In his
later days, he was out at one of these events, signing 8 X 10 glossies, selling
them for ten bucks a pop. Somebody criticized him for that. And his response
was, "You can't eat stardust." <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><b>... AND THAT'S A WRAP!</b></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw490v99dDwwHu3MjXcHNtXS995FzA8DMpXOe2scCYjZNPjTwRG1viWg9MwVXRBRAJrNNOmB6O7Z9mLGmex19FGmJ3flmxTBhVSiSsSbVxBt3Ptxk5V6wH8_7MZnByxQhJq-duLJK7vAM1/s728/portrait+lq.PNG" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="728" data-original-width="590" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw490v99dDwwHu3MjXcHNtXS995FzA8DMpXOe2scCYjZNPjTwRG1viWg9MwVXRBRAJrNNOmB6O7Z9mLGmex19FGmJ3flmxTBhVSiSsSbVxBt3Ptxk5V6wH8_7MZnByxQhJq-duLJK7vAM1/s320/portrait+lq.PNG" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">L.Q. Jones portrait by Steve Carver</div><div class="separator" style="clear: both; text-align: center;">from Western Portraits</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div>Please check out the July/August 2021 issue of True West, featuring my article and interview with one of the nicest bad guys you'll ever meet, L.Q. Jones.<div><br /></div><div>Happy Trails,</div><div><br /></div><div>Henry</div><div><br /></div><div>All Original Contents Copyright July 2021 by Henry C. Parke -- All Rights Reserved<br /><p class="MsoNormal" style="line-height: 200%;"><br /></p></div>Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-64819773503383526642021-05-06T23:01:00.000-07:002021-05-06T23:01:33.298-07:00‘WILD WEST CHRONICLES’ PRODUCERS TELL ALL, TCM FEST STARTS TONIGHT! PLUS DUELING BILLY THE KIDS!<p> </p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>THE TCM CLASSIC FILM
FESTIVAL IS ON RIGHT NOW!</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The TCM Festival began
today, Thursday, May 6<sup>th</sup>, at 5 pm Pacific time, 8 pm Eastern time,
with <i>West Side Story</i>.<span style="mso-spacerun: yes;"> </span>The real
one, not the one that hasn’t opened yet.<span style="mso-spacerun: yes;">
</span>For the second year in a row the Festival is, of necessity, virtual. <span style="mso-spacerun: yes;"> </span>They have a terrific line-up of films, both on
TCM itself, and on HBO Max.<span style="mso-spacerun: yes;"> </span>HBO Max is
doing it as a so-called ‘hub’, which apparently means that they list all of
their programming, and you can watch any of it whenever you wish, not just
during the four days of the festival, but for the entire month of May. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Following West Side
Story, TCM has gathered three of the film’s stars for a reunion: Rita Moreno,
who appeared in a lot of Westerns TV series in the 1960s, often playing an Indian;
George Chakiris; and Russ Tamblyn, who of course starred in <i>Seven Brides for
Seven Brothers</i>, as well as the Spaghetti Western <i>Son of a Gunfighter</i>.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig-xFptlG24A3IPrGtNJEGGgoLtpGSJlLwXwYYe6UK6OGRoce7EkRkmyOG1d-7v4_rd69S5eXP6c_nlHO0hzjr1QcFVVO0SSdhVm2yrK6xpma8kALDiGRKlrkf-wuhItSYknYaBL4a3pbZ/s630/annie-get-your-gun-lobby-card.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="495" data-original-width="630" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEig-xFptlG24A3IPrGtNJEGGgoLtpGSJlLwXwYYe6UK6OGRoce7EkRkmyOG1d-7v4_rd69S5eXP6c_nlHO0hzjr1QcFVVO0SSdhVm2yrK6xpma8kALDiGRKlrkf-wuhItSYknYaBL4a3pbZ/s320/annie-get-your-gun-lobby-card.jpg" width="320" /></a></div><span style="mso-spacerun: yes;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Western offerings are
a little light this year. <span style="mso-spacerun: yes;"> </span>Friday morning
at 8:45 Pacific time, TCM is premiering a 4K restoration of Irving Berlin’s
musical <i>Annie Get Your Gun</i>, from the original Technicolor negative.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>It
should <i>look</i> great, but it’s a rather stagey musical, and while poor
Betty Hutton, the rushed replacement after Judy Garland was fired, works like
crazy to please, it’s pretty disappointing.<span style="mso-spacerun: yes;">
</span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCaUa6pN1P9e7_rbutq8l9WOZGzWdc0XsGWqYQS-wVhnmrdbvIneXmmc2wywLMcsF6Vl-4l-WWi5RJhGrcXWFC172vC7NBogwxkYwljxEBLl_g6pQmnNeBUWKAIpWS9rEsohgh_WNeirw1/s1300/ride+the+high+country+Scott+Hartley+McCrea.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="933" data-original-width="1300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCaUa6pN1P9e7_rbutq8l9WOZGzWdc0XsGWqYQS-wVhnmrdbvIneXmmc2wywLMcsF6Vl-4l-WWi5RJhGrcXWFC172vC7NBogwxkYwljxEBLl_g6pQmnNeBUWKAIpWS9rEsohgh_WNeirw1/s320/ride+the+high+country+Scott+Hartley+McCrea.jpg" width="320" /></a></div><span style="mso-spacerun: yes;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Saturday morning at 7,
Pacific time, it’s arguably Sam Peckinpah’s finest Western, <i>Ride The High
Country</i>, starring Randolph Scott and Joel McCrea, and introducing Mariette
Hartley. (Mariette was such a wonderful discovery that two years later, Alfred
Hitchcock would also introduce her in <i>Marnie</i>.) The ideal supporting cast
includes James Drury, LQ. Jones, Warren Oates, John Davis Chandler, John
Anderson, R. G. Armstrong, and Edgar Buchanan. <span style="mso-spacerun: yes;"> </span>HBO Max will be featuring John Ford’s <i>The
Searchers</i>, which will include a discussion by Ben Mankiewicz and Bruce
Springsteen.<span style="mso-spacerun: yes;"> </span>That’s it for Westerns.<span style="mso-spacerun: yes;"> </span>For the whole TCM Festival schedule, go <a href="https://filmfestival.tcm.com/schedule/">HERE</a>.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKcLS_RJ2UnM0V0LUFHbrI0f8q2Q7sLdPQkfc3WtzuTJ0aBkDKNIqkjUST3SST98_FX15cA0Q5OFM4cl5hEJS3sbJQ1xXXHWc9SNP8nsrFm5F1ZHxzBKKFVF1PuWAJq3tlLB3fvRuv3Qmd/s2048/Searchers+poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1613" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKcLS_RJ2UnM0V0LUFHbrI0f8q2Q7sLdPQkfc3WtzuTJ0aBkDKNIqkjUST3SST98_FX15cA0Q5OFM4cl5hEJS3sbJQ1xXXHWc9SNP8nsrFm5F1ZHxzBKKFVF1PuWAJq3tlLB3fvRuv3Qmd/s320/Searchers+poster.jpg" width="320" /></a></div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>‘WILD WEST CHRONICLES’
PRODUCERS TELL ALL!</b><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ7aX-4o0NLX7sf7-HQbeRETYDwCwqlIL8busNZCVONgC_t34y8CdyYw7RPITAUzWXsgtQdzV_zGhz63t3GUtpWkV0inboTuO2f9dp60B8ZZ0ytOzBqOc3AzCV9lcI0TZ5-4ilMyCr7VAj/s2048/wwc-keyart.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1386" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ7aX-4o0NLX7sf7-HQbeRETYDwCwqlIL8busNZCVONgC_t34y8CdyYw7RPITAUzWXsgtQdzV_zGhz63t3GUtpWkV0inboTuO2f9dp60B8ZZ0ytOzBqOc3AzCV9lcI0TZ5-4ilMyCr7VAj/s320/wwc-keyart.jpg" /></a></div><br /><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Every couple of years, a
cable channel announces a new series with a title like <i>Old New True Legendary
Outlaws Lawmen Gunfights of the Old West</i>.<span style="mso-spacerun: yes;">
</span>They’re usually okay; they throw a little income to western movie-town operators,
reenactors, and historians.<span style="mso-spacerun: yes;"> </span>They’re also
interchangeable and forgettable.<span style="mso-spacerun: yes;"> </span>When producers
Craig Miller of the INSP Network, and Gary Tarpinian of MorningStar Entertainment
got together, men who specialize in documentaries and reality shows, they might
have done something awfully similar.<span style="mso-spacerun: yes;"> </span>In
fact, they meant to.<span style="mso-spacerun: yes;"> </span>Gary calls it, “How
we went from non-fiction to fiction in three shows.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">They were well into
preparing just such a show, Craig recalls, “When Gary sent over a short list of
the expert historians and authors that he wanted to use.<span style="mso-spacerun: yes;"> </span>And these people are great, literally the
world's greatest experts on the West.<span style="mso-spacerun: yes;"> </span>But
you know what? I've seen them in three or four other series already. So why do
we want to do this? Is there a way to not use talking head experts, and still
do a docu-drama?”<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRgiLwOOnVOg3MQDB0_pOiKztDyqNyvMtVwton7Oe7CPwXvyKxLkN-zXHuLqvRCmUI965fzqM3W1C6G9oddBYW9ETxs4qrWt5glBVPrOA4AOTPpW7BQSKDEQmDRXDKN_1M0XTWIhAMew-U/s600/wwc-br.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="338" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRgiLwOOnVOg3MQDB0_pOiKztDyqNyvMtVwton7Oe7CPwXvyKxLkN-zXHuLqvRCmUI965fzqM3W1C6G9oddBYW9ETxs4qrWt5glBVPrOA4AOTPpW7BQSKDEQmDRXDKN_1M0XTWIhAMew-U/s320/wwc-br.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Byron Preston Jackson plays Bass Reeves</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Another concern was, “we
needed to stay on-brand for INSP, which means to not leave the 1800s.”<span style="mso-spacerun: yes;"> </span>Craig explains, “Our viewers like to surf
into INSP and get lost in the old West. And every time you put a talking-head
historian in there, you're snapping them right out. So I called Gary and I
said, what if we had a frontier reporter? And instead of talking-head experts, they're
interviewing eye-witnesses to the West's most notorious events?”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Gary liked the idea, even
though, “We were going to shoot (our experts) in about a week at The Autry. My
partner thought I'd lost my mind when I said to her, we've been wanting to get
into ‘scripted’ (shows) for a long time.”<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibR0K5qIAKEUC6E-aOxnvYaRt0Ghqr9UwJKKw-ydqXYE9GdhR-CpW0d4-CNNuB88_IgI_PlHMnqPCwCz-GCcVjGpB51F9ZHZKOGWlXbb9fMobA8bih3CzMrTWD0BrdajkZMO5huyw3zORL/s600/wwc-lsr.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="338" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibR0K5qIAKEUC6E-aOxnvYaRt0Ghqr9UwJKKw-ydqXYE9GdhR-CpW0d4-CNNuB88_IgI_PlHMnqPCwCz-GCcVjGpB51F9ZHZKOGWlXbb9fMobA8bih3CzMrTWD0BrdajkZMO5huyw3zORL/s320/wwc-lsr.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">From The Real Lone Star Ranger</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Craig remembers, “Gary, a
stickler for accuracy and truly an expert on the West, came back with was the
solution.<span style="mso-spacerun: yes;"> </span>He said, ‘there was a real guy
who did this. His name was Bat Masterson.’”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">What they’ve created with
<i>Wild West Chronicles</i> is a lot less like those previous documentary
series, and a lot more like the half-hour Western anthology series of the
1960s, like <i>Zane Grey Theatre</i> and <i>Death Valley Days</i>.<span style="mso-spacerun: yes;"> </span>Actually a good deal like <i>Stories of the
Century</i> was <i>meant</i> to be, had it stuck closer to the actual history.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">“I knew we would be
pretty good at it,” Gary says. <span style="mso-spacerun: yes;"> </span>“We are
very well equipped to tell a story that's based on a true story, with real
people, in a certain time period, faithfully reproduced, based on our research,
and tell the story accurately. Because when you're doing non-fiction, that's
what you do.<span style="mso-spacerun: yes;"> </span>We've taken creative
liberties, no doubt about it. We weren't there, so we're putting words in their
mouths. But other than that, we're trying to tell the stories accurately and to
show how much we love this world and these people, these characters.”<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCd7tKW_XS3bnDgYwzJUBUxOc9WWQ11si89Wb9YlVzTduqmEnrPR9ZUFIMCdp369s44hgkSmb-5XgGDLhZBYzfSzCYmLhvPa_uT6eF-B8dpcTZVabWsCgL2Qwaf8UNmG9xAdj-4tITmq9S/s600/wwc+Hickock+flirt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="338" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCd7tKW_XS3bnDgYwzJUBUxOc9WWQ11si89Wb9YlVzTduqmEnrPR9ZUFIMCdp369s44hgkSmb-5XgGDLhZBYzfSzCYmLhvPa_uT6eF-B8dpcTZVabWsCgL2Qwaf8UNmG9xAdj-4tITmq9S/s320/wwc+Hickock+flirt.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">In Wild Bill Hickok and the First Quick-Draw Duel,</div><div class="separator" style="clear: both; text-align: center;">flirtation, and a gold watch... </div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Another problem they
avoided while moving away from the standard talking-heads docudramas was to not
be a ‘greatest hits’ show: so far at least, they are NOT doing Jesse James and
Billy the Kid and the Gunfight at the O.K. Corral.<span style="mso-spacerun: yes;"> </span>“I'll let you in on a little inside baseball,”
Craig shares. “When we first created the concept, we actually focus-tested
three of the episodes and almost unanimously, the respondents said what they
were interested in were stories they had never heard, about little-known
characters of the West. Or if we were going to tell the story of a famous
character, they wanted it to be a little-known story about that famous
character. We intentionally kept our format to a half an hour. Because we don't
want to do a birth-to-death biography of each character. We just wanted to take
one slice of life, one story. And then that also allows us to do multiple
episodes with the same characters.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">“Exactly,” Gary agrees. “And
we think the audience is going to love it, because we're going to have the same
actors play those people. For example, one episode we have a coming up is on the
death of Dora Hand, in Dodge City, at the hand of Spike Kenedy. And one of the
guys in the posse is Bat's deputy Bill Tilghman. And later on, Bill Tilghman's
one of the Three Guardsmen (of Oklahoma), going after Bill Doolin. So it's the
same actor.<span style="mso-spacerun: yes;"> </span>And Bass Reeves -- there are
so many great stories we can do with him, how we used his head to capture
people, the story of him going after his own son, who was involved in domestic
violence.<span style="mso-spacerun: yes;"> </span>It has been particularly
enjoyable working with INSP. Diversity is very important to us at Morningstar; my
partner is not only a woman, she's Chinese. We met in film school at Loyola
Marymount here in LA, and we’ve always felt that it's important to send a
proper message and that just meshed perfectly with what the network wanted to
do. That same focus group (said) we'd like to hear more about black cowboys,
and women.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>In season one we've been able to do Bass
Reeves, Stagecoach Mary.<span style="mso-spacerun: yes;"> </span>We're doing
Elfego Bacca, probably the most famous Mexican-American law man. (Pioneer
doctor) Susan Anderson.” <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIeocB0ogsVIGoCzJnHVk-pGJz_hQpX_Ty7n-TKLpe6TphAdDFolIHU0HVXVm3I_fF2vemJAE4e9rKy-FuLwZuJn65Jm4t7cwJMhiwhzMg5Jw9aC6AxjqN4pfBT43AC1jOmOxEZIB33Exm/s600/WWC+Hickock+shootout.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="338" data-original-width="600" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIeocB0ogsVIGoCzJnHVk-pGJz_hQpX_Ty7n-TKLpe6TphAdDFolIHU0HVXVm3I_fF2vemJAE4e9rKy-FuLwZuJn65Jm4t7cwJMhiwhzMg5Jw9aC6AxjqN4pfBT43AC1jOmOxEZIB33Exm/s320/WWC+Hickock+shootout.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">...lead to a showdown.</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Craig adds, “This sense
of diversity also includes the types of stories.<span style="mso-spacerun: yes;"> </span>Because this is an anthology series, it
allows us to do a wider spectrum of stories from the West. For instance, the
last episode this season is on Charles M. Russell, the cowboy artist, and
probably not something you're going to see in a traditional series that’s all
Jesse James and Billy the Kid. It allows us to paint, no pun intended, a more
accurate picture of what the West was like.”<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Wild West Chronicles</span></i><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">
stars Jack Elliot, who doesn’t look or dress much like Gene Barry (who starred
in <i>Bat Masterson</i> from 1956 to 1961), but looks a lot like the
photographs of the real lawman-turned-journalist.<span style="mso-spacerun: yes;"> </span>The episode <i>Dr. Susan Anderson – Frontier Medicine
Woman</i>, airs Friday at 9 p.m., Pacific Time.<span style="mso-spacerun: yes;">
</span>On Sunday at 2:30 p.m., Pacific Time, <i>Bat Masterson & The Dodge
City Deadline</i>, Part 1, premieres.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioImVtq-ZXQ5_ibvBTVgsw5dvCjtbSQuFQ_mrLWcZi94DhJ3XLO9tL1tYnun6OrtVO_7SFsstFAIf9H00fa0hWx7fNG3XNwosfLLgrBh-5OyJlRj-0SzUxOdG2gGmbdxXy8cOnktuH3XPo/s2048/wwc-bm.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioImVtq-ZXQ5_ibvBTVgsw5dvCjtbSQuFQ_mrLWcZi94DhJ3XLO9tL1tYnun6OrtVO_7SFsstFAIf9H00fa0hWx7fNG3XNwosfLLgrBh-5OyJlRj-0SzUxOdG2gGmbdxXy8cOnktuH3XPo/s320/wwc-bm.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Jack Elliot as Bat Masterson</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">If you’d like to read
some of Bat Masterson’s actual writing, his collection, <i>Famous Gunfighters
of the Western Frontier</i> is available from Dover Books, and other
publishers.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>JUST ONE MORE THING...</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>COMING SOON – DUELING BILLY
THE KIDS!</b><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQVgx3DiE4kjpvScIZSWjWDIoxYHYlrxZSBGiosmxxz7D8kxVRhxqmDbMnvoE9-faL54sM8NKJQpj5YH8ARmAOaoCcSf4g9J-gPvF7NCdj9m2IKDXBer4f45-iiMAzSy8obGs8VpFSqEa-/s745/guns+III.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="492" data-original-width="745" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQVgx3DiE4kjpvScIZSWjWDIoxYHYlrxZSBGiosmxxz7D8kxVRhxqmDbMnvoE9-faL54sM8NKJQpj5YH8ARmAOaoCcSf4g9J-gPvF7NCdj9m2IKDXBer4f45-iiMAzSy8obGs8VpFSqEa-/s320/guns+III.jpg" width="320" /></a></div><b><br /></b><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Emilio Estevez, who was unforgettable
as Billy the Kid in 1988’s Young Guns, and 1990’s Young Guns II, has spread the
word that he’s coming back!<span style="mso-spacerun: yes;"> </span>Screenwriter
John Fusco, who wrote both Young Guns films, is hard at work on <i>Guns 3:
Alias Billy the Kid</i>, which Estevez will direct as well as star in.<span style="mso-spacerun: yes;"> </span>And this week the Epix Channel announced an
8-part limited series about Billy, to be written and produced by Michael Hirst,
of The Tudors and Vikings fame.<span style="mso-spacerun: yes;"> </span>Updates
on both projects coming soon!<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>AND THAT’S A WRAP!</b><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLI6DBlO9kD5Wl2-ZSQAexPCemZcnznC9h-SPlXAAVmU3SbqzyocVSWh1m9JRW-oNWC_mkXWZHACON0oATShklnLjD3eN7cXSN7zxo66lHa9bTnrx54wpLzapTqmMcUG3nx07MaV3P2qz4/s432/TRue+West+5-21.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="432" data-original-width="320" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLI6DBlO9kD5Wl2-ZSQAexPCemZcnznC9h-SPlXAAVmU3SbqzyocVSWh1m9JRW-oNWC_mkXWZHACON0oATShklnLjD3eN7cXSN7zxo66lHa9bTnrx54wpLzapTqmMcUG3nx07MaV3P2qz4/s320/TRue+West+5-21.jpg" /></a></div><b><br /></b><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">And please check out the
May issue of True West, on newsstands now. It features my interview with author
Paulette Jiles, whose News of the World is the basis for what many – including me
– consider the best film of the year!<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Happy Trails,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">All Original Contents
Copyright May 2021 by Henry C. Parke – All Rights Reserved<o:p></o:p></span></p>Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com1tag:blogger.com,1999:blog-7768227493189956785.post-11890555702852921812021-02-21T23:22:00.001-08:002021-02-21T23:27:08.968-08:00INSP’S ‘ULTIMATE COWBOY SHOWDOWN’ RETURNS WEDNESDAY – INTERVIEW WITH TRACE ADKINS; WESTERNS FRANCAIS – INTERVIEW WITH ‘SAVAGE STATE’ DIRECTOR DAVID PERRAULT; PLUS DVD REVIEWS!<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman", serif;">INSP’S ‘ULTIMATE COWBOY SHOWDOWN’ RETURNS WEDNESDAY</span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqY0_Cv2PV-1kUpMvZZMYV2InB_89kEyIRyajsXhKWJ4jkTCoo1xCAfOGlXoy5-_IjyiVoUgLrRyhWkQSp_7p2lhZvm6AS4k2c2GAjovVkUyMcjVU7C1byop8wn4TTTTKfXcr_6NyrvsrT/s1350/ultimate+cs+poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1350" data-original-width="1080" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqY0_Cv2PV-1kUpMvZZMYV2InB_89kEyIRyajsXhKWJ4jkTCoo1xCAfOGlXoy5-_IjyiVoUgLrRyhWkQSp_7p2lhZvm6AS4k2c2GAjovVkUyMcjVU7C1byop8wn4TTTTKfXcr_6NyrvsrT/s320/ultimate+cs+poster.jpg" /></a></div><br /><span style="font-family: "Times New Roman", serif;"><br /></span><p></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">On Wednesday, February 24</span><sup style="font-family: "Times New Roman", serif;">th</sup><span style="font-family: "Times New Roman", serif; font-size: 12pt;">,
season two of The Ultimate Cowboy Showdown returns to INSP.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Some of the best working cowboys from around
the country compete in teams and as individuals in a wide range of challenges –
riding, roping, driving cattle, and complex relay-races.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Country music legend Trace Adkins is once
again the host and, with the input of experts in various specialties, the
ultimate judge, and Trace sends at least one competitor home every week. This
time the field of competitors is larger – fourteen instead of a dozen – and the
already valuable winnings are bigger as well: the last man standing wins a
$50,000 herd of cattle, a Rawhide Portable Corral, an Arrowquip Q-Catch 87
Series Cattle Chute, not the mention the coveted Ultimate Cowboy Showdown belt-buckle,
and a lifetime of bragging rights.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I had the opportunity to
talk with Trace Adkins about the new season, and also spoke with Jennifer
Hudgins, one of this season’s four female competitors.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><a name="_Hlk64800725"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY
PARKE</span></a><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">: Back in 2019,
I visited you on location in Alabama. And now the shows moved to Texas. Why the
move?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">TRACE ADKINS: They just wanted to do it in a different
place this time. And we had a lot, a lot open ground out there in Texas that we
could utilize.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><a name="_Hlk64802113"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY
PARKE</span></a><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">: How did the
change of locale change the show? <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">TRACE ADKINS: We were planning on shooting it in March, and
then COVID happened. We finally got
everything figured out, how we could do it during COVID. That took until the
1st of July. So doing this show in Texas in July was challenging, I'll tell you:
it was hot.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: I'll bet. Were you folks all quarantined?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">TRACE ADKINS: Yeah, once everybody got there, the first day
everybody took tests, and then quarantined, and when all the tests came back
negative, we just stayed in our little bubble and did our thing.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: What's the best part of doing the show?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">TRACE ADKINS: Just the opportunity to watch these
professionals at work. I mean, it's still amazing to me. There are still
working Cowboys in this country that still do it, the old school way. And it's
just really fun to watch.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Has the success of season one changed the
kind of competitors you get?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">TRACE ADKINS: Yeah, and I knew that it would. As I went
around last year, after the first one came out, I ran into a lot of cowboys
that were like, “You didn't have no good cowboys on there! I could do that.”
And I was like, come on, we're gonna do another one. You can throw your hat in
the ring and see what you got. Nothing against the contestants that we had the
first season. But, once you got down to that cream of the crop last year, those
final four we had; we started out with 14 of that caliber at the very beginning
of this season. So it was a horse of a different color this year.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: On every show, after the elimination
competition, you send at least one cowboy packing. In addition to being the host,
you're also the ultimate judge. When you question the competitors in the arena before
announcing your decision, are you actually making your final determination
based on their answers? Or have you
decided who's going out before you come out and tell them?</span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_HmrQ9FW6gnqbcONkWbYHNGoTajzvcFifRE7aoQfo60cS-I9DPpukzMAWZbPT42_uj-vR3V1nxnTFPX1gOm3f8Apin2ON57GeHNHo0qeKAdU5ZtGiGnrVD3RNmT1dCKnGJldM7VhamgT4/s300/cattle+pens.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="200" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_HmrQ9FW6gnqbcONkWbYHNGoTajzvcFifRE7aoQfo60cS-I9DPpukzMAWZbPT42_uj-vR3V1nxnTFPX1gOm3f8Apin2ON57GeHNHo0qeKAdU5ZtGiGnrVD3RNmT1dCKnGJldM7VhamgT4/s0/cattle+pens.jpg" /></a></div><span style="font-family: "Times New Roman", serif; font-size: 12pt;"><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;"><br /></span></p>TRACE ADKINS:</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">It was different; it could go two ways.</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;"> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">Either I would go into the arena at sundown
pretty much having made up my mind, and then it was going to be up to them to
fight, to stay, or to say something that was going to change my mind. Or
sometimes I would go in not knowing who was going to go, and not even leaning
toward anybody. And then it was totally up to them as to how they conducted
themselves in the arena, as to who was going to go home. It was always my
decision.</span><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Your father was a rodeo cowboy. Does this
show bring back a lot of memories?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">TRACE ADKINS: Well you know, he quit riding before I was
old enough to remember. I think my mother probably told him he needed to stick
with that good job, and stop chasing those rodeos around. But he was a good
horseman: he was the real deal. I know
that he would've really enjoyed this show.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Did you ever
compete?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">TRACE ADKINS: No.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: If you were as young as the contenders that
you have on the show, what competitions do you think you'd have done best in?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">TRACE ADKINS: Probably just the strong back and the low
skill level type chores. (laughs)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: In the first
episode of this new season, someone says that it's pasture cowboys versus arena
cowboys. Is that accurate?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">TRACE ADKINS: Yeah, some of it. But the way that the
competition was structured, nobody really had the upper hand because the tasks
were so varied.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: How life-changing do you think winning the
herd, the ranch equipment, and of course the buckle, can be?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">TRACE ADKINS: Oh, I think it means a great deal to these
folks. That's why they just poured their heart and soul into trying to win. It
was very, very important to them.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Was there anything you learned from season
one not to do in season two?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">TRACE ADKINS: That's been the case and throughout most of
my career: the best lessons I've learned have been what not to do. But I don't think in this case that was
applicable. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Incidentally, I also
spoke to Trace about his Western movie career – you can read about that soon in
True West. He has two more Westerns in
the can, <i>Old Henry</i> and <i>Apache Junction</i>, and is currently shooting
a third, <i>The Desperate Riders</i>, in Nashville. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/lf6oOc-JOsQ" width="320" youtube-src-id="lf6oOc-JOsQ"></iframe></div><br /><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I watched the first three
episodes of the new season of <i>Ultimate Cowboy Showdown, </i>and saw Jennifer
Hudgins get roughly stomped on by a large calf, that left her hurting.<i> </i><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><br /></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicuL3E2zV0hiGgGs9RabcS4raOXhbWFWWnDkAy0fd9EE7sVY94Ypx4rlm8-foZWluCK1BPujbXVx3VFXXIFuvHi56yrB8xhzfDNE4p8Ej-4J9zvsyAleJPdiVwX7DLD-ok1WJNW09POXrP/s640/ULT203_SS_0178w.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicuL3E2zV0hiGgGs9RabcS4raOXhbWFWWnDkAy0fd9EE7sVY94Ypx4rlm8-foZWluCK1BPujbXVx3VFXXIFuvHi56yrB8xhzfDNE4p8Ej-4J9zvsyAleJPdiVwX7DLD-ok1WJNW09POXrP/s320/ULT203_SS_0178w.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Jennifer Hudgins</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: How are you feeling? The trampling that you
took looked pretty rough.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: It was pretty rough, and I was pretty sore
right after, but I'm good now.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Very good. Pretty early on, someone makes the
point that the competition in a sense is arena cowboy versus pasture cowboy. Is
that true? <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: In a lot of ways, it kind of was. You know, so many of the challenges were kind
of geared towards the arena, and the pasture cowboy is kind of a little
different game.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Where do you fit in?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: I'm definitely more of pasture cowboy
rancher. I'm not that much of an arena
cowboy, and haven't been for several years.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: What exactly is a cow boss?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: A cowboy. Most people refer to the cow boss
as the guy who kind of runs things on the ground. The cow boss is the person
you're going to look to when you're gathering cattle, when you're sorting in
the pens; day-to-day, hands-on type operations like that.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: What’s a top hand?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: A top hand would be somebody that sure enough
good at what they do. Good horseman, good cowboy, knows how to handle cattle
the correct way. Keep things quiet and get things done efficiently.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Do you know how much competition there was to
make one of the 14 spots in the show?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: I really don't. At one point I heard that thousands
of people applied and sent in videos, but I never heard an exact number.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: How did you audition? Did you send in a
video?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: They called me. A friend of mine had given
them my information and they reached out to me and then we did a Skype
interview. I did two or three Skype interviews, I believe.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Did you do anything special to prepare for
the competition?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: Not really. I wouldn't say I did anything
that I don't really do all the time. I just tried to really prepare mentally
more than anything.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: How do you prepare mentally?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: Sometimes you just have to put your big girl
panties on and get your game face on and know you're going down there to win. And you're going to be competing against
people that are just as good or better than you. You really don't know. And you
just have to get yourself in the right head space.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Sometimes there's touchiness us about
terminology. Do you prefer cowboy, cowgirl or something else?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: I prefer the term cowboy. There's nothing
wrong with the term cowgirl, but when you say it, people automatically picture
in their head like you're a rodeo queen type person. And while that's fine,
that's not who I am. I'm day-to-day doing a man's job in a man's world, and can
do it just as well as they can. So I feel like I should be on the same level.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: As a dad of a daughter myself, I love what
you said about working with your dad being your daycare. Tell me a little about
growing up with your dad in the cattle business as a kid.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: You know, my dad has been in the cattle
business my entire life. He is
definitely old school cowboy all the way to the core. And he's a tough man. He
expected a lot out of us growing up. From the time I was little bitty, he took
me along with him. He might be catching wild cattle for people, and he wasn’t
going to put me in harm’s way. He'd tell
me, “Stay right here on the back of this pickup, and do not get off for any
reason.” And by gosh, I stayed there. I'd have my crackers and my pop and toys
and just play there, as long as it took. Now on the days I could go, I had a
pony, and that pony knew to stay right behind my dad and I just went everywhere
they went.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Growing up, what sort of things were you
learning to do on your ranch?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: We learned a little bit of everything. My
dad, he's pretty versatile. He knows how
to run a cow calf operation. He knows how to run yearlings. And we did all that
my entire life. I grew up learning how to ride a horse, how to gather cattle, how
to rope, how to sort, learning how to do all those things correctly and keep
the cattle quiet. We learned to process cattle the right way. I have a younger
brother, and any aspect of ranching, we grew up watching my dad do that and we
just tried to mimic him.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Well now forgive me, because I'm a Brooklyn-born
city slicker, so there's a whole lot that I don't know about cowboying. I
didn't know you're not supposed to ride your horse in front of somebody, but I
sure learned it from the show. Why not?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: That's a big no-no. You don't ever ride in
front of another person like that. It's a major respect thing. When you're out
there gathering cattle, everybody has their spot and everybody needs to stay in
their spot. Because if we go to try and jump ahead, then we're leaving holes
for the cattle to get away from us. And by riding in front of another cowboy,
you're basically saying, you're not doing your job, so I'm going to ride up
here in front of you, cut you off because I feel like I need to be here, and
you don't. It's incredibly disrespectful.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: From the brief biography I read, work-wise it
sounds like you have a pretty full plate. Why did you decide to enter this
competition?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: I was kind of back and forth on whether I
really wanted to do it or not, because you just don't know what to expect. I'd
never in my life done anything like that. I had seen the previous season of the
Ultimate Cowboy Showdown, but I was a little leery, but then my dad kind of
pushed me and was like, this is a once in a lifetime opportunity. You go down there and win it and you've got
$50,000 worth of cattle, and that's a big deal.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: And the equipment that comes with it must be
very valuable,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: Like the portable set-up pen, those can be a
game changer, that can open opportunities for getting more land where there
weren't pens available, and not having to invest a bunch of money right off the
bat in building a full set of pens, because you have that portable corral.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: The show starts with 14 contestants, 10 men
and 4 women. Have you made any friendships?
<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: I really got to know Morgan and have a lot of
respect for her. She comes from a
totally different part of the country (Shell, Wyoming), and the way they do
things and the way we do things here in Oklahoma are vastly different, but I
had so much respect for the kind of cowboy that she is. I got to be really good friends with Ora (Brown)
and JP (John Paul Gonzalez) and we still keep in touch. We still talk two or
three times a week. Really good guys, good family men. And I will cherish those
friendships for life.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: I'm pretty sure you made at least one enemy
with Tyler Kijac. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: Yeah, Tyler is probably not my favorite
person, but at the end of the day, this happens when you're ranching and you
have guys come day-work for you. Sometimes there's a class clash of
personalities, like in any job in an office setting, or in the middle of the
pasture gathering cattle. Sometimes things get heated, you have somebody that
doesn't really know what they need to be doing, and they can't take direction
and it generally will get you in a bind. And that happened many times with
Tyler. He's not a pasture cowboy. He doesn't know how to read cattle. He's not
ever in the right spot when you're gathering or sorting. And so that causes a
problem for everybody trying to work with him. And I did get in the middle of
him a few times, but when it's all said and done, I just leave it there. I
don't carry it with me.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Have you ever tried out for any other TV
reality show?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: No, I have not. But yes. I love reality TV. I
probably watch more reality TV than anything.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Were you disappointed that there was no rose
ceremony?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: At the end of the day when Trace calls us all
down there to the arena and sends someone home, that was a pretty intense
situation at times. They didn't need to
give me a rose. I was happy to go sit on the fence. (Note: if Trace tells you
won’t be eliminated, you go sit on the fence.)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: How does cowboying in Texas compares with
Oklahoma?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: I would say there's a lot in common. The way they do things there is very similar
to the way we do things here. It gets
really, really hot in the summertime and it was that way there. Extremely hot. So
you kind of have to work around that, so you don't stress the cattle and you're
not overworking your horses. The heat does come into it.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: How did you like Trace Adkins?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: He was really, really intimidating at first.
He's such a big guy and he has such a deep voice. When he first walked up, I was like, Oh my
gosh! A very commanding presence. But after the first few days, when we were
around him a little bit more, he really seems like a good guy. He joked around
with us a time or two, kind of laid back and pretty easy going for the most
part. But when, when he gets down there in that arena at elimination time, he
means business.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Can you tell me anything funny or interesting
that happened that we might not see in the show?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: When I got trampled by the calf, it ripped my
pants pretty much completely off of me on one side. So I don't know how much of
that will actually be on the TV because, literally, my whole butt is hanging
out and here it is like our first immunity challenge. That was something that
you just have to laugh about it and go on; you can't change it.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Did you learn anything of value from your
competitors?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: There were a lot of things that I took away
from the competition. I have a lot of
respect for some of my fellow competitors that they are outstanding arena cowboys.
They're good at what they do, and being able to watch them in their element
when we had that type of challenge, you can really take a lot away from that.
Maybe they don't do what I do, but that doesn't mean they're not good at what
they do.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Looking back, is there anything you would
have done differently in the competition?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: After it's all over with, you can always see
your mistakes. I think there's some things I would've done a little differently.
Maybe thinking things out a little longer instead of just reacting.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Were there any big surprises?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">JENNIFER HUDGINS: Going into it, I don't think any of us were
prepared for how mentally, emotionally and physically exhausting it would be. We
know we have to work hard, because we do every day. But being in that situation,
you’re away from home, away from the people that you care about that, are your
support system. And you're thrown in with all these strangers in this
competitive environment. It can be very, very mentally challenging at times.
And I don't think any of us were prepared for that.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">If you’d like to start
with season one, you can find every episode at INSP.com, <a href="https://www.insp.com/ultimate-cowboy-showdown/?=homepage_hero">HERE</a> </span><a href="https://www.insp.com/ultimate-cowboy-showdown/?=homepage_hero"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">https://www.insp.com/ultimate-cowboy-showdown/?=homepage_hero</span></a><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">If you’d like to read
what I had to say about season one, including my earlier interview with Trace,
go <a href="https://henryswesternroundup.blogspot.com/2019/10/ultimate-cowboy-showdown-premiere.html">HERE</a>.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><br /></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> https://henryswesternroundup.blogspot.com/2019/10/ultimate-cowboy-showdown-premiere.html</span></p><p class="MsoNormal" style="line-height: 200%;"><b style="font-family: "Times New Roman", serif; font-size: 12pt;">SAVAGE STATE – A NEW
FRENCH WESTERN</b></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/fBU8mIAt9H0" width="320" youtube-src-id="fBU8mIAt9H0"></iframe></div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Several European nations
have had a long association with Western filmmaking – Germany, Italy,
Spain. But France is among them. True, many Spaghetti Westerns were international
co-productions that included French financing and therefore some French cast
members. But aside from a pair of
Brigitte Bardot films, 1965’s <i>Viva Maria</i>, and 1971’s <i>The Legend of
Frenchie King</i>, there are very few Westerns from French filmmakers. So I was surprised and delighted to learn
that Samuel Goldwyn Films had acquired a new French Western, <i>Savage State, </i>which
is now available On Demand and Digitally. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">It’s the story of a
French family in Missouri at the start of the Civil War, who make the tactical error
of allying with the Confederacy. They
quickly determine their safety demands that they return to France as quickly as
possible. They hire a mercenary to lead
them, and find themselves confronting not only Union soldiers, but the former
associates of their mercenary. The cast
includes Alice Isaaz, Deborah Francois, Kevin Janssens, and Kate Moran. With striking exteriors, from town to forest to
snow-covered fort, and elegant interior sets, particularly a ballroom where a
celebration goes startlingly all to Hell, Florian Sanson’s art direction and
Christophe Duchange’s cinematography combine to make one of the most beautiful
Westerns in recent memory.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Writer-Director David
Perrault first garnered admiration for his 2013 film <i>Our Heroes Died Tonight</i>,
a 1960s crime drama about a man who
leaves the Foreign Legion to drift, reluctantly, into a career as a masked
wrestler. Savage State is a heavily atmospheric film,
sometimes almost dream-like, and with that dream-like feel are some apparent
lapses of logic. I had the pleasure of interviewing
Perrault, and learning about his passion for the genre, and his adventures
making Savage State.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"> </span></p>
<p class="MsoNormal" style="line-height: 200%;"><a name="_Hlk64738891"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY
PARKE: </span></a><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">I was surprised to learn that Savage State is not your
first Western – that was No Hablo American.
France has produced great filmmakers since the Lumiere brothers, but not
usually Westerns. Why have you chosen
this genre twice?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><a name="tw-target-text"></a><span lang="EN" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%; mso-ansi-language: EN;">DAVID PERRAULT: I love westerns since I was a child. I
had a Super 8 projector, and one of the 3-minute reels was the Indian Attack in
John Ford's <i>Stagecoach</i>. Much later I discovered his films and he remains
the greatest American filmmaker for me. Even though in writing and filming <i>Savage
State</i>, I tried to forget all of those classics and move towards something
almost radically opposed. We cannot redo what has already been done, it is unsurpassable!</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Is there
actual history behind your story? Were
there French nationals in the U.S. who thought it best to leave when the Civil
War broke out? Are your characters based
on real people? Or are they your invention?<br />
</span><span lang="EN" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%; mso-ansi-language: EN;">DAVID PERRAULT: While writing the screenplay, I
researched French settlers during the Civil War. The demand for neutrality by
Napoleon 3 during the conflict is very real, for example. On the other hand,
the characters are completely fictitious.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: I thought
you actually shot in the U.S., but IMDB says you filmed in Canada, France and
Spain. Have you been to the United
States, specifically the American west? <br />
</span><span lang="EN" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%; mso-ansi-language: EN;">DAVID PERRAULT: Yes, that was the challenge of making
people believe in the United States by filming in such different places. My
wife has an American aunt so it's a country that I know well. But I know it
especially through the films and in particular the classics of the Hollywood
golden age.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: I believe
your previous film, <i>Our Heroes Died Tonight</i>, while period, was not so
long ago, and was shot in town. <i>Savage
State</i>, by contrast, is set 150 years ago, in a foreign land, requiring all
manner of difficult-to-find costumes and props and locations, and was filmed in
three countries, on two continents. What
were the biggest challenges? What sort
of unexpected problems did you have to overcome?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><a name="tw-target-text3"></a><span lang="EN" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%; mso-ansi-language: EN;">DAVID PERRAULT: The biggest challenge was the weather.
You never knew what to expect. In Canada, for the final shootout scene, it was
snowing and extremely cold. The team was going crazy in these extreme
conditions. The guns, the kerosene lamps, the filming equipment… everything
started to freeze. The camera was covered with a survival blanket, but the
optics froze too!</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: The film is
beautifully lit and shot, wonderfully atmospheric, sometimes almost
dreamlike. What look and mood were you
going for? Do you storyboard
extensively? <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><a name="tw-target-text4"></a><span lang="EN" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%; mso-ansi-language: EN;">DAVID PERRAULT: No storyboard. I am an extremely visual
person, I have the film in my head and when I arrive on the set I adapt to the
actors, to the weather. At one point in Savage State, we see the convoy going
through the haze, it was not planned, but I jumped at the chance to make an
iconic shot. Overall, I wanted it to have a gothic feel, close to fantasy
cinema. As you say, the film is constructed as a daydream, sometimes
nightmarish. This was really the line I wanted to follow.</span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: You have
such a strong cast, so many talented women.
Is it hard to find performers who are convincing in historical
stories? Can you say something about the
casting process?</span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;">DAVID PERRAULT: I wanted to create a very strong group of
women on screen. So I chose actresses from very different horizons to create
relief. During the casting, I am very sensitive to the voices and the way they
go together. It's a very musical way of working.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: I understand
why the smugglers were masked during crimes, but why were they masked even when
sitting around the campfire, and presumably eating?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><a name="tw-target-text6"></a><span lang="EN" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%; mso-ansi-language: EN;">DAVID PERRAULT: It's an unrealistic bias that takes part
in the nightmarish and hallucinatory atmospheres that I wanted to give to the
film. </span><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">HENRY PARKE: Do you have
plans for your next movie? Is it a
Western?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><a name="tw-target-text7"></a><span lang="EN" style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%; mso-ansi-language: EN;">DAVID PERRAULT: It's not a western, nor a movie. It's a
TV show about dreams precisely.</span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7GXCkQK7Ybryzhx32qfmJUvpJvn070Z0uI2nfGLcGE1wNsl_E19aJhsDLxD_cyi-QyDO3a8G2qH2qLISG8sqYrfVF9vnbfLR-sIBbNuxZFw0Hsy52JoLVt3-4BoHQ8GN2-5N-FQDg2meN/s1249/savage+stage+poster.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1249" data-original-width="843" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7GXCkQK7Ybryzhx32qfmJUvpJvn070Z0uI2nfGLcGE1wNsl_E19aJhsDLxD_cyi-QyDO3a8G2qH2qLISG8sqYrfVF9vnbfLR-sIBbNuxZFw0Hsy52JoLVt3-4BoHQ8GN2-5N-FQDg2meN/s320/savage+stage+poster.jpg" /></a></div><br /><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><b>DVD REVIEWS</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><b>DON RICARDO RETURNS – or,
if Zorro and the Cisco Kid had a baby…</b><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRjZdkKkjKcirddEKGfAwmkJcYTvholShb_N1Qj45MezwW88GzQSc8sm9KWRfkSDjglLE2moxdz732MHaXec-opX9Im0KdsrTrXa5e9iv0kqG8mluSoD4z7gjxeMlFo1njx9mfVEMUb2yv/s1500/don+ricardo+returns.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1500" data-original-width="1088" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRjZdkKkjKcirddEKGfAwmkJcYTvholShb_N1Qj45MezwW88GzQSc8sm9KWRfkSDjglLE2moxdz732MHaXec-opX9Im0KdsrTrXa5e9iv0kqG8mluSoD4z7gjxeMlFo1njx9mfVEMUb2yv/s320/don+ricardo+returns.jpg" /></a></div><b><br /></b><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">With his story <i>The
Curse of Capistrano</i> published in 1919, Johnston McCulley created Zorro, the
prototype for the swashbuckling Mexican hero in Westerns for years to
come. Douglas Fairbanks played him to
great success the following year, and he would later be portrayed by Tyrone
Power, Guy Williams, Alain Delon, and twice by Antonio Banderas, among others. McCulley would continue to write until his
death in 1958, and many of his stories were turned into movies. He was only credited with one produced
screenplay, ironically based on another writer’s famous character: <i>Doomed
Caravan</i> (1941), starring William Boyd as Clarence Mulford’s Hopalong Cassidy. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">In 1946, P.R.C. released <i>Don
Ricardo Returns</i>, original story by McCulley, about a wealthy young
nobleman, Don Ricardo (Fred Coby), who is Shanghaied, and when he escapes and
returns to Monterey, learns that the culprit, his cousin Don Jose Luerra
(Anthony Warde), has had Ricardo declared dead, and is trying to claim his
property, and woo his intended, the lovely Dorothea (Lita Baron, aka
Isabelita), who is handy with a sword herself.
While the film is itself a poor cousin to 20<sup>th</sup> Century Fox’s <i>Mark
of Zorro</i> (1940), and Fred Coby is no Tyrone Power, it is an entertaining 63
minutes, with good dialog and swordplay.
<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf9xqShGZP-XJ8HWGBlwmGcwz9rnWdFZARxc6ZlHFp57EbJ7L_Vso9mB0S5AZ65gaHIU2h55WyJ6UuUZfacmybqoCZhfxy5Hw5anMPRVI4VHHpAjR98qrxBlzHlpfO6MOpZ2QNF_u3vCl6/s355/Don+Ricardo+lobby.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="280" data-original-width="355" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf9xqShGZP-XJ8HWGBlwmGcwz9rnWdFZARxc6ZlHFp57EbJ7L_Vso9mB0S5AZ65gaHIU2h55WyJ6UuUZfacmybqoCZhfxy5Hw5anMPRVI4VHHpAjR98qrxBlzHlpfO6MOpZ2QNF_u3vCl6/s320/Don+Ricardo+lobby.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Look quick, and Fred Coby looks like Tyrone Power.</div><div class="separator" style="clear: both; text-align: center;">That's the San Fernando Mission behind them.</div><span style="font-family: "Times New Roman", serif; font-size: 12pt;"><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman", serif; font-size: 12pt;"><br /></span></p>Rather than being
studio-bound, director Terry O’Morse</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">
</span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">makes ample and effective use of two historical landmark locations, The
San Fernando Mission, and the Andres Pico Adobe, both of which are happily
still standing, and open to visitors.</span><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Of particular interest is
that the screenplay is co-written by Renault Duncan, the <i>nom de plume</i> of
actor Duncan Renaldo, famous for his portrayal of O. Henry’s the Cisco Kid in
eight movies and 157 TV episodes.
Renaldo also was associate producer on the film. He would go on to write three more
swashbucklers, <i>Bells of San Fernando</i> (1947), <i>The Lady and the Bandit</i>
(1951), and <i>The Highwayman</i> (1951), all with cowriter Jack DeWitt. <i>Don Ricardo Returns</i> is available from
Alpha Video <a href="https://www.oldies.com/product-view/8366D.html">HERE</a>. </span><a href="https://www.oldies.com/product-view/8366D.html"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">https://www.oldies.com/product-view/8366D.html</span></a><span class="MsoHyperlink"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span class="MsoHyperlink"><span color="windowtext" style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 200%;"><b>THE PHANTON PINTO –
my first car</b><o:p></o:p></span></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span class="MsoHyperlink"><span color="windowtext" style="font-family: "Times New Roman", serif; font-size: 12pt; line-height: 200%;">I’ve always had a
fondness for Westerns made during World War II, where the characters were
simultaneously fighting range wars and Nazi spies. In the tiny budget <i>Phantom Pinto</i>, when
rancher Wade (Milburn Morante) balks at selling apparently worthless land for a
high price to German accented Kurt Hank (Sven Hugo Borg), he turns up
dead. Wade’s daughter (Dorothy Short) is
eager to sell, but dad’s old confidante Jim (Dave O’Brien) and Wade’s 10-year-old
son Buzzy (Robert “Buzzy” Henry) smell a rat, or maybe a </span></span><i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">Schweinhund,
</span></i><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">and
discover Hank and his minions want the land to mine valuable deposits of
strontium! Jim says that’s something
used to make fireworks, but the remarkable thing is that this film was released
in May of 1941, long before the U.S. entry into the war, and Strontium 90 is a
radioactive isotope produced during nuclear explosions! I don’t know who screenwriter E.G. Robertson
was listening to, but it was someone who talked too much!<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><br /></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1mjhj9DztZ_U7ko0o4EXHuno6oB_SdSgEs3GPRH-JVY1l4Au-mYsS5X0mBf17Y8igUB3M9b53yhnErBwOBRtqQU6r65UTor9RHMVCJoRWHB2G8i3qcmaBNB-2V-YHoFnFpWXEVZPlw315/s500/buzz+henry.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="500" data-original-width="350" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1mjhj9DztZ_U7ko0o4EXHuno6oB_SdSgEs3GPRH-JVY1l4Au-mYsS5X0mBf17Y8igUB3M9b53yhnErBwOBRtqQU6r65UTor9RHMVCJoRWHB2G8i3qcmaBNB-2V-YHoFnFpWXEVZPlw315/s320/buzz+henry.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;">Buzz Henry as a kid.</div><br /><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">So cheap and crudely made
that it seems more like an early 1930s rather than ‘40s film, it even features silent-movie
style open-air sets pretending to be interiors, the most appealing thing about
it is Buzzy Henry. A talented for-real
child cowboy, in addition to riding and roping, he gets all the best lines: “Get
along there, you un-American polecat,” and “C’mon, Mr. Hand-kisser! You’ve got a date with Uncle Sam!” <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12pt; line-height: 200%;">As an adult, Buzz Henry
would become a much in-demand stuntman and stunt coordinator, and was
second-unit director on <i>Our Man Flint, The Wild Bunch</i> and <i>Macho
Callahan,</i> and in 1971 was doing the same job on <i>The Cowboys</i> when he
was killed in a motorcycle accident, at age 40.
The Phantom Pinto is available from Alpha Video <a href="https://www.oldies.com/product-view/8377D.html ">HERE</a>.<o:p></o:p></span></p>
<p><a href="https://www.oldies.com/product-view/8377D.html" style="font-family: "Times New Roman", serif; font-size: 12pt;">https://www.oldies.com/product-view/8377D.html</a> </p><p><br /></p><p><b>And that's a wrap!</b></p><p>Please check out the current True West, February/March 2021, featuring my interview with actor Graham Greene.</p><p>Happy Trails,</p><p>Henry</p><p>All original contents copyright February 2021 by Henry C. Parke -- All Rights Reserved</p><p><br /></p><p> </p>Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-87083196683306793462020-11-14T16:44:00.001-08:002020-11-14T16:44:51.948-08:00BRUCE DERN IN ‘SIEGE AT RHYKER’S STATION’ - FIRST WESTERN MOVIE SET WITH COVID PRECAUTIONS, PLUS KENNY ROGERS BIO, LAST OF THE P.R.C. WESTERNS, ‘COMEBACK TRAIL’ TRAILER, AND MORE!<p> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTfQHj0B6Fk7IHrb1f7-xB1aKEfNq4mbZdB5yKu_3waa6IyEbaLiqQjqhXCcvDZLyL3QhA8HwiwcwDxsmV1f5ImqvUrwa-KFt1i5JJSd3PebzEuADG8V3iEr4cqZNS4-YiebDVqOA2sFYe/s2048/Rhyker+Dern+rifle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1367" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTfQHj0B6Fk7IHrb1f7-xB1aKEfNq4mbZdB5yKu_3waa6IyEbaLiqQjqhXCcvDZLyL3QhA8HwiwcwDxsmV1f5ImqvUrwa-KFt1i5JJSd3PebzEuADG8V3iEr4cqZNS4-YiebDVqOA2sFYe/s320/Rhyker+Dern+rifle.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Bruce Dern, <span style="font-family: "Times New Roman", serif; font-size: 12pt; text-align: left;">Michael Welch, </span><span style="font-family: "Times New Roman", serif; font-size: 12pt; text-align: left;">Cam Gigandet</span></div><br /><p></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>A VISIT TO ‘SIEGE AT
RHYKER’S STATION’ - FIRST WESTERN MOVIE SET WITH COVID PRECAUTIONS</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">At first I thought maybe
Western films could go on even as the rest of the film industry screeched to a
Covid-19 halt.<span style="mso-spacerun: yes;"> </span>After all, in a Western,
it’s no shock when a gang of masked men burst into a bank with drawn guns. But
when the bank tellers are also masked, you know something’s wrong.<span style="mso-spacerun: yes;"> </span>So, it’s been a waiting game, and the great
news is that the waiting is over, and cameras are, cautiously, rolling
again!<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Last week I had a chance
to drive out to Peter Sherayko’s Caravan West Ranch, and watch some filming on
what I am pretty sure is the first Western to shoot in California since
March.<span style="mso-spacerun: yes;"> </span>Here’s how the director of <i>Siege
at Rhyker’s Station</i>, Michael Feifer, tells the story. “This movie is about
a girl named Jocelyn Miller (Skylar Witte), who marries a kind of pretentious,
impetuous, annoying young man named Jody Callahan (Michael Welch). And right
after the wedding, Jocelyn hears her father-in-law (Bruce Dern), and
brother-in-law (Cam Gigandet) talking about how they actually killed her
father. She had no idea. So she takes off -- she just gets on a horse and
leaves. And they go after her.”<span style="mso-spacerun: yes;"> </span>Reminds
me a little of Mariette Hartley and James Drury’s wedding in <i>Ride the High
Country</i>.<span style="mso-spacerun: yes;"> </span>The Callahans and their
gang catch up with Jody at a stagecoach stop, Rhyker’s Station, where she’s
befriended Billy Tyson (Brock Harris), Red Lindstrom (Peter Sherayko), and Joe
Rhyker (David DeLouise), who aren’t about to hand her over without a fight. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">On the set, everyone on
the show was Covid-tested twice a week – videos of actors having cue-tips
driven through their noses and seemingly into their brains are on Facebook –
and masks are everywhere.<span style="mso-spacerun: yes;"> </span>But one of the
real health advantages is that Westerns are, as John Ford called them, “outdoor
pictures,” with plenty of circulating air: the Monday before I was there, there
was so much wind that sets were blowing over.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">I arrived at 3 in the
afternoon, in time to watch several takes of a half-dozen bad-guys galloping
their horses down a hill, firing away, then stopping, regrouping, and heading
back.<span style="mso-spacerun: yes;"> </span>For the first time on a set, I
watched a mortar repeatedly fired for explosive effects.<span style="mso-spacerun: yes;"> </span>Though convincing on camera, especially with
sound effects, the mortar is powered by compressed air, and fires a mixture of
Fullers Earth and chunks of cork.<span style="mso-spacerun: yes;"> </span>Best
of all, I got to obliquely watch, but clearly hear, Bruce Dern shooting his
final scene of the film.<span style="mso-spacerun: yes;"> </span>Dad is none too
pleased at all the trouble his briefly-wed son has made for the family, and
hearing Bruce Dern blow his top will long be a favorite memory of my film-set
visits.<span style="mso-spacerun: yes;"> </span>It was met with thunderous
applause by the crew.<span style="mso-spacerun: yes;"> </span>Oh, and Dern was
cracking jokes constantly between takes.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Michael Feifer has
directed an astonishing 67 feature movies since 2005.<span style="mso-spacerun: yes;"> </span>I’d first met him back in 2012, when I
visited the set of his first Western, <i>Wyatt Earp’s Revenge</i>.<span style="mso-spacerun: yes;"> </span>He’s directed quite a few since then,
especially in the past year or so.<span style="mso-spacerun: yes;"> </span>I
asked him about the challenges of making a film during the COVID crisis.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinbXcy7DKFgaERJjoTzOC2BaYT3sXy7GCmkLalZMioBNxZKgAixd1qi_5nTRGTdxQyLz55xIuw9777f8Wxng-0hODcBaWb2hedHGNKQXOWr-sodr4poHL7Y96I2HI0tX1hdjAESl-X__NX/s2048/Rhyker+Caia+Coley.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinbXcy7DKFgaERJjoTzOC2BaYT3sXy7GCmkLalZMioBNxZKgAixd1qi_5nTRGTdxQyLz55xIuw9777f8Wxng-0hODcBaWb2hedHGNKQXOWr-sodr4poHL7Y96I2HI0tX1hdjAESl-X__NX/s320/Rhyker+Caia+Coley.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Michael Feifer directing Caia Coley</div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">MICHAEL FEIFER:<span style="mso-spacerun: yes;"> </span>Well, nothing stops me. I shot a movie in
July in Georgia. I shot a movie in August in Wyoming, and now here we are in
October, shooting another movie in Los Angeles. And what more perfect movies to
shoot during COVID than Westerns? The one in July was not a Western, it was like
a Lifetime thriller. I've been averaging about six movies a year. Hopefully
this year I'll end up with five. So it's slowed me down. Right before this
whole thing. I was shooting a movie in Hawaii in February, and then we get on
the plane to go home and people start wearing masks and it's starting to
happen. So at least I was in Hawaii right before it all happened. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: I understand
<i>Siege at Rhyker’s Station</i> is one of a group of Westerns.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">MICHAEL FEIFER: I don't
know if I'd call them a series, but a company hired me to make three Westerns
in a row. By the way, (post production for) <i>Shooting Star</i> is going to be
done in a week or two.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: <span style="mso-spacerun: yes;"> </span>And that’s another Western, not part of the
group of three. <span style="mso-spacerun: yes;"> </span>I’d love to see it. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">MICHAEL FEIFER: It's
pretty cool. Do you know it's in black and white?<span style="mso-spacerun: yes;"> </span>It's beautiful. So, I had three Westerns in a
row to do.<span style="mso-spacerun: yes;"> </span>The last one was called <i>Catch
The Bullet</i>. This is called <i>The Siege at Rhyker’s Station</i>. And then
the third one is called <i>Desperate Riders</i>. They're not related to each
other, but it's an opportunity, and we like making westerns. I like them when
they're not in the cold and the wind, but otherwise.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>For this one, what particular challenges are
you facing?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">MICHAEL FEIFER: This one
is challenging because there's a lot of characters stuck in this little
stagecoach station. There's a lot of characters up on the hill shooting at
them. A lot of disparate moments and actions. It's easy to shoot a scene where
you have a finite beginning, and a finite end, and dialogue that sort of
resolves itself. You understand what the characters are doing and what their
points are. When you're shooting an action scene where one person shoots here,
one person shoots there, another person's shooting from over there, it makes it
a little harder to keep the continuity of the scene, the consistency of it. A
lot of that material, I'm going to shoot over a period of time, but I only have
Bruce Dern for a short time and Cam Gigandet for a time. So that makes it more
challenging.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Have you
worked with Bruce Dern before?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">MICHAEL FEIFER:<span style="mso-spacerun: yes;"> </span>I have not, and he's been a joy. I've heard
more Hollywood stories in two days than I've heard in my entire life, except
for maybe when I worked with Peter Bogdanovich, <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>What did you direct Bogdonavich in?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">MICHAEL FEIFER:<span style="mso-spacerun: yes;"> </span>A movie called <i>Abandoned</i>, starting
Brittany Murphy, Dean Cain, Mimi Rogers, and Peter. Super-nice guy. One of the
few actors that, when we finished, he says, Mike, you have everything you need?
Are you good?<span style="mso-spacerun: yes;"> </span>Just a really giving guy,
really nice.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo-C4DZs4nO-bGZRBPnxELQnhcSJpR10BXxg3jFF0nW2vVXW3P-VOS4KahwN8njC2UbHjSnlEeLjf1VxABo2mdIEWCGmRtN1L0PUw0x-RWXpaUMVNRdlEwaOnaW_HDJtob-T3Xdit12xmr/s2048/Rhyker+Cash+Parrott.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjo-C4DZs4nO-bGZRBPnxELQnhcSJpR10BXxg3jFF0nW2vVXW3P-VOS4KahwN8njC2UbHjSnlEeLjf1VxABo2mdIEWCGmRtN1L0PUw0x-RWXpaUMVNRdlEwaOnaW_HDJtob-T3Xdit12xmr/s320/Rhyker+Cash+Parrott.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Cash Parrott keeps firing!</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Tell me a about shooting <i>Catch the Bullet</i>
in Wyoming.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">MICHAEL FEIFER: Actually
it's kind of interesting. I made a deal with a ranch in Wyoming called the TA
Ranch. It’s 8,000 acres. Kirsten Giles, her family owns it. I didn't scout it
ahead of time. I had somebody else scout it, so I'd seen pictures, seen video. When
we got there, Peter Sherayko and I were sitting out by what they call the milk
house, a building you'll see at the beginning of the movie, with Tom Skerritt,
that looks out over their ranch, And Kirsten, who runs the ranch says, you
know, this is the location of Johnson County War.<span style="mso-spacerun: yes;"> </span>Peter's like: <i>what?</i> She says, this is
the exact location. The barn here is where they actually fired guns from. She
showed us the bullet holes. She showed us the holes where they put the rifles
through.<span style="mso-spacerun: yes;"> </span>I swear Peter almost cried
because you know, the history means so much to him. Peter has one scene in that
movie, and I made his scene start off in the barn.<span style="mso-spacerun: yes;"> </span>It was a neat moment, to see Peter so
affected.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Your previous Western, <i>A Soldier’s Revenge</i>,
was released in June.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">MICHAEL FEIFER:<span style="mso-spacerun: yes;"> </span>We just won The Wild Bunch Film Festival.<span style="mso-spacerun: yes;"> </span>We won best picture, best director, best
produced feature, best ensemble cast, best actress, best lead actor.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: You've
cleaned the slate.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">MICHAEL FEIFER: We did
quite well there. I was very appreciative of Rock Whitehead and his wife, what
they put together, and we had a good time. <i>Soldier's Revenge </i>came out on
DVD, so people can pick that up. And if you have Amazon Prime, you can watch it
for free.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQS884dzFqCG5sa3JD-nD7r0YNTCnp92sKSBek9PtXToYrPdbE0ICgAdQAUUK_kWej0x6imPXioHADFJyZBunNAHWLG4cKLGsz-uUIIKtxBdfIqpenBF63FGopdYqiZyT47y1kbBXdKEH3/s2048/Rhyker+Mike+Pete.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1367" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQS884dzFqCG5sa3JD-nD7r0YNTCnp92sKSBek9PtXToYrPdbE0ICgAdQAUUK_kWej0x6imPXioHADFJyZBunNAHWLG4cKLGsz-uUIIKtxBdfIqpenBF63FGopdYqiZyT47y1kbBXdKEH3/s320/Rhyker+Mike+Pete.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;">Peter Sherayko and Mike Feifer</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Peter Sherayko and I sat
down – at least six feet apart – and I asked him if this was his first time
working with Bruce Dern.<span style="mso-spacerun: yes;"> </span>It was
not.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">PETER SHERAYKO: No, it's
the fourth. We did <i>Badland </i>last year, and we did <i>Hickcok</i> couple
of years before.<span style="mso-spacerun: yes;"> </span>And <i>Traded.</i> <span style="mso-spacerun: yes;"> </span>So it's my fourth time working with Bruce.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: So what's he
like to work with?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">PETER SHERAYKO:<span style="mso-spacerun: yes;"> </span>You know, he is really good, and he's a
wealth of stories on the old west, and on different movies that he did.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Who are you playing in this picture?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">PETER SHERAYKO:<span style="mso-spacerun: yes;"> </span>Actually the third lead, a guy named Red
Lindstrom who runs a freighting outfit. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: I've never
been on a film set where you were acting, where you weren't also doing a few other
things. What else are you doing on this picture?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">PETER SHERAYKO:<span style="mso-spacerun: yes;"> </span>The costumes, the location and the guns; I'm
the armorer. Kevin (McNiven) came down from Wyoming with the horses, he and
Addie (Ardeshir Radpour) are the wranglers, and all the guys that they hired to
ride are The Buckaroos (Peter’s group of horsemen).<span style="mso-spacerun: yes;"> </span>They can ride and shoot, so that's what
they're doing. And Dan Dietrich brought the stagecoach in from Shingle Springs,
California.<span style="mso-spacerun: yes;"> </span>He taught me how to drive
the wagon, which I hadn't done in 20 years, and I totally was inept then. But
now I feel very competent.<span style="mso-spacerun: yes;"> </span>We have a three-picture
deal to do for the same company. <i>The Desperate Riders</i> is the third one,
probably in December and probably in Arizona. We were going to do <i>Rhyker’s</i>
(in Wyoming), but one day it was 90 degrees, two days later we had five inches
of snow, and Mike said, I can't film here.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Not good for continuity.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">PETER SHERAYKO: (laughs)
There's<i> no</i> continuity. It's bad enough here with the wind yesterday, fog
in the morning, today's a totally different day than yesterday. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbH_i149KSXOkJawX7kt9SAxaqOEKSBSvxbL69YJKQAj1dpzAWpRvMdze2U0Uq9kehY5cP-sm7tG7SQwqWM4Tl9PvtafrmVYCQkfcjqZkMCgSRUe6hcSkkPIab9OLu7xhHNwuVfR68JDAb/s2048/Rhyker+Dern.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbH_i149KSXOkJawX7kt9SAxaqOEKSBSvxbL69YJKQAj1dpzAWpRvMdze2U0Uq9kehY5cP-sm7tG7SQwqWM4Tl9PvtafrmVYCQkfcjqZkMCgSRUe6hcSkkPIab9OLu7xhHNwuVfR68JDAb/s320/Rhyker+Dern.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Bruce Dern</div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">(At that moment, Molly
the costumer appeared to ask Peter if he has a pair of 1880s period glasses, the
kind with circular lenses, for one of the actors.<span style="mso-spacerun: yes;"> </span>He assured her he’d bring them the next day.)<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">PETER SHERAYKO:<span style="mso-spacerun: yes;"> </span>This is why I started the business. Because
as an actor, I always brought whatever props I needed. I would look at my
character, saying this I want, this I want. I want to have a match-safe with
matches, or I want to have a cigar or I want to have glasses. Or a walking
stick. So I would bring them. And I started bringing my own guns, talking to
the director saying, can I use these guns? It drives me crazy when actors come
in and then all of a sudden, they go, can I have this? Especially on small
budget movies that we do, the prop people have no time to pull everything for
every character. There's one actor I've worked with six times. We've been
friends for 30 years. And when we're working on a movie, I'll call and I'll
say, Marty, what do you want? And he'll say, I don't want anything.<span style="mso-spacerun: yes;"> </span>The day he's there, oh, can I have this? Can
I have that? It's not in the script. So that's why I started the business,
because I wanted to make things more efficient.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>How many pictures have you done with Michael
Feifer?<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">PETER SHERAYKO: Eight; the
next one will be the sixth one as an actor. I like Michael because he doesn't
shoot fast, but he gets everything he wants done.<span style="mso-spacerun: yes;"> </span>We had a nine o'clock call today and we'll be
out of here by six. <o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmH_b0z3_JBHva1PrKoThmbDTcmJE5M6CBEHosAPv_R7okfwJag9gW_Jl-8S4LdrDOaIEvJRHh4BQdGmE5LPnKSHVBLXjvFFQMKc_3PwK97LhNFjPUHvXExcbKVHhX2ZAq6eubXBQuU4kh/s2048/Rhyker+stagecoach.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1365" data-original-width="2048" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmH_b0z3_JBHva1PrKoThmbDTcmJE5M6CBEHosAPv_R7okfwJag9gW_Jl-8S4LdrDOaIEvJRHh4BQdGmE5LPnKSHVBLXjvFFQMKc_3PwK97LhNFjPUHvXExcbKVHhX2ZAq6eubXBQuU4kh/s320/Rhyker+stagecoach.jpg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">David DeLuise waiting for "Action!" The power</div><div class="separator" style="clear: both; text-align: center;">lines will not be in frame.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">(We were interrupted a
few times by phone calls.<span style="mso-spacerun: yes;"> </span>A man wanted
to rent props.<span style="mso-spacerun: yes;"> </span>Another wanted to rent
the ranch to shoot a rock video.)<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: You’ve got
your ranch working all the time.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">PETER SHERAYKO:<span style="mso-spacerun: yes;"> </span>You know, on a normal year without COVID we
do 40 to 60 shoots: commercials, music videos, TV, movies. Last year we did six
movies, and they brought two stagecoaches in for one of them. We keep on
working because everybody knows that I'm cost-effective. A producer called me
this morning; he's having a hard time raising $500,000 to do a movie. He used
to work for Showtime, and now he's been trying to independently produce. He
said a couple of years ago, shows were a million and a half. Now the low budget
shows are all down to four, five, $600,000. They're not bigger than that.<span style="mso-spacerun: yes;"> </span>Even all the shows for Hallmark are way down.
This year, their budgets had to go up $2 million just for COVID testing. And
they had to cut a lot of other stuff because Hallmark says, no, we're not
giving you any more money. So they had to really pull back, all those networks:
USA, Lifetime, all those movies are less than a million dollars.<span style="mso-spacerun: yes;"> </span>A couple of years ago they were one or two
million dollars. He says, the biggest budget you can have is a million two. If
you go over a million two, they won't be able to recoup the money, because
there is so much product out there.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>That's very interesting. I'd never thought
that protection from COVID would be pulling money directly out of a budget, that
that would not be something added on.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">PETER SHERAYKO:<span style="mso-spacerun: yes;"> </span>Well, they already have a budget, and a
budget is a pie, cut up in pieces. Line producer says, okay, camera's going to
get so much. We have so much for props. We have so much for costumes. We have
so much for talent. We know that we have to have your A-list person, your major
star, or you're not going to sell it. We were going to film this movie a couple
of months ago, but the money people gave Michael a list of 10, 12 actors. You
have to get these. Some of them turned it down because it wasn't enough money.
Bruce was on the list, and we had to increase his pay to to get him, or they
wouldn't get the money (for the movie).<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">All photos from <i>Siege at Rhyker's Station</i> are by </span><a href="http://www.barryjholmes.com/" target="_blank"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">www.barryjholmes.com</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>‘THE COMEBACK TRAIL’
DECEMBER 18<sup>TH</sup>!</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><br /></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/8gPSf97jI2w" width="320" youtube-src-id="8gPSf97jI2w"></iframe></div><br /><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Back in 1982, a very
talented, quirky filmmaker name Harry Hurwitz, who’s <i>The Projectionist</i>
(1970) became a cult classic, made the wonderful but rarely seen black comedy, <i>The
Comeback Trail</i>. It starred Chuck McCann as a failed movie producer who
tries to get rich by hiring a broken-down former Western star, played by Buster
Crabbe, to star in a movie, insure him for a fortune, and kill him.<span style="mso-spacerun: yes;"> </span>It’s been remade, and while I usually don’t
get excited about remakes, the trailer looks hysterical.<span style="mso-spacerun: yes;"> </span>And it stars, as the producers, Robert
DeNiro, Morgan Freeman, Zach Braff and, as the broken-down Western star, Tommy
Lee Jones.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>ALPHA VIDEO’S BOB STEELE,
EDDIE DEAN, ‘END OF AN ERA’ RELEASES</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Alpha Video always seems
to come up with something unusual, and this pair of new releases is no
exception.<span style="mso-spacerun: yes;"> </span>After 120 starring roles in
B-Westerns since 1927, <i>Thunder Town</i>, a 1946 Producers Releasing Corporation
film, would be Steele’s last.<span style="mso-spacerun: yes;"> </span>Two years
later, P.R.C.’s <i>The Tioga Kid</i> would not only be star Eddie Dean’s final
B-Western, it would be the last B-Western that P.R.C. would ever make. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Steele had begun his
career as a kid, co-starring with his twin brother in a series of shorts, <i>The
Adventures of Bill and Bob</i>, directed by their father, Robert N. Bradbury,
who would later direct John Wayne’s Lone Star Bs.<span style="mso-spacerun: yes;"> </span>Bob starred in Western Bs for fly-by-night
outfits, as well as Poverty Row ‘majors’, often one-offs, but also in series
like The Trail Blazers for Monogram, Billy The Kid for P.R.C., and in the final
years of The Three Mesquiteers at Republic.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Though not so well
remembered as his contemporaries, Roy Rogers, Gene Autry and Hopalong Cassidy,
Steele was extremely popular in his day, especially with young boys. Their
sisters may have liked his good looks, warm smile, and wavy brown hair, but the
boys loved Steele because, while standing no more than five and a half feet
tall, he could convincingly whip the tar out of six foot six villains.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">He was also a far better
actor than most B-Western stars.<span style="mso-spacerun: yes;"> </span>In
1939’s brilliant Lewis Milestone production of John Steinbeck’s <i>Of Mice and
Men</i>, he plays hateful Curley Jackson, working amongst some of the finest of
America’s stage and film actors: Burgess Meredith, Betty Field, Lon Chaney Jr.,
and Charles Bickford.</span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE3QulOXQkonmkvcNwammPlkp-c1InKDNw8uMiBbv5FpEKbQ8oqVk04sRIJ9amGCFm-ldgguQGmcgZCI7RexNDeb4k7JkUlgETUBzNrj_G1qa29C6uN0hi8NAeLVsoITnqvwdN8JPp6b4h/s733/Thunder+Town+box.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="733" data-original-width="510" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE3QulOXQkonmkvcNwammPlkp-c1InKDNw8uMiBbv5FpEKbQ8oqVk04sRIJ9amGCFm-ldgguQGmcgZCI7RexNDeb4k7JkUlgETUBzNrj_G1qa29C6uN0hi8NAeLVsoITnqvwdN8JPp6b4h/s320/Thunder+Town+box.jpg" /></a></div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">In his final B, <i>Thunder
Town</i>, Bob Steele plays Jim Brandon, who receives a cold reception in his
home town when he returns from prison on parole.<span style="mso-spacerun: yes;"> </span>Of course, Brandon says his bank-robbery
conviction was a frame-up, and although his ranching partner committed suicide,
supposedly over guilt in letting him take the rap alone, Brandon thinks it
wasn’t suicide, but murder.<span style="mso-spacerun: yes;"> </span>And who
might be behind it all but the Duncan brothers, led by the older brother,
played by hissable villain Charles King.<span style="mso-spacerun: yes;">
</span>And Duncan just happens to be legal guardian to Brandon’s girlfriend
(Betty Morgan), and is pressuring her to marry his kid brother.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">It’s an interesting film,
and a nice performance by Steele, who is shunned by many and, being on parole
and having to keep out of trouble, has to eat a lot of dirt.<span style="mso-spacerun: yes;"> </span>This is one of the few times he wears a
mustache, which not only makes him seem all of his 39 years, but makes him
resemble J. Carrol Naish. Syd Saylor is adequate as the sidekick.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">After <i>Thunder Town</i>,
Steele’s next part would be arguably his greatest A role, in Raymond Chandler’s
<i>The Big Sleep</i>.<span style="mso-spacerun: yes;"> </span>Acting opposite –
and beating up – Humphrey Bogart, he plays Canino, the sadistic henchman who
grins as he bullies Elisha Cook Jr. into drinking poison.<span style="mso-spacerun: yes;"> </span>Maybe Steele, about to turn forty, wanted to
move to character roles in bigger pictures.<span style="mso-spacerun: yes;">
</span>Sadly, it didn’t happen. He would work steadily for years, but mostly
lending support in Bs until they petered out.<span style="mso-spacerun: yes;">
</span>Surprisingly, in the 1960s he achieved his most enduring fame, and
showed his comedy skills, on F-TROOP, playing Trooper Duffy, who endlessly
bragged about his time at The Alamo.<span style="mso-spacerun: yes;"> </span>The
Golden Boot Awards, which from 1983 to 2007, celebrated the contributions of
actors and crew members to Western film, was the brainchild of Gene Autry’s
sidekick, Pat Buttram.<span style="mso-spacerun: yes;"> </span>He created them
specifically to acknowledge Bob Steele, whom he felt had not gotten the credit
he deserved. <span style="mso-spacerun: yes;"> </span>Along with <i>Thunder Town</i>
is a fascinating short also from 1946, <i>Shanghai: The Falling Horse</i>,
featuring ace stuntman Fred Kennedy training his horse to take convincing falls
without being injured.<span style="mso-spacerun: yes;"> </span>You can buy <i>Thunder
Town</i> here: </span><a href="https://www.oldies.com/product-view/8361D.html"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">https://www.oldies.com/product-view/8361D.html</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFqYvi4ZfU2DqEOwlxLRsU1T-BN7YNDMw_zwXYbsSpqzExUT4BlJZSKa7udCh-f23jUurzC_SKoe_o_V_lhqks-3ykeD8ZIoQEyw072xpLHJG6ykLIJJoIr7oPjOP9oA0shHqNtO9Un5n1/s733/Tioga+Kid+box.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="733" data-original-width="510" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFqYvi4ZfU2DqEOwlxLRsU1T-BN7YNDMw_zwXYbsSpqzExUT4BlJZSKa7udCh-f23jUurzC_SKoe_o_V_lhqks-3ykeD8ZIoQEyw072xpLHJG6ykLIJJoIr7oPjOP9oA0shHqNtO9Un5n1/s320/Tioga+Kid+box.jpg" /></a></div><br /><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Eddie Dean, maybe the
best singer of all the singing cowboys, stars in 1948’s <i>The Tioga Kid </i>as
himself, a lawman; and as the outlaw he’s sent after, the infamous Tioga
Kid.<span style="mso-spacerun: yes;"> </span>The movie opens with a montage of
the Kid’s privations, and PRC must have lifted shoot-outs, chases,
bank-robberies, and blown-up houses from a dozen movies, some of them silent,
and including an outstanding nighttime train wreck, interspersed with Tioga Kid
newspaper headlines.<span style="mso-spacerun: yes;"> </span>With the help of
sidekick Roscoe Ates, Eddie tries to save the ranch of feisty and lovely
Jennifer Holt, and bring his evil twin (might they really be brothers?) to
justice.<span style="mso-spacerun: yes;"> </span>A remake of Dean’s 1946 film <i>Driftin’
River</i>, much of the cast and plot – and footage – was repeated.<span style="mso-spacerun: yes;"> </span>The one song that is added, “Ain’t No Gal Got
a Brand on Me,” is definitely the best of the three featured.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">It would be P.R.C.’s last
B-Western not because of collapse, but because of a change of business model.
The studio was absorbed into British filmmaker J. Arthur Rank’s Eagle-Lion
Pictures, to produce low-budget second-features to be teamed with their British
releases.<span style="mso-spacerun: yes;"> </span>While superior competitor
Republic would continue making B’s into the 1950s, it was the end of the trail
for most.<span style="mso-spacerun: yes;"> </span>While sidekick Roscoe Ates
would move to Republic for a time, and have a very busy career in television, Dean
would never do another movie, and precious little TV, aside from an
unsuccessful try at a Western series, <i>The Marshall of Gunsight Pass</i>,
costarring with Roscoe Ates, which you can find on Youtube, if your eyes can
take it.<span style="mso-spacerun: yes;"> </span>It was Jennifer Holt’s last
film as well.<span style="mso-spacerun: yes;"> </span><i>Tioga Kid</i> is
accompanied by a 1949 short, <i>Hold ‘Em Cowboy</i>, featuring cowboys
preparing for a rodeo, and some very interesting early footage.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">You can buy <i>Tioga Kid</i>
here: <span style="mso-spacerun: yes;"> </span></span><a href="https://www.oldies.com/product-view/8363D.html"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">https://www.oldies.com/product-view/8363D.html</span></a><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>BIOGRAPHY – KENNY ROGERS
– A DVD REVIEW</b><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqtHwzX3QPL9AloSomdRllTDeGDxRmDw7RSSqJRrqio2rodct3QVUvWpKncxdnPcE6zGIEbNUmKqw1O9x2zTzfAG0O3oc_IJq2M85kFeBBBBqi9yG8LABOgJbV6s5eIcJdr2HzcrLQl4WQ/s714/Biography+Kenny+Rogers.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="714" data-original-width="510" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqtHwzX3QPL9AloSomdRllTDeGDxRmDw7RSSqJRrqio2rodct3QVUvWpKncxdnPcE6zGIEbNUmKqw1O9x2zTzfAG0O3oc_IJq2M85kFeBBBBqi9yG8LABOgJbV6s5eIcJdr2HzcrLQl4WQ/s320/Biography+Kenny+Rogers.jpg" /></a></div><br /><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The A&E biography of
music superstar Kenny Rogers, who passed away this March at the age of 83, is
built around his 2017 Farewell Concert in Nashville, and its cavalcade of stars
paying tribute to Rogers.<span style="mso-spacerun: yes;"> </span>The 86-minutes
film traces his career from his early days with The New Christy Minstrels,
splitting off to form the more rock-oriented First Edition, his ups and downs
professionally as he struggled to make it as a single, and his career-making
shift from rock and pop to country.<span style="mso-spacerun: yes;"> </span>The
interviews with former bandmates, producers, and songwriters are illuminating,
and his friendships with Lionel Richie and Dolly Parton are illuminating, not
only of Rogers’ character, but of his professional technique.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">But the gaps in this
telling of his story are jarring. An ex-wife is interviewed, their child
mentioned, and Rogers’ widow is seen, though not spoken to.<span style="mso-spacerun: yes;"> </span>But Rogers had five wives and leaves five
children.<span style="mso-spacerun: yes;"> </span>While too much time is spent
on some songs, other important hits like “Coward of the County” are not even
mentioned.<span style="mso-spacerun: yes;"> </span>Neither is Rogers’ hugely
successful (for a time) foray into the restaurant business, the Kenny Rogers
Roasters chain.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Much is made of his hit
song “The Gambler”, and the fact that it was made into a TV movie.<span style="mso-spacerun: yes;"> </span>Not mentioned is that there were four
sequels, a film based on “Coward of the County”, as well as the Westerns <i>Wild
Horses</i> and <i>El Diablo,</i> a couple of crime dramas, and the theatrical
film <i>Six Pack.</i> <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">In addition to being a
wonderful singer and entertainer, Rogers also had a sense of humor, and put up
with friend Johnny Carson’s frequent needling about his chicken
restaurants.<span style="mso-spacerun: yes;"> </span>And while he had a
well-crafted image that he was careful to maintain, he could still laugh at
himself. In an article about performers and plastic surgery, he confided to TV
Guide that he’d had so many face-lifts that his sideburns were now behind his
ears, requiring him to shave there.<span style="mso-spacerun: yes;"> </span>In
fact, in later years he had so much plastic surgery that if not for his voice,
he would have been unrecognizable.<span style="mso-spacerun: yes;"> </span>As an
informal celebration of Kenny Rogers’ music, the documentary is very
entertaining.<span style="mso-spacerun: yes;"> </span>As a biography, it falls
short.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>One more thing…</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">A lot of famous people
have passed away recently, including the great Sean Connery, and J<i>eopardy</i>
host Alex Trebek.<span style="mso-spacerun: yes;"> </span>But often, important
people who work behind the scenes pass away with little notice.<span style="mso-spacerun: yes;"> </span>Screenwriter William Blinn died in October,
at the age of 83.<span style="mso-spacerun: yes;"> </span>He created several TV
series, including <i>Starsky and Hutch</i>, wrote the groundbreaking
mini-series <i>Roots</i>, and <i>Brian’s Song.</i><span style="mso-spacerun: yes;"> </span>He wrote for a number of Western series, including
being the story editor on the short-lived but excellent TV series <i>Shane</i>,
which starred David Carradine and Jill Ireland, and is available from Shout
Factory.<span style="mso-spacerun: yes;"> </span>He gave me a great interview
about his Western writing career.<span style="mso-spacerun: yes;"> </span>Here
is the link: <a href="https://henryswesternroundup.blogspot.com/2015/05/carradines-shane-series-plus-interview.html">https://henryswesternroundup.blogspot.com/2015/05/carradines-shane-series-plus-interview.html</a><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">And please check out the
November issue of True West magazine, featuring my interview with Earl
Holliman!<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>And that’s a wrap!</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Happy Trails,<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">All Original Contents Copyright
November 2020 by Parke – All Rights Reserved<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p>Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-11461940557877276512020-07-31T22:04:00.001-07:002020-07-31T22:04:20.916-07:00ETHAN HAWKE AS JOHN BROWN COMING TO SHOWTIME, PLUS ‘COWBOY WAY’ BACK ON INSP, DVD REVIEWS!<p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl67tXnZNG5To2IjtSQpeghNpfhspP746XaGMaRl-N6keTvWOwO6E8nHuFzCdGNsjaXpEJd8qpYpoAskZGpTQ2PmkklnQmLHVslLA5RXVgROIdI7emkJkUXfgw3_Ye8lvUQkHvdaCZr4Fp/s1500/Good+Lord+Bird+Hawke+2+guns.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="844" data-original-width="1500" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhl67tXnZNG5To2IjtSQpeghNpfhspP746XaGMaRl-N6keTvWOwO6E8nHuFzCdGNsjaXpEJd8qpYpoAskZGpTQ2PmkklnQmLHVslLA5RXVgROIdI7emkJkUXfgw3_Ye8lvUQkHvdaCZr4Fp/s640/Good+Lord+Bird+Hawke+2+guns.jpeg" width="640" /></a></div><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span><p></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>ETHAN HAWKE PORTRAYS JOHN
BROWN IN ‘THE GOOD LORD BIRD’ OCTOBER 4!</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">James McBride’s 2013
novel, <u>The Good Lord Bird</u>, about John Brown, the abolitionist firebrand
who tried to trigger the Civil War, will reach Showtime as an eight-part
limited series beginning October 4<sup>th</sup>.<span style="mso-spacerun: yes;"> </span>Hawke, in addition to portraying Brown,
created the series about one of the most fascinating and controversial men in
American history.<span style="mso-spacerun: yes;"> </span>Considered a great
hero by some, a lunatic by others, and a lunatic hero by quite a few, in May of
1856, Brown and his followers went to Pottawatomie, Kansas, and attacked slavery
supporters, hacking six of them to pieces with swords. This was followed by his
famous attack on the Harpers Ferry Armory in Virginia, to get arms for the
fight.<span style="mso-spacerun: yes;"> </span>He was eventually captured, tried,
and hanged.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/H-Tm63y-S4s" width="320" youtube-src-id="H-Tm63y-S4s"></iframe></div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Also in the cast is
Daveed Diggs, who created the roles of Marquis de Lafayette, and Thomas
Jefferson in <u>Hamilton</u>, will play Frederick Douglass, and Oglala stuntman
and actor Mo Brings Plenty will play Ottawa Jones.<span style="mso-spacerun: yes;"> </span>The story will largely be seen through the
eyes of Onion, a fictional runaway enslaved boy played by Joshua Caleb Johnson.
<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9yxrEMpboknbaJ4raUQKB6WKhWv8zqzOTFCCKJGQ-ZZk1FtIXBX5tMJ0ZtqPuGcRObbTc3HrBPD8vZIchJ7Jo1HVWLsvweXuVhSeQPxLsGp-iuE1GL15sw8NOqKECOmHgkfaNxLhsFes8/s1782/Good+Lord+Bird+Hawke.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1008" data-original-width="1782" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9yxrEMpboknbaJ4raUQKB6WKhWv8zqzOTFCCKJGQ-ZZk1FtIXBX5tMJ0ZtqPuGcRObbTc3HrBPD8vZIchJ7Jo1HVWLsvweXuVhSeQPxLsGp-iuE1GL15sw8NOqKECOmHgkfaNxLhsFes8/s640/Good+Lord+Bird+Hawke.png" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">Joshua Caleb Johnson and Ethan Hawke</div><p></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The idea of John Brown conjures up different images in different minds.</span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMZDYG3KGxZsjakRG1YLdvafRZZH4iWVw5sypRLoIHqGIn-kxW5PhiJrQmSnblyzwNBBreSW6GRIsc003e2UbdUXhWna_FQjDWzbhLf7_hr1TJ7Oy1-nnySn3SJg55zxGzR1skCb0IxIx4/s968/john+brown+fire.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="726" data-original-width="968" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMZDYG3KGxZsjakRG1YLdvafRZZH4iWVw5sypRLoIHqGIn-kxW5PhiJrQmSnblyzwNBBreSW6GRIsc003e2UbdUXhWna_FQjDWzbhLf7_hr1TJ7Oy1-nnySn3SJg55zxGzR1skCb0IxIx4/s640/john+brown+fire.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;">Here is how artist John Steuart Curry saw Brown.</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNflw9DfATH4ruNHdqWDF2C58VfdLOumS6qZoBMrL7t76o5SP_hgtrjLVrw0z4rW35UZE9Syt_-QCZPEqU0rxL_0fMxPKzNnQ_aaUT9drBdFeWazp4NqbX9r-G0cwE2fxsJd-7N61t5dvP/s899/john+brown+last+moments.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="899" data-original-width="743" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNflw9DfATH4ruNHdqWDF2C58VfdLOumS6qZoBMrL7t76o5SP_hgtrjLVrw0z4rW35UZE9Syt_-QCZPEqU0rxL_0fMxPKzNnQ_aaUT9drBdFeWazp4NqbX9r-G0cwE2fxsJd-7N61t5dvP/s640/john+brown+last+moments.jpg" /></a></div><div class="separator" style="clear: both; text-align: center;">Here is Thomas Hovenden's view in "John Brown's Last Moments."</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">There have been few film portrayals
of John Brown.<span style="mso-spacerun: yes;"> </span>Sterling Hayden played
him in the <i>The Blue and The Grey</i> miniseries, but Raymond Massey is
best-remembered as Brown, and in fact played him twice.<span style="mso-spacerun: yes;"> </span>The first time was for director Michael
Curtiz in the 1940 Warner Brothers film <i>The Santa Fe Trail</i>.<span style="mso-spacerun: yes;"> </span>To get the required crazed look, Massey wore
solid black contact lenses, and could not see a thing through them.<span style="mso-spacerun: yes;"> </span>He played the role again fifteen years later
in <i>7 Angry Men</i>. A low-budget Allied Artists film, it is not easy to find
– I’ve only seen clips.<span style="mso-spacerun: yes;"> </span>It was directed
by Charles Marquis Warren, the man who adapted Gunsmoke from Radio to TV, and
created Rawhide.<span style="mso-spacerun: yes;"> Below is Massey from Santa Fe Trail, delivering Brown's gallows speech.</span></span></p><div class="separator" style="clear: both; text-align: center;"><br /></div><o:p></o:p><p></p>
<div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/GKfWNsIZNE4" width="320" youtube-src-id="GKfWNsIZNE4"></iframe></div><p class="MsoNormal" style="line-height: 200%;"><br /></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>‘COWBOY WAY’ RETURNS TO
INSP – AND YOU CAN WATCH THE WHOLE NEW SEASON NOW!</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/of021XDDd6g" width="320" youtube-src-id="of021XDDd6g"></iframe></div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><br /></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">This past Wednesday, July
29<sup>th</sup>, <i>The Cowboy Way, </i>the reality show that follows the real
lives of working cowboys Bubba, Booger, Cody and their families, returned to
INSP for season 7. And the amazing thing is, you can watch it all RIGHT
NOW!<span style="mso-spacerun: yes;"> </span>Since July 15<sup>th</sup>, not
only the new season, but every episode of every season of <i>Cowboy Way </i>has
been made available on INSP.COM, across any kind of screen you’ve got, and also
on YouTube.<span style="mso-spacerun: yes;"> </span>Why drop the entire season
at once?<span style="mso-spacerun: yes;"> </span>Doug Butts, SVP of Programming
for INSP explains, “The program’s many loyal viewers simply can’t get enough of
the series. As soon as one season ends, we begin receiving countless requests (asking) when the next
season will debut. In addition to viewers on INSP, this series has found a
following among those who have discovered past episodes on various streaming
platforms. In an effort to give the fans what they want, and to expose our guys
to an even larger audience, we made the decision to make <i>The Cowboy Way</i> available
digitally before the new season premieres on INSP.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Personally, I like the
traditional model of one-a-week, mainly because I don’t like to use up all the
new shows so quickly – I want to eke them out.<span style="mso-spacerun: yes;"> But </span>I think it’s great that INSP is giving us the option to view the show
any way we want.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>DVD REVIEWS – TWO NEW
DOUBLE-FEATURES FROM ALPHA VIDEO/OLDIES.COM</b><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b><br /></b></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzde2vYks0Gx46ZAO08IPRhbN5nXPg2HEDh1UAn9mSb6LifYaECkLRqEE8R5OJdrPijM9x81BUywbwDfiFOAleTZgCDIsebbSQacYxICzpNXzD0mNNRJsegpRNEO0-Q8yNiUXBwYsCTZX0/s978/PROUD+REBEL+DEADLY+BOX.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="978" data-original-width="680" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzde2vYks0Gx46ZAO08IPRhbN5nXPg2HEDh1UAn9mSb6LifYaECkLRqEE8R5OJdrPijM9x81BUywbwDfiFOAleTZgCDIsebbSQacYxICzpNXzD0mNNRJsegpRNEO0-Q8yNiUXBwYsCTZX0/s640/PROUD+REBEL+DEADLY+BOX.jpg" /></a></div><p></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b><br /></b></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>THE PROUD REBEL - 1956</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Although 1953’s <i>Shane</i>
was undoubtedly the high watermark of Alan Ladd’s Western career, he still had
some important and impressive work ahead of him in that arena, notably 1958’s <i>The
Badlanders</i>, and 1956’s <i>The Proud Rebel</i>.<span style="mso-spacerun: yes;"> </span>Based on the <i>The Journal of Linnett Moore</i>
by John Edward Grant, who scripted <i>The Alamo,</i> <i>The Comancheros</i>,
and <i>Hondo</i> (and don’t correct me on <i>Hondo</i> <span style="mso-spacerun: yes;"> </span>– Grant wrote the screenplay and Louis L’Amour
wrote the paperback tie-in <i>from</i> it), Samuel Goldwyn Jr.’s <span style="mso-spacerun: yes;"> </span>production of <i>Rebel</i> is the post-war
story of former Confederate soldier John Chandler (Alan Ladd).<span style="mso-spacerun: yes;"> </span>His young son, David, has been struck mute,
unable to speak since the wartime trauma of seeing his mother killed, and
Chandler roams the country, his one goal to find a doctor who can help his
son.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">David is played by Alan
Ladd’s real-life son David Ladd, who was around ten, and making his third
appearance with his father.<span style="mso-spacerun: yes;"> </span>When father
and son arrive in a Northern town, looking for help for the boy, they run afoul
of Jed Burleigh (a very young Harry Dean Stanton), who comes from a
sheepherding family, and covets the Chandlers’ remarkable sheepdog.<span style="mso-spacerun: yes;"> </span>Chandler is bullied into a fight, railroaded
to jail, and he and his son are rescued by Linnett Moore of the story’s title,
in the person of Olivia de Havilland, as a lady farmer who is also being
bullied by the Burleigh family – led by nasty Dean Jagger.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">It’s a beautiful and
moving story, strengthened by uncharacteristic performances.<span style="mso-spacerun: yes;"> </span>Ladd is notably subdued; de Havilland is so
unglamorized, and plays with such a deep voice that she’s unrecognizable at
first; and young David is remarkably natural and affecting, without being
cloying or pathetic.<span style="mso-spacerun: yes;"> </span>Also impressive in
support are Cecil Calloway as the Quaker doctor, Henry Hull as the prejudiced judge,
Mary Wickes as the gossip, Percy Helton as a photographer, and John Carradine
as a travelling salesman.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVIKfHgYcW8kzy0QTUFXHqn64VF22wF635GbIIFWT8i1bcREJUM-7AGdWqwtc9tKi3MH7FyaI0FFQCRT0F9mPfGzhHEbTCSh2jJ-eU24DjjFOVwGdY0hmhUTGOwYgfX1kaiCebH_TwSPVF/s917/PROUD+REBEL+LOBBY.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="723" data-original-width="917" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVIKfHgYcW8kzy0QTUFXHqn64VF22wF635GbIIFWT8i1bcREJUM-7AGdWqwtc9tKi3MH7FyaI0FFQCRT0F9mPfGzhHEbTCSh2jJ-eU24DjjFOVwGdY0hmhUTGOwYgfX1kaiCebH_TwSPVF/s640/PROUD+REBEL+LOBBY.jpg" width="640" /></a></div><span style="mso-spacerun: yes;"><br /></span><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Sadly there is no credit
for the trainer of the dog, King.<span style="mso-spacerun: yes;"> </span>The
entire story revolves around possession of King, and King’s performance is
astonishing in its details: you’ll have no doubt that men would kill to own
him.<span style="mso-spacerun: yes;"> </span>Michael Curtiz’s direction is as
masterful as it is invisible.<span style="mso-spacerun: yes;">
</span>Cinematographer Ted D. McCord makes creative use of color and
shadow.<span style="mso-spacerun: yes;"> </span>The screenplay by Joseph
Petracca and Lillie Hayward gives full life to all of the characters, which is
particularly striking in the final, complex gundown.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">This is a Public Domain
film, so quality tends to be uneven, but the Alpha Video version is among the
better prints I’ve seen. <span style="mso-spacerun: yes;"> </span>Incidentally,
David Ladd would go on to star in Dog of Flanders and other films, and have his
greatest success as a film producer, and production executive at M.G.M. and
other studios.</span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>DEADLY COMPANIONS – 1961</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">All too often dismissed
as Sam Peckinpah’s first halting directorial effort (not counting his TV work),
<i>Deadly Companions</i> is much more.<span style="mso-spacerun: yes;"> </span>Produced
by star Maureen O’Hara and her brother for a slim $300,000, it is an intimate
study of a woman’s pain, a man’s guilt, and their ultimate redemption.<span style="mso-spacerun: yes;"> </span>It would be one of her three collaborations
with co-star Brian Keith, along with the Disney comedy <i>The Parent Trap </i>that
same year, and the Western <i>The Rare Breed</i> five years later.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Peckinpah and Keith were
just coming off their excellent but short-lived TV collaboration, <i>The
Westerner</i>, and in fact there is precious little difference between Keith’s
portrayals in each (and no difference in wardrobe at all).<span style="mso-spacerun: yes;"> </span>Except that here, Keith’s character, a former
Union Sergeant known as Yellowleg for the stripe on his pants, has more than a
little larceny in his soul.<span style="mso-spacerun: yes;"> </span>He rescues
crooked gambler Turk (Chill Wills) from being hung, just as he would have in <i>The
Westerner</i>. But here it’s because he wants Turk and accomplice Steve Cochran
to help him rob a bank.<span style="mso-spacerun: yes;"> </span></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP381w2n4JCItk2PTKi8_dgP-ZmKloW2NLyUwnwt4MbMYAAyHV5r0ZSS6RdMgOFg5aYX6RC1ywsVf7BHZNCNicLtBO0lMD7x8CBBvJTWR0ReGxGKV3DjAQgX9K2R1Q98TJOU7zzPDcl2Lt/s656/DEADLY+COMPANIONS+BAD+COLOR.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="524" data-original-width="656" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP381w2n4JCItk2PTKi8_dgP-ZmKloW2NLyUwnwt4MbMYAAyHV5r0ZSS6RdMgOFg5aYX6RC1ywsVf7BHZNCNicLtBO0lMD7x8CBBvJTWR0ReGxGKV3DjAQgX9K2R1Q98TJOU7zzPDcl2Lt/s640/DEADLY+COMPANIONS+BAD+COLOR.jpg" width="640" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;">No, Brian Keith's outfit is <i>not </i>really the color of a banana!</div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">But another gang robs the
bank ahead of them, and in the ensuing shootout, Yellowleg accidentally kills a
boy, the son of saloon entertainer Kit Tildon (Maureen O’Hara). And in a
foreshadowing of key elements and images from both <i>Django</i> and <i>Lonesome
Dove</i>, Yellowleg helps Tildon transport her son’s coffin through Apache
country so he can be buried in the town of Siringo, beside his father. <span style="mso-spacerun: yes;"> </span>It’s a small film, and a sad one, but well
done and worth watching. The script by Albert S. Fleischman, from his own
novel, gives plenty of drama to O’Hara and Keith, let’s Strother Martin be
surprisingly likable as a minister, and lets Chill Wills be repugnant as never
before.<span style="mso-spacerun: yes;"> </span>Cinematographer William H.
Clothier, D.P. on over twenty John Wayne pictures, knows where and how to use
the camera for maximum effect.<span style="mso-spacerun: yes;"> </span>The
biggest weakness is the music. O’Hara sings the forgettable theme, and Marlin
Skiles’ score, usually one instrument, sounds like it was recorded in a phone
booth.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj18oWYXmCVQPTRbkyLt8kEw72Bl-_a6G4I3SqjsKOTQqz_zoCYoPrl4kjwCyiJKcbVh2he8G_WNCbeKwRB0nPa5M8nK8Efv0hniLppiCmd2qY_XJIs_jsOz90_LLKEYDt_vRX8Qd4xyzG/s489/white+fang+plus+rescue+box.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="489" data-original-width="340" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgj18oWYXmCVQPTRbkyLt8kEw72Bl-_a6G4I3SqjsKOTQqz_zoCYoPrl4kjwCyiJKcbVh2he8G_WNCbeKwRB0nPa5M8nK8Efv0hniLppiCmd2qY_XJIs_jsOz90_LLKEYDt_vRX8Qd4xyzG/s0/white+fang+plus+rescue+box.jpg" /></a></div><o:p><br /></o:p><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>WHITE FANG – 1973</b><o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Jack London got the <i>Giallo</i>/Spaghetti
Western treatment when Lucio Fulci, director <i>of Four of the Apocalypse </i>and
<i>House by the Cemetery,</i> took on <i>White Fang</i>. <span style="mso-spacerun: yes;"> </span>As the cover-notes in this Alpha Video release
point out, this film was a response to the popularity of the 1972 Charlton
Heston version of <i>Call of the Wild,</i> so perhaps this DVD release is a
result of the 2020 Harrison Ford version. <o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The problem with adapting
White Fang to the screen has always been that the novel’s story is told largely
from the point of view of a wolf, something extremely difficult to film.<span style="mso-spacerun: yes;"> </span>This version retains some characters and
situations from the novel, but is largely the humans’ story.<span style="mso-spacerun: yes;"> </span>And the wolf is played by a German
Shepherd.<span style="mso-spacerun: yes;"> </span>That being said, White Fang is
an enjoyable and entertaining movie, and while some early supposed snowy exteriors
are laughable, the various Norwegian and Spanish locations stand in well for
the Klondike.<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></p><p class="MsoNormal" style="line-height: 200%;"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitFLvGYgOcG-So-z6MxKeBk3-FgdUKNqUXz3xSzRBhZCq17tsxwHfOBUefIKLsm80rAPV3_EG1JdDGmwE_JkR0OXqhwYhE9sm8RSkf9pZB-tkKEZv7PsuCaGvDIpj1IVwTYn4FmV8LIvOp/s1024/white+fang+french.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="768" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitFLvGYgOcG-So-z6MxKeBk3-FgdUKNqUXz3xSzRBhZCq17tsxwHfOBUefIKLsm80rAPV3_EG1JdDGmwE_JkR0OXqhwYhE9sm8RSkf9pZB-tkKEZv7PsuCaGvDIpj1IVwTYn4FmV8LIvOp/s640/white+fang+french.jpg" /></a></div><p></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">An Inuit has trained
White Fang, but when he and his son take him to Dawson, greedy ‘Beauty” Smith
(beloved Eurovillain John Steiner) kills the man for his dog, and journalist
Jason Scott (Franco Nero, the star of the film) searches for a witness who will
testify to the crime.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>There are dog fights and other competitions, cruelty
to humans as well as animals, and it gets pretty brutal, no surprise with Fulci
at the helm.<span style="mso-spacerun: yes;"> </span>In one of the greatest
imaginable wastes of natural beauty, lovely Virna Lisi has a large role, as a
nun in full habit. Although said to be a hit among Italian kids at the time, it
is certainly too rough for children by modern standards, and much of the plot,
about a drunken minister (Fernando Rey) who has lost his faith, a fallen woman
(Carole Andre), would not interest a kid, but Franco and the dog are always fun
to watch.<o:p></o:p></span></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The success of <i>White
Fang</i> led inevitably to a sequel, <i>White Fang to the Rescue. </i>While the
smaller budget is obvious in the casting – villain Henry Silva is the only
name, and Meruzio Merli is the star based on his resemblance to Franco Nero, it
is in some ways better than its predecessor. Not saddled with an unadaptable
book, this one’s writers, Sandro Continenza and Giovanni Simonelli, come up with a clever premise: when White Fang’s owner, Benjamin Dover (as in
“bend over”) is murdered for his gold, his friend Burt Halloway (Merli) finds
and buries the body, takes on the dead man’s identity (his own reputation is
none too good), and heads to town with White Fang, carrying the dead man’s gold
claim, and hoping to discover his killers.<span style="mso-spacerun: yes;">
</span>When he arrives, he is amazed to learn that he is a father: Dover’s wife
has died, and the son, who has not seen his father since infancy, has been sent
to live with who he thinks is his father.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"><br /></span></span></p><p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivFfwqXlKxgBjBAkebjmLnhC9RN363vgkIUt5nskT3yc3KTsnu0iIwfBp4GJubBzQckBM34qDp9cJ1VrOUfG_yjHemwQGKTgXRxpxthSjDk9LKMvW-UH_CJB0OvF2mdekFCDIngBMWpjxL/s1200/white+fang+rescue+poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="630" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivFfwqXlKxgBjBAkebjmLnhC9RN363vgkIUt5nskT3yc3KTsnu0iIwfBp4GJubBzQckBM34qDp9cJ1VrOUfG_yjHemwQGKTgXRxpxthSjDk9LKMvW-UH_CJB0OvF2mdekFCDIngBMWpjxL/s640/white+fang+rescue+poster.jpg" /></a></div><p></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Directed by Tonino Ricci,
Lucio Fulci’s frequent second unit director, the film does a better job of
balancing the light and dark elements than its forerunner. <span style="mso-spacerun: yes;"> </span>Shot largely in the Italian ski-resort town of
Cortina d'Ampezzo, it’s beautiful to see, and the ending is surprisingly
satisfying (though violent).<span style="mso-spacerun: yes;"> </span>One
interesting footnote; visual effects are by Carlo Rambaldi, who would gain
great success, and two Oscars, for his creations for <i>Alien</i> (1979) and <i>E.T.</i>
(1982).<o:p></o:p></span></p><p class="MsoNormal" style="line-height: 200%;"><font face="Times New Roman, serif"><b>...AND THAT'S A WRAP!</b></font></p><p class="MsoNormal" style="line-height: 200%;"><font face="Times New Roman, serif">Have a great start to August, and I'll be posting again in a few weeks!</font></p><p class="MsoNormal" style="line-height: 200%;"><font face="Times New Roman, serif">Happy Trails,</font></p><p class="MsoNormal" style="line-height: 200%;"><font face="Times New Roman, serif">Henry</font></p><p class="MsoNormal" style="line-height: 200%;"><font face="Times New Roman, serif">All Original Material Copyright July 2020 by Henry C. Parke -- All Rights Reserved</font></p>
<p class="MsoNormal" style="line-height: 200%;"><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><o:p> </o:p></span></p><br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-77771445991718323942020-06-20T01:27:00.000-07:002020-06-21T12:35:23.581-07:00THREE FATHERS DAY WESTERN PREMIERES! CASPER VAN DIEN’S “WARRANT” INTERVIEW, KEVIN COSTNER ON “YELLOWSTONE” CHARACTER’S APPEAL, “A SOLDIER’S REVENGE” AVAILABLE NOW, PLUS WILLIAM CASTLE DOUBLE-FEATURE REVIEW, GREGG PALMER ESTATE SALE!<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>KEVIN COSTNER ON “YELLOWSTONE”
AND THE APPEAL OF THE DUTTONS</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBc90BtBExmct3PQIGBWw7RH8vrcV3rDXa9P5jSXA8Hc3Gys4I4gi20fk8NkObgHaf8dzqDCcF3OI0prA7gyPCKty5vOk_HbdEyQ74ZhQv-UfoKSom4kxcEEphZ88uyTfXUFwIUyohFzyD/s1600/Yellowstone+poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="640" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBc90BtBExmct3PQIGBWw7RH8vrcV3rDXa9P5jSXA8Hc3Gys4I4gi20fk8NkObgHaf8dzqDCcF3OI0prA7gyPCKty5vOk_HbdEyQ74ZhQv-UfoKSom4kxcEEphZ88uyTfXUFwIUyohFzyD/s320/Yellowstone+poster.jpg" width="320" /></a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">On Sunday night, Fathers
Day, Kevin Costner returns to the Paramount Network for a third season of
<i>Yellowstone</i>, the contemporary Western family drama that pits the Dutton family
against the government, developers, American Indians, and anyone else who’d try
to wrest away control of their humongous ranch. <span style="mso-spacerun: yes;"> </span>It is the most beautifully photographed show
on the air today.<span style="mso-spacerun: yes;"> </span>Co-created and largely
written by Taylor Sheridan, who brought you <i>Sicario, Hell or High Water</i>, and
<i>Wind River</i>, it’s a highly entertaining, slick, loud update of the Dallas type
of TV drama, and the body count is truly amazing.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">On Tuesday I took part in
a virtual screening and group Q&A with Kevin Costner, presented by Deadline
Hollywood, and moderated by Peter Hammond.<span style="mso-spacerun: yes;">
</span>I had already covered much of what was discussed in my interview with
Costner for <i>True West</i> magazine (you can read it <a href="https://truewestmagazine.com/kevin-costner/">HERE</a></span><span style="font-family: "times new roman" , serif; font-size: 12pt;">), but there were a couple of interesting questions about what he takes away
from the role of John Dutton, and the appeal of the whole Dutton clan.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">"It's a
dysfunctional family, and what your take away is that if you don't pay
attention, your children can go in (all) directions; and nobody's perfect. I
want to try to avoid that kind of drama in my own life. And I probably don't
need to be killing anybody in my life either. But what do I take away? Maybe
just the joy of knowing that I have been able to do things that other people
wish that maybe they had been able to do. I'm really aware of how lucky I've
been.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">“I think people enjoy
watching a level of dysfunction. They enjoy hearing outrageous things come out
of somebody's mouth in a really critical moment. There are moments in time we
wish we were saying what these characters are saying. All of us are confronted
with daily issues and we usually have to walk away from them. And it's only in
walking away when we decide what we wished we would've said to somebody who
really deserved it. In Yellowstone, we actually get to say things to people
that I think people (at home) wish they could say to somebody else. I think one
of the reasons why Yellowstone has caught air, is that we live in a world
where, when we have problems, people turn to their lawyers to solve it. We turn
to our agents to arbitrate a problem, to PR people to try to clean something up,
when there's really nothing to clean up, when really in our own life, I'd like
to confront the person who is really bothering me personally. We put so much
distance between being able to find a level of justice that we feel is
appropriate for somebody who is really bugging us. To be honest, I think that
people would like to arbitrate their own problems. So when we see somebody like
John Dutton arbitrating his problems, sometimes we can live precariously
through people like that. I wish we could do that; I wish I would've said that;
I wish I would've smacked that guy myself. I think that Taylor captures that level
of escapism. It's tapping into a nerve where we wish we could solve some of our
own problems. That might feel really good to tell somebody who's been bothering
us really what time it is.”<o:p></o:p></span></div>
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gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/AHsEnvFNTk8" width="560"></iframe><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>‘A SOLDIER’S REVENGE’ NOW
ON SALE AND READY FOR DOWNLOAD!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">You may remember that
back in March I told you about A SOLDIER’S REVENGE the post-Civil War tale of a
former Confederate soldier, Frank Connor (Neal Bledsoe), whose PTSD has made
him unable to adapt to civilian life util the unwanted responsibility thrust
upon him by a chance meeting with two desperate children leads him to uncover a
gun-running scheme operated by former friend and comrade-in-arms Briggs (Rob
Mayes). <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">This week the film
arrived in your choice of DVD and Blu-Ray at Walmart, Best Buy, and all of the major
VOD platforms, including Apple and Amazon.<span style="mso-spacerun: yes;">
</span>If you missed my interview with Director Michael Feifer (or are just
dying to read it again), go <a href="https://henryswesternroundup.blogspot.com/2020/03/new-western-soldiers-revenge-interview.html">HERE</a>. </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">And you can order it
direct from its distributor, Well Go USA Entertainment, <a href="https://www.wellgousa.com/films/a-soldiers-revenge">HERE</a>.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>HOLLYWOOD STORY and NEW
ORLEANS UNCENSORED</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLd5KVKyKAkIm3Rtxp8OE0RtM4qweYPimyHiYtu8gRi-O0rLNWJJauPDl_4IpZrVcv5v3yUB7bIq9AzE_wVUXg9S1mprb7T7BxwkoHE4C83Umtch2tDyEU_MsfoLQFp8tHwrJI9-5INJFw/s1600/Hollywood+Story+box.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="753" data-original-width="540" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLd5KVKyKAkIm3Rtxp8OE0RtM4qweYPimyHiYtu8gRi-O0rLNWJJauPDl_4IpZrVcv5v3yUB7bIq9AzE_wVUXg9S1mprb7T7BxwkoHE4C83Umtch2tDyEU_MsfoLQFp8tHwrJI9-5INJFw/s320/Hollywood+Story+box.png" width="229" /></a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>A Blu-Ray Double-Feature
Review</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Director William Castle
is so beloved for his delightfully schlocky horror movies – <i>Homicidal</i>,
<i>Straight-Jacket, I Saw What You Did and I Know Who You Are</i> – that few fans
realize what a range he had.<span style="mso-spacerun: yes;"> </span>As a
producer, he brought you Orson Welles’ <i>Lady From Shanghai</i>, and Polanski’s
<i>Rosemary’s Baby.</i><span style="mso-spacerun: yes;"> </span>As a director of B
programmers at Columbia, he honed his considerable skills on <i>The Whistler</i> and
<i>Crime Doctor</i> series, gave Robert Mitchum his break with the <i>noir</i> <i>When Strangers
Marry,</i> and directed a slew of Westerns (<a href="https://www.millcreekent.com/products/fastest-guns-of-the-west?_pos=1&_sid=766a5f7bb&_ss=r">HERE</a> is a link to the 8 film
collection, <i>Fastest Guns of the West</i>, from Mill Creek Entertainment).</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Bookending his 1950’s
Westerns are a pair of noirish stories that Mill Creek has beautifully restored
and released as a Blu-Ray set, <i>Hollywood Story</i> (1951) and <i>New Orleans
Uncensored </i>(1955).<span style="mso-spacerun: yes;"> </span>Hollywood Story, scripted
by Frederick Kohner (who penned Deanna Durbin musicals, created Gidget, and
also wrote the first screen version of Donovan’s Brain, 1944’s <i>The Lady and the
Monster</i>), and Frederick Brady (a prolific early-TV writer), it’s the story of
independent producer Larry O’Brien (Richard Conte), who is looking for a story
to film, and stumbles into the true unsolved case of a director who was shot
while making a film, just at the dawn of talking pictures.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">And more people start
dying when O’Brien pulls together all the survivors who were associated with
the film, a terrific cast that includes Henry Hull as the screenwriter, Paul
Cavanagh as the aging leading man, and lovely Julie Adams as the daughter of
the leading lady (you can read my interview with the late Julie Adams <a href="https://henryswesternroundup.blogspot.com/2013/09/interview-with-julie-adams-universals.html">HERE</a></span><span style="font-family: "times new roman" , serif; font-size: 12pt;">)</span><span style="font-family: "times new roman" , serif; font-size: 12pt;">, plus non-comic
performances by Jim Backus and Fred Clark, and Richard Egan as the cop.</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"> </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">Clearly inspired by the truly unsolved murder
of Director William Desmond Taylor, this is Castle’s <i>Sunset Boulevard</i>, and he
peppers the film with cameos by silent stars like William Farnum, Francis X.
Bushman, Betty Blythe, Helen Gibson, and Elmo Lincoln.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The story and
performances are solid, but in a way, the biggest star is the locations.<span style="mso-spacerun: yes;"> </span>Though a Universal film, it was mostly shot
at the quaint old Charlie Chaplin Studio on La Brea, plus scenes during 1950’s
Santa Claus Lane Parade on Hollywood Boulevard, and in the chic, now gone,
restaurants in Beverly Hills and West Hollywood, all captured in wonderfully
crisp black and white by Carl E. Guthrie.<span style="mso-spacerun: yes;">
</span>Edited by Virgil E. Vogel, it’s a pleasure from beginning to end.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><i>New Orleans Uncensored</i>
is, sadly, not in the same league.<span style="mso-spacerun: yes;"> </span>An
expose’ of longshoreman’s rackets in New Orleans, this poor man’s <i>On The
Waterfront</i> is ploddingly plotted. It is cast with a mix of non-actor government
and Union officials playing themselves, badly; and cultured actors like Arthur Franz,
William Henry and Stacy Harris laughably miscast as tough-guys.<span style="mso-spacerun: yes;"> </span>Beverly Garland and Helene Stanton are pretty
to look at, and Michael Ansara and Mike Mazurki are believably tough, but not
enough to save this bore.<span style="mso-spacerun: yes;"> </span>On the plus
side, like Hollywood Story, its location work features landmark’s like Café du
Monde.<span style="mso-spacerun: yes;"> </span>I recommend the set, but <i>Hollywood
Story</i> is the fun one.<span style="mso-spacerun: yes;"> </span>You can order it from
Mill Creek <a href="https://www.millcreekent.com/products/hollywood-story-new-orleans-uncensored?_pos=1&_sid=38415b667&_ss=r">HERE</a>. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><iframe allow="accelerometer; autoplay; encrypted-media;
gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/CHe2HIIAeZM" width="560"></iframe><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>WESTERN ACTOR GREGG
PALMER’S ESTATE SALE</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Big, handsome,
intimidating actor Gregg Palmer died on Halloween, 2015, at the age of 88.<span style="mso-spacerun: yes;"> </span>The son of Norwegian immigrants, he was a cryptographer
during the Second World War.<span style="mso-spacerun: yes;"> </span>Afterwards
he became a radio announcer, then decided to give acting a try, was a contract
player at Universal for a while, and much more successful after he decided to
freelance.<span style="mso-spacerun: yes;"> </span>Although he acted in all
genres, he’s best remembered for his Westerns.<span style="mso-spacerun: yes;">
</span>He did four with his friend Audie Murphy: <i>The Cimarron Kid </i>(1952),
<i>Column South </i>(1953), Murphy’s autobiographical <i>To Hell and Back</i> (1955), and <i>The
Quick Gun </i>(1964).<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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Wardrobe test from <i>Column South</i></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">He was particularly lucky
to become part of the John Wayne stock company, and do six films with the Duke:
<i>The Comancheros </i>(1961), <i>The Undefeated</i> (1969),<i> Chisum</i> (1970), <i>Rio Lobo</i> (1970),
<i>The Shootist </i>(1976), and the one he’s best remembered – and reviled – for, <i>Big
Jake</i> (1971).<span style="mso-spacerun: yes;"> </span>He’s the one who shoots John
Wayne’s dog!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Last weekend there was an
estate sale at his beautiful Hollywood Hills home. I was happy to pick up a couple of his
scripts, from episodes of <i>The Lawman</i> and <i>Gunsmoke</i>. But I’m
sure glad I didn’t have my heart set on a mug.
Starting in the 1960s (I think), John Wayne famously commissioned a
commemorative coffee mug for each movie, with a personalized mug going to each
and every cast and crew member. They had
four, Gregg’s mugs from <i>Big Jake, Chisum, Undefeated,</i> and <i>Rio Lobo</i>. I asked to see them, and they handed them to
me in a shoebox. How much, I asked? $5,000.
<i>Each.</i><i> </i> I gave them all back. I told my daughter one would make a great
Fathers Day gift, but I think I’m getting a necktie.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In case you’re interested
in seeing what they had, I’m including a link to the estate sale <a href="https://www.estatesales.net/CA/Hollywood/90068/2551683">HERE</a>, but it’s
just for your curiosity; the sale is over. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>CASPER VAN DIEN ON ‘THE
WARRANT’, WESTERNS, AND A LITTLE MOVIE CALLED ‘STARSHIP TROOPERS’</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">INSP’s <i>The Warrant</i>
premieres on INSP on Saturday night.<span style="mso-spacerun: yes;"> </span>The
new Western stars Neal McDonough and Casper Van Dien as former Union soldiers
who now find themselves on opposite sides of the law: McDonough is a lawman,
and Van Dien runs a band of outlaws still fighting the Civil War.<span style="mso-spacerun: yes;"> </span>And just to be clear, although Van Dien’s
character is nicknamed The Saint, there is no connection with the Leslie
Charteris detective stories.<span style="mso-spacerun: yes;"> </span>In the
previous Round-up (the <i>last</i> Round-up sounds too ominous), I interviewed
McDonough (<a href="https://henryswesternroundup.blogspot.com/2020/06/warrant-star-neal-mcdonough-interview.html">HERE</a>).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Here is my interview with
Casper Van Dien.<span style="mso-spacerun: yes;"> </span>I told him that it was
a beautiful day to be quarantined in Los Angeles, and asked him where he was.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN:<span style="mso-spacerun: yes;"> </span>I'm in Florida and it's just beautiful down
here. I moved out of California.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: You're
happier in Florida?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN: Yes, I
am.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Let me just
say at the outset that I've always enjoyed your work. When I told my daughter
at the interviewing you today, she said to ask you about <i>Starship Troopers</i> and
I had to admit I hadn't seen it, so I watched it yesterday afternoon. What a
picture!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN:<span style="mso-spacerun: yes;"> </span>Oh yeah! That's actually just like a Western
in space. That's was a fun movie to do. And your daughter told you to see that?
That's awesome.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: I
particularly loved you riding on the back of that huge bug and throwing the
grenade into it.<o:p></o:p></span></div>
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Van Dien and a bug in <i>Starship Troopers</i></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN:<span style="mso-spacerun: yes;"> </span>It's almost like the hull of a boat but
upside down, on top of a Caterpillar truck, moving around on four pistons,
going side to side, backward and forward. And I think the reason I was able to
ride it at such a high speed -- and I did it for three days, like 12 hours a
day -- was because I ride horses. So I think that helped. I also sail, and I
surfed a little but, so I had a couple of different things that helped me to be
able to stand up on that. I mean, I fell down a lot, and had wires attached so
I wouldn't fall off <span style="mso-spacerun: yes;"> </span>because I was
twenty-five feet up in the air on this thing while it was going. But it was a
blast to do.<o:p></o:p></span></div>
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Dr. Quinn can tell Van Dien's up to no good</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>So that just goes to show that <i>The Warrant</i> is
not your first Western.<span style="mso-spacerun: yes;"> </span>But then again
you did a Western Western even before <i>Starship Troopers</i> didn't you? I'm
thinking of <i>Dr. Quinn: Medicine Woman.</i><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN: Yes, I
did a <i>Dr. Quinn. Cattle Drive </i>(1994); I was a cattle rustler. And then they came
to me after two days of filming, and said they want to make this a two-part
special. Can you work next week? That was a lot of fun for me. And then I got
to do <i>Aces 'N' Eights</i> (2008), which was with Ernest Borgnine and Bruce
Boxleitner. Which was a lot of fun to do as well. It was co-written by one of
the guys who wrote <i>Pale Rider</i> (1985), Dennis Shryack. That was fun Western to
shoot, too. I loved meeting, working with Ernest Borgnine, just being on set
with him and hearing his stories. He was quite a character.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Terrific
actor. So, you had experience with horses?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN: I did. I
had my own horse for a while, and I love riding. I rode for years over by the
Equestrian Center in Burbank.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Growing up, were
you a fan of the Western genre?<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd8aR18ncxUuweFViFAvDg2j_HJn610MXVMTTTmRNJ5WAsA8NjXw1QXIc4NgiW-vjAnyhig8qfQEgmmUZX3TBEWLZonqvaSEv8T4cm5Gb7c4nsA7yOmwfE1vaTon6RJIrV8YXscE19UV-g/s1600/WRNT_SS_CasperVanDien_02w.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="640" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhd8aR18ncxUuweFViFAvDg2j_HJn610MXVMTTTmRNJ5WAsA8NjXw1QXIc4NgiW-vjAnyhig8qfQEgmmUZX3TBEWLZonqvaSEv8T4cm5Gb7c4nsA7yOmwfE1vaTon6RJIrV8YXscE19UV-g/s320/WRNT_SS_CasperVanDien_02w.jpg" width="320" /></a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN: Yes,
very much so. I loved John Wayne, John Ford films. I just love Westerns; I
watch them all the time. Edward Neumeier, who wrote <i>Starship Troopers</i>, and
<i>Robocop </i>(1987), he is a huge John Wayne, John Ford fan. And we do little
homages to them in that movie. We did things from <i>They Were Expendable</i> (1945)
and Westerns like <i>She Wore a Yellow Ribbon</i> (1949). When I was reading the
scripts, because I read all the different versions he wrote for that, and it was
just amazing, because he'd write these different homages to different John
Wayne and Ford films. And I was like, oh my God, you did that? And he's like,
yeah: you remember everything! But it was fun for me because I just love old
Hollywood and John Wayne's my favorite actor. So I love being a part of that. It
was just a blast to be in The Warrant, because for me it's just like a
wholesome, old fashioned Western.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: From Johnny
Rico in<i> Starship Trooper</i>s to the Saint in <i>The Warrant,</i> you've played a lot of
characters with a military background. I read that you attended military
school.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN: I did; I
went to Farragut Academy in St. Petersburg, Florida.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Did that experience help you playing
characters with a military background?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN: I think
it helped. I grew up in a family with a lot of men who served in different
branches, Marines, Air Force, and I was in the Coast Guard as well. My
grandfather, my father, my grandfather that I didn't get to meet was in the
Navy, too. My brother-in-law was in the Army up until recently, and my cousin
was in the Army Air Corps. My dad's a Navy pilot, so I grew up in that
lifestyle. And I think it was a great, solid upbringing and helped me playing
each character, and also just being an actor. So I attribute that a lot to
military school and military family.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: You've
played a wide range of characters, even a werewolf recently. But considering
Johnny Rico and Tarzan especially, I usually think of you in good guy, hero
roles. With that in mind, how did you like playing the villain in <i>The Warrant?</i><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN: I think
The Saint, he has a lot of depth, and a lot of history. The way he's written,
there was probably something a little bit askew with him from the beginning.
But the tragedy that happens, the man he turns into, I had a lot of sympathy
for him, and I think that helped me be able to play the character.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: That tragedy,
of course, is the death of your son from a Confederate bullet, and you go AWOL
to seek revenge. The scene where John Breaker has brought you back, and is lecturing
you about how you shouldn't be going after revenge, and you break down. Your
scene is, to me, the dramatic high point of the picture.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN: Thank
you very much. I appreciate that. That scene was the one that really sold me on
the picture. And when we were doing it, there was a Vietnam vet there, a
relative of the guy who was in charge of our guns. He left the set while we
were filming. And later he said, I'm sorry, I had to leave. You took me back to
a place where -- I don't cry. But I did twice, once was for the guys in
Vietnam, and the loss of my wife was the other time. I was sorry I, just had to
leave, and I just want to say thank you. I appreciated that a lot. You know,
you get older, you live through losses, and divorces, and life experience that
helps you bring more depth to certain roles. You're not grateful for some of
the things that happen in your life, but when you get to certain scenes in a
movie, you can hit something like that, and where'd that all come from? You can
feel it. I guess you learn to appreciate life's journey in doing that. But
yeah, that scene was a day. My wife was, was there on-set, too, and she was
just like, I was nervous, afraid that you were just going to be really
destroyed. Afterwards I was okay. When you're doing a physical thing, all the
fights and things, at the end you're just physically tired. But when you
something where you cry, and you really go there, that's more draining. You get
more exhausted from something like that.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>You also have some physically demanding
scenes. You have a lot of good fighting. Did you enjoy that?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN: Yeah,
and Neal really wanted to go with it. When you have an actor who steps up like
him -- I'm a huge fan of Neal -- he's a really solid actor, and he really put
everything into it when we were doing a fight sequence. We had so much fun
doing it.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>With Neal as the hero and you as the villain,
did you feel like you were playing each other’s parts?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN: Usually
I would play the John Breaker role, but when they offered me The Saint I was
really grateful for the opportunity. There's a lot to that character. You know,
32 years as an actor right now, and when somebody says something like, that's
the highlight of the movie, that means a lot; I appreciate it.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Any other
people that you worked with on the shoot, that were memorable? Any other
memorable events?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN: </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">Well, I loved working
with everybody on this movie. I mean, Steven R. McQueen, who's the grandson of Steve
McQueen. </span><span style="font-family: "times new roman" , serif; font-size: 12pt;"> </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">I really loved Gregory Alan
Williams, my sidekick or my partner or whatever. He's an actor who's been
around a while, and I really just wish I had had more with him, but I liked all
the characters that they had. I didn't get to work with Annabeth Gish, but
she's awesome. But you know, it's good to be in the movie with her. There's a
lot of good people in there.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: You've
certainly done a lot of contemporary stories, as well as futuristic ones and
period stories. Do you have a preference?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN: I think
I probably watch more old Westerns than a normal person, (laughs), so I would
probably say I liked period best. Because I love history. I look at history of
films. Our film industry almost went belly-up during the Great Depression, and
the only thing that kept us alive were Westerns. I think of Star Wars as like a
Western. Paul Newman and Robert Redford -- I got my daughter to watch them in<i>
Butch Cassidy and the Sundance Kid</i>, and she just loves them, and watched all of
their films. There are so many wonderful Westerns, from <i>Blazing Saddles</i> to
<i>Tombstone</i> to <i>Shane</i>. I just love watching them, and I'm thrilled to be a part of
them. Director Brent Christy is a great guy, and I'd love to work with him
again, and do more Westerns. He started out as a cinematographer, and he had
such beautiful shots; I only wish we had more time, and I think everybody
always says that on films. And I wish I was on it for longer, but I was
thrilled to be a part of it.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Now this is completely off <i>The Warrant</i>, but
in <i>Sleepy Hollow</i> (1999), you worked with two of my absolute film heroes. No
offense to Johnny Depp, but I mean Hammer horror stars Michael Gough and
Christopher Lee.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN:<span style="mso-spacerun: yes;"> </span>Well, I didn't work with Christopher Lee, but
Michael Gough was amazing. Johnny was amazing on that film, and I got to ride a
horse in that one. And funny enough, when I went over to England (to film), my
horse was the original <i>Black Beauty</i> from the TV series. Steve Dent was the
horse coordinator on <i>Sleepy Hollow</i>, and the horse's name was Sam. And then when
I did an <i>Outer Limits</i>, we did a scifi Western thing called <i>Heart's Desire</i>, and
the horse in that was also called Sam; that was in Canada.<span style="mso-spacerun: yes;"> </span>I had a horse for two and a half years, I
rode her every day, and she was Sam. So I've, I've had a lot of experience with
Sams. I did another movie not too long ago called <i>Roped.</i> There were all these
Cowboys around, but I wasn't a cowboy, which was frustrating. I'm not the lead,
I'm the father of one of the leads. It was a lot of fun. Modern day, so they're
all modern-day cowboys, which I don't mind either, but I like the old west. I
like that genre; I like that time period. And The Warrant was fun to do because
we had the Civil War, and we had Civil War reenactors. And they have all their
authentic gear, and uniforms. That's a cool part of our history. (laughs) I
mean, it's cool that we got through it.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: The country
survived it. The reenactors are great to work with because they just bring so
much knowledge onto set<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">CASPER VAN DIEN: And they
love it. They love being a part of the movie. They want it to be authentic, and
they have so much pride and that's awesome. Sometimes you hire extras, and
they're not that into it. I mean, most people want to do a good job acting. But
when it's reenactors, it's just another level of commitment. I once had somebody
at a convention going up to me and asking what do you think of these people
that come to these cons and dress up as characters? And I'm like, what do you
mean, what do I think of that? That's what I do for a living. (laughs) That's
my job. I think that's awesome. Here's these people that're doing their
reenactments because they really love it. I think that's just beautiful. And I
get to hang out with them, and they were really supportive.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">If you don’t get INSP, or
if you’d like to own a copy of <i>The Warrant</i>, you can buy it at Walmart, or
direct from Mill Creek Entertainment <a href="https://www.millcreekent.com/products/the-warrant?_pos=1&_sid=14a4ffaff&_ss=r">HERE</a>.<o:p></o:p></span></div>
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gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/uIy0j4OlPCw" width="560"></iframe><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>…AND THAT’S A WRAP!</b><o:p></o:p></span></div>
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Ida Lupino directing</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">And maybe it’s a little
early, but check out my article in the July/August 2020 issue of True West
magazine, about the fistful of women who’ve directed Westerns, <a href="https://truewestmagazine.com/article/a-fistful-of-ladies/?fbclid=IwAR32Kh9mRNggFMLnYzTCOC0eP2G4qgDK4sVlyIkf2fWfCuWHEGVtUKjw4Ds">HERE</a>.<o:p></o:p></span><br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">And I hope all you dads out there have a wonderful Fathers Day!</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Happy Trails,<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">All Original Contents
Copyright June 2020 by Henry C. Parke – All Rights Reserved<o:p></o:p></span></div>
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<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-1120099559531043522020-06-05T23:20:00.000-07:002020-06-10T18:34:10.107-07:00‘WARRANT’ STAR NEAL MCDONOUGH INTERVIEW, SCORSESE WESTERN FINDS NEW HOME, ‘GUNSMOKE’ 20-SEASON SET, TOUR THE ‘RED RYDER’ MUSEUM, AND MORE!<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>SCORSESE’S ‘KILLERS OF
THE FLOWER MOON’ BITES THE APPLE!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Martin Scorsese is no
stranger to making Westerns – back in 1998 he produced the Stephen
Frears-directed film of Max Evans’ <i>The Hi-Lo Country</i>.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>But he’s
finally set to direct his first Western, based on David Grann’s book, <i>Killers
of the Flower Moon: The Osage Murders and the Birth of the F.B.I. </i><span style="mso-spacerun: yes;"> </span>It’s non-fiction, set in the 1920s, and
centers around a series of mysterious killing of Osage tribe members.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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Marty & Leo in the library (with a candlestick)</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Set to star Leonardo Di
Caprio and Robert DeNiro, the book was the center of a bidding war, and when the
dust cleared, Grann had pocketed $5 million, and the deal was set up at Paramount.<span style="mso-spacerun: yes;"> </span>But word is that when Marty and Leo came back
with a new draft that that had Leo switch characters, from a hero to, to put it
kindly, an anti-hero, Paramount froze: this is what they’ve committed $180
million to?<span style="mso-spacerun: yes;"> </span>The word went out that they
wanted to spread the risk by taking on a partner, and now Apple as stepped up.<span style="mso-spacerun: yes;"> </span>Apple will make the film, and Paramount will
handle the worldwide distribution.<span style="mso-spacerun: yes;"> </span>By
the way, Scorsese has another film planned that will also be of interest to
Western fans: a biopic of Teddy Roosevelt, starring Leo Di Caprio.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>I UNBOX THE ENTIRE RUN OF
‘GUNSMOKE’ IN ONE SET!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">As you collectors know, CBS
and Paramount have been putting out DVD sets of Gunsmoke, season by season, for
about fourteen years.<span style="mso-spacerun: yes;"> </span>They just released
the final one, season twenty, and they’ve issued a giant mega set -- easily the
biggest Western series set ever, with all twenty seasons of Gunsmoke!<span style="mso-spacerun: yes;"> </span>That’s 143 disks!<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>They
sent it to me, and all they asked in return <i>is that I binge-watch them! </i><span style="mso-spacerun: yes;"> </span>Thankfully they haven’t given me a deadline,
but I’ve promised to watch them all, and post about them as I go along.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">And I decided to begin by
making an unboxing video of myself checking it out – unboxing videos have been
dominated by little kids opening toys, and nerds unwrapping phones long enough!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>AIN’T YOU COMIN’ BACK,
RED RYDER? A VISIT TO THE FRED HARMAN ART MUSEUM</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Since hardly any of us
are going anywhere lately, wouldn’t it be nice to take a little trip?<span style="mso-spacerun: yes;"> </span>How about a stroll through The Fred Harman
Art Museum in Pagosa Springs, Colorado?<span style="mso-spacerun: yes;">
</span>Frankly, this article has been delayed for years.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Back in 2014, my daughter and her now husband
were in Pagosa Springs, where they visited the museum of Fred Harman,
the cowboy-turned self-trained western painter, who reached his greatest fame
writing and drawing the hugely popular comic strip, The Adventures of Red Ryder,
which featured not only Red, but his Navajo sidekick, Little Beaver.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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Red Ryder...</div>
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...and Little Beaver welcome you!</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Knowing it would make a
good piece for The Round-up, Sabrina took all of the photos you see, and
brought me back a Red Ryder t-shirt as well.<span style="mso-spacerun: yes;">
</span>The timing was perfect – I had just read a new book on the history of Red
Ryder, and would run the review and the photo-tour together.<span style="mso-spacerun: yes;"> </span>Then the publisher pulled the book – some problem
with Red Ryder Enterprises Inc., who owns the rights to the character.<span style="mso-spacerun: yes;"> </span>So I cancelled the review, postponed the
article, and forgot about it, until a week ago, when I found the pictures
again, and thought this would be a perfect time to run them.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtIqTeccU94vT_6sxkLZUV1RvlEfiaX6qv_mn6rrNUZV4c2WBuR2snCI5_6R5yGUMYAcNYBmyUo9BzZi80JPlKXR_-5cAAalVTW963AJFfZ2nnMVwwkwclsxQ7x51SvKgJ5j2tSMBzbB6a/s1600/IMG_3355.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtIqTeccU94vT_6sxkLZUV1RvlEfiaX6qv_mn6rrNUZV4c2WBuR2snCI5_6R5yGUMYAcNYBmyUo9BzZi80JPlKXR_-5cAAalVTW963AJFfZ2nnMVwwkwclsxQ7x51SvKgJ5j2tSMBzbB6a/s320/IMG_3355.JPG" width="320" /></a></div>
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Artist's studio</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBPvPhEmmW0OwwrHGyN6HZKHn0mY-AOhCm0yv9s1OzTcv4f9XJf3wZ6MvnnI_f2jSuoCYxRyPqyI8t51PyaPoVF9bnZHKCLXb4EnJVuwwvLIEc7yr5f6o79e9HBKZWMuU9HjCFvEdIx275/s1600/IMG_3359.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBPvPhEmmW0OwwrHGyN6HZKHn0mY-AOhCm0yv9s1OzTcv4f9XJf3wZ6MvnnI_f2jSuoCYxRyPqyI8t51PyaPoVF9bnZHKCLXb4EnJVuwwvLIEc7yr5f6o79e9HBKZWMuU9HjCFvEdIx275/s320/IMG_3359.JPG" width="320" /></a></div>
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Another view</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">But when I Googled the
Museum, to make sure I had the address and hours correct, I was shocked to find
this notice: Permanently Closed.<span style="mso-spacerun: yes;"> </span>Was it
a Coronavirus matter, or was it <i>really</i> closed? I knew that Fred Harman, a
founder of The Cowboy Artists of America, had died at age 79 in 1982, and his
son, Fred Harman III ran the Museum with his wife, Norma.<span style="mso-spacerun: yes;"> </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwpv0fw6iqjlaIzqqtNRDsh5VlP9lzSRKID8kVblhN2mVJJn58674uwGo3_2dvfa6FTZGHPfjRfMErm146gOxb3EvrBUUhfei3iDZtD2mp0_tyNgoFWCPttXWWlIjSdHd5SgN2Lcb37QpZ/s1600/IMG_3361.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwpv0fw6iqjlaIzqqtNRDsh5VlP9lzSRKID8kVblhN2mVJJn58674uwGo3_2dvfa6FTZGHPfjRfMErm146gOxb3EvrBUUhfei3iDZtD2mp0_tyNgoFWCPttXWWlIjSdHd5SgN2Lcb37QpZ/s320/IMG_3361.JPG" width="240" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRSOfSdX5OvXE2bocoJSEzmc0jfTtrB0yN72ZULaMy-s6B-IMjL7CzjbexcUUMk_RVck2U7CHEqDUUMDplrBrzVXImWcS1fOY-ARL4Y3YAzJn7DJFBVVzIwo7dA6lLVNhTEz6wGcFtm7FN/s1600/IMG_3362.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRSOfSdX5OvXE2bocoJSEzmc0jfTtrB0yN72ZULaMy-s6B-IMjL7CzjbexcUUMk_RVck2U7CHEqDUUMDplrBrzVXImWcS1fOY-ARL4Y3YAzJn7DJFBVVzIwo7dA6lLVNhTEz6wGcFtm7FN/s320/IMG_3362.JPG" width="240" /></a></div>
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The Dutchess was the third major character in the strip.</div>
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<span style="background-color: white; color: #333333; font-family: "Slabo 13px", Georgia, "Times New Roman", serif; font-size: 15px;">I got the full story from Bill Hudson, editor of the </span><em style="background: rgb(255, 255, 255); border: 0px; box-sizing: border-box; color: #333333; font-family: "Slabo 13px", Georgia, "Times New Roman", serif; font-size: 15px; margin: 0px; outline: 0px; padding: 0px; text-size-adjust: 100%; vertical-align: baseline;">Pagosa Daily Post,</em><span style="background-color: white; color: #333333; font-family: "Slabo 13px", Georgia, "Times New Roman", serif; font-size: 15px;"> an online community magazine. “Fred and Norma had been running the museum in memory of his dad. (They) were struggling to keep it financially viable, because those of us who remember Red Ryder are fewer and fewer. Fred passed away a few years ago, and Norma passed in 2019. Shortly after Norma passed away, the house-and-museum were sold to the Archuleta County government, and they’re currently in the midst of building a justice center that is not fully funded yet.”</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmEPneTIAI_md0uK9aa4Q3-cIELVo7j0EZnU-VW3GGNwKUyvsbIJbXwCh2og6CI6KLz9qW9yLXUmzpQV8mbn4O2iOxXVXOIEgUurXTwQjRAxhVd2GbU97W8BUgT3nRcFso51CYQwzAt7sG/s1600/IMG_3364.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmEPneTIAI_md0uK9aa4Q3-cIELVo7j0EZnU-VW3GGNwKUyvsbIJbXwCh2og6CI6KLz9qW9yLXUmzpQV8mbn4O2iOxXVXOIEgUurXTwQjRAxhVd2GbU97W8BUgT3nRcFso51CYQwzAt7sG/s320/IMG_3364.JPG" width="320" /></a></div>
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The Ranch in its glory days!</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4xVZ61Xs4cvACabBJDW2u3txQynZ3Yo2lwjUgUU5U5XLrwV1cojxJSL2oRWHK6PmNJW9SWklGMfiESkTmX7vShtCpkW_lBx-N4qc8XI7InDGJVniDUuJAKZo_KNbLchqtfPjMqoEpz4a3/s1600/IMG_3365.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4xVZ61Xs4cvACabBJDW2u3txQynZ3Yo2lwjUgUU5U5XLrwV1cojxJSL2oRWHK6PmNJW9SWklGMfiESkTmX7vShtCpkW_lBx-N4qc8XI7InDGJVniDUuJAKZo_KNbLchqtfPjMqoEpz4a3/s320/IMG_3365.JPG" width="240" /></a></div>
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If you look close, you can spot the screen's first Red, Don 'Red' Barry, 'Wild </div>
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Bill' Elliot, and Bobby Blake as Little Beaver.</div>
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<span style="background-color: white; color: #333333; font-family: "Slabo 13px", Georgia, "Times New Roman", serif; font-size: 15px;">Norma had donated five adjacent acres of land for the justice center project, which was expected to include a jail, Sheriff’s office and courthouse, with the understanding that the project will be called The Fred Harman III Law Enforcement Center, in honor of her husband, who was very involved in volunteering and fundraising for the Sheriffs department.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXZ4sa-eGq9S9yiDu7h_vet9xsyu0HPd2xi4d5C1-ArETdt59cfqdiFoYKIMIF4nlOUEXgpXa3lS581PBQq7Rm3J0yiJztVhpUbU2ObNfXrbPRHzButLZT8Vn9uhTZtU3bQPP_HwLUcb7W/s1600/IMG_3356.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXZ4sa-eGq9S9yiDu7h_vet9xsyu0HPd2xi4d5C1-ArETdt59cfqdiFoYKIMIF4nlOUEXgpXa3lS581PBQq7Rm3J0yiJztVhpUbU2ObNfXrbPRHzButLZT8Vn9uhTZtU3bQPP_HwLUcb7W/s320/IMG_3356.JPG" width="320" /></a></div>
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What most people know of Red Ryder today:</div>
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"You'll shoot your eye out!"</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ilirUTuIwYe754VdsVTyv0Vf0en-04Zo-Blnixs7bXMR7y2Dvf6oUuhDNNiCt84KQnr28_ktkqsv0s3njyRk1dQ4ssr2x8mRe2omUHTnmOohh1RGVL-bvqdeXVaQ8Idc2D5mNWypoaQz/s1600/IMG_3357.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9ilirUTuIwYe754VdsVTyv0Vf0en-04Zo-Blnixs7bXMR7y2Dvf6oUuhDNNiCt84KQnr28_ktkqsv0s3njyRk1dQ4ssr2x8mRe2omUHTnmOohh1RGVL-bvqdeXVaQ8Idc2D5mNWypoaQz/s320/IMG_3357.JPG" width="320" /></a></div>
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Zoom in close to see hundreds of</div>
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beautifully drawn horses.</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Bill Hudson remembers
that in the Museum, a replica of Fred Harman’s art studio had been built. “It had his
drawing table and his inks, set out as if he had just left the room.” <span style="mso-spacerun: yes;"> </span>When the Sheriffs Office opens, somewhere
inside, available to the public, will be a room, about 16’ by 30’, which will
be that studio, holding a mini-museum of the art of Fred Harman.<span style="mso-spacerun: yes;"> </span>When I first reached Bill, I suggested wistfully
that my travel piece had become an obituary.<span style="mso-spacerun: yes;">
</span>He thought, perhaps not.<span style="mso-spacerun: yes;"> </span>“Maybe it's
just a downsizing.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheIP7AbquMOLX9nG90UjgVV-7WG0sqBUgLRxajA_4d5vx9KOLNo5lk-dhoX5RltwO2adZQM9Me5x_lDUY3KaxQU-RMkk2ZKbR4fK9Qy46RDjYWRPnqW2zIQK7zvv-bvOeHk-oU7sFV104y/s1600/IMG_3369.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheIP7AbquMOLX9nG90UjgVV-7WG0sqBUgLRxajA_4d5vx9KOLNo5lk-dhoX5RltwO2adZQM9Me5x_lDUY3KaxQU-RMkk2ZKbR4fK9Qy46RDjYWRPnqW2zIQK7zvv-bvOeHk-oU7sFV104y/s320/IMG_3369.JPG" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvogJ7yO3ePq7kVQJxHFCB7DElhe3oeMQ85vathWR3r1hf6soVnGfzHxnwenVtmEtr7JLvoObTVL4eWK8uhqki9P5Tn7hnJ8Urf_6wGzX0JqGbT_UVz8JjmwnfBA8JCMgEF1QJsru02gRs/s1600/IMG_3370.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvogJ7yO3ePq7kVQJxHFCB7DElhe3oeMQ85vathWR3r1hf6soVnGfzHxnwenVtmEtr7JLvoObTVL4eWK8uhqki9P5Tn7hnJ8Urf_6wGzX0JqGbT_UVz8JjmwnfBA8JCMgEF1QJsru02gRs/s320/IMG_3370.JPG" width="320" /></a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In addition to the
photos, I’m including a 5-minute video tour of The Fred Harman Art Museum, and
a link to the still-standing Museum website. <span style="mso-spacerun: yes;"> </span>Enjoy, but don’t try to order anything,
because I don’t think anyone’s monitoring the site.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><a href="http://www.harmanartmuseum.com/">http://www.harmanartmuseum.com/</a></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>NEAL MCDONOUGH SERVES ‘THE
WARRANT’</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjyGn5GaFY_ni0o6Es8n-icGVelqzihNT_wUu_iqlc4lClzjCb_YLfxit4yVChkm0XBu-L4guEi_k-6Jx00lPP0hoSbwjLde67_uAV-aDrz8slh4aWN0sCTGHuYC_2VyeINlpXbpBvJmnF/s1600/TW+Key+Art.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1205" data-original-width="814" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjyGn5GaFY_ni0o6Es8n-icGVelqzihNT_wUu_iqlc4lClzjCb_YLfxit4yVChkm0XBu-L4guEi_k-6Jx00lPP0hoSbwjLde67_uAV-aDrz8slh4aWN0sCTGHuYC_2VyeINlpXbpBvJmnF/s320/TW+Key+Art.jpg" width="216" /></a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">On Saturday, June 20<sup>th</sup>,
the INSP network will premiere their newest original Western movie, <i>The
Warrant</i>.<span style="mso-spacerun: yes;"> </span>During the Civil War, Union
soldiers John Breaker (Neal McDonough) and Virgil a.k.a. The Saint (Casper Van
Dien) are friends, both fighting with their sons by their sides. Breaker, a
lawman in civilian life, is tough as nails, but would rather wound an enemy
than kill him. The Saint has an abiding hatred for Southerners, who he
considers traitors: he’d rather kill an enemy, and is not above going through
the corpse’s pockets.<span style="mso-spacerun: yes;"> </span>When The Saint’s
son is killed by a Rebel’s bullet, The Saint deserts, looking for revenge.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Four years after the
war’s end, Breaker is a town Sheriff, and his son Cal (Steven R. McQueen), now
a Federal Marshal, is on The Saint’s trail: leading a small but vicious pack,
The Saint’s depredations against reconstructing Southerners are so brutal that
unnamed men have placed a price on The Saint’s head, and the woods are full of
dangerous bounty hunters. As John has no legal authority outside his town, son
Cal deputizes his father – awkward! – to help bring The Saint to trial before
the bounty hunters can shoot him down. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Writer Shea Sizemore, and
director and cinematographer Brent Cristy are clearly aware that some story
elements are well-traveled ground, and have found clever ways to vary them and
make them fresh. There’s many a Western about a Confederate who won’t accept
defeat, and keeps fighting a finished war, but a Northerner who can’t accept
his victory is new. The fact that so much trouble comes out of John Breaker’s
kindness, is original. As he says, “When you show a man mercy, he becomes your
responsibility.” <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">One of the most
intriguing surprises is the casting of the protagonists: from <i>Justified</i> to
<i>Yellowstone</i>, Neal McDonough has made his mark as icy, heartless villains. Here
he is the hero, and a deeply moral man. Casper Van Dien has long been the hero,
from <i>Starship Troopers</i> to <i>Tarzan and the Lost City</i>, but here he’s the sinister
Saint. He’s a bad man, but not totally lacking in humanity, and his portrayal
of a father who’s just lost his son is startling raw and moving.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I had the pleasure of
interviewing both stars, Neal McDonough, and Casper Van Dien, about this movie,
and about their other films, especially Westerns.<span style="mso-spacerun: yes;"> </span>Here is my interview with Neal; my interview
with Casper will be in the very next Round-up.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">When I spoke to Neal, it
was April 22<sup>nd</sup>, more than a month into our quarantine, mine in Los
Angeles, his in Vancouver, B.C., Canada.<span style="mso-spacerun: yes;">
</span>We started out discussing the weather, which had been good in both
places.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH: It's been
blue skies and 55 degrees every day. It's been just dry and beautiful. And then
today, rain.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Are you in
Vancouver to film something?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH: Well, no.<span style="mso-spacerun: yes;"> </span>My wife, Ruve, and I for years were trying to
figure out a way how to get out of Los Angeles, because it was a difficult
place to bring up five children on so many levels. Just the sheer amount of
people, just getting through the traffic, getting to any practices or games or
school. That was challenge enough. But I also wanted it a little more like how
I grew up, back in the 70s; a more wholesome, less distractions type of place.
We live 40 minutes south of Vancouver, right on the ocean. And it's just
beautiful. It's a small town; feels like small town America. Small town Canada.
It's nice people, earnest people here in Canada. I really enjoy it up here.<span style="mso-spacerun: yes;"> </span>The other reason is there's so much darn work
up here. I was brought up here by Greg Berlanti to do <i>Arrow</i>. And then <i>Arrow</i>
turned to <i>Legends</i>, and<i> Legends</i> turned to <i>The Flash</i>, and <i>Flash</i>
led to five other television series: <i>Rogue</i> to <i>Van Helsing</i>, to <i>Altered</i>
<i>Carbon</i> to <i>Project Blue Book</i> to <i>The 100</i>, and a couple of
movies. So it's been a very busy four years since I've been up here, and it's
been a blessing upon blessing.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Now I've
been enjoying your work since way before <i>Minority Report</i>. And I go in
expecting to be scared and unnerved by you. You scared the heck out of me in <i>Justified</i>.
<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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Neal in<i> Justified</i></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH: Two years
before that, I was fired from a show, for not doing a sex scene. They knew I
wouldn't do it; it was in my contract that I wouldn't. And finally they say, if
you can't do it we're going to fire you. I said I'm not going to do it, so go
ahead. So they fired me, and for about two years I couldn't get a job. (Editor’s
note: the ABC comedy/drama <i>Scoundrels</i> lasted eight episodes.) It was a
really hard time for us. We lost our house, we lost cars, we lost all the
material things that we thought were really important.<span style="mso-spacerun: yes;"> </span>I thought, I don't know how are we going to
get through this. I prayed so hard, and all of a sudden the phone rang. And it
was (Writer/Producer) Graham Yost. And Graham said, "Hey, you want to be the
bad guy for a couple episodes on <i>Justified</i>? I said, “Yeah, absolutely!”
And it was my comeback. It was like my shot at the title again, and I was so
revved up to crush this role that literally, after the first take of the first
scene, Graham says, “I think you're going to be around for the rest of the
season.” I'm like, good: that was my plan.<span style="mso-spacerun: yes;">
</span>(Previously) Graham has written for me, for <i>Boomtown</i> and <i>Band
of Brothers,</i> them to <i>Justified</i>.<span style="mso-spacerun: yes;">
</span>He knows how to write to my strengths, and we just had a heck of a time.
It's when I fell in love with acting again. You take a lot of things for
granted in life, and sometimes you need a good swift kick in the butt to make
you realize, Hey buddy, you got it good. Don't take it for granted. And the ten
years since I was in <i>Justified</i>, (my) career has been so fantastic. God
has given me so much. I wouldn't be speaking to you right now if it wasn't for
Graham Yost and <i>Justified</i>.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>I've got to say how much I enjoyed you in <i>Yellowstone</i>.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH:<span style="mso-spacerun: yes;"> </span>Paramount submitted me for the best
supporting actor Emmy Award, which was pretty flattering. I don't do this for
awards; I do this to entertain people. But every once in a while, it sure is
nice when someone says, hey, you did a really great job; I want people to
notice that. I was blessed that God gave me a great talent; God gives us all
talents and sometimes we don't find them; sometimes we don't look hard enough. But
just because you get that cool talent, that doesn't make you special.<span style="mso-spacerun: yes;"> </span>You have to work hard at being a great human
being. I was blessed to find out early that I was really good at getting in
front of people and making them laugh or cry or make them angry or in some
instances make them really frightened.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Speaking of making people really frightened,
which you're really good at, after so many heavies, what's it like to play a
hero in <i>The Warrant</i>?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH:<span style="mso-spacerun: yes;"> </span>I’ve got to tell you, when they sent the
script to <i>The Warrant</i>, my agents -- I don't want to say passed on it --
but they said this is a really independent small film, and I'm not sure it's
the right thing for you. I said, just let me read it. And after two pages I'm
like, are you kidding me? Did you guys read this? This is gold! You know, the
reason I play so many villains is because I won't do sex scenes. So, I have to
figure out ways to keep working, to make money for my family. So when I have an
opportunity to play a good guy who doesn't have to have those types of scenes, that
doesn't happen often, because usually you're kissing a woman or you're doing
whatever, and I'll only kiss one woman; that's my wife Ruve, and that's it.<span style="mso-spacerun: yes;"> </span>So when I read the script, I was like, this
is literally another gift from God, because this is the character that I always
love playing. Like from <i>Tin Men</i> or <i>Band of Brothers</i>, those heroic
guys that are tough as nails, but that also have their heart on their sleeves
and are driven for the good. But that don't mind getting their hands dirty, to
do a few things to get the law correct. To play this character, John Breaker, it’s
right up my alley. I'm playing my dad, and it's such an honor for me to do
that. And the people at INSP, (Senior VP of Programming) Doug Butts and (Senior
VP of Original movies) Gary Wheeler and everybody else, these guys have been so
good to me.<span style="mso-spacerun: yes;"> </span>Gary was telling me the other
day that <i>The Warrant</i> was (number one) watched new Western for six weeks
in a row on Amazon, and at Walmart we sold out: they have to keep restocking
it. I had no idea this would be successful for INSP. But I love what INSP does.
They're faith friendly. They're telling stories of heroes, and in a time where
people generally don't do stories about heroes anymore. There aren't many films
you get to sit and watch with the whole family. I had the five kids about a
week ago and I said, all right guys, let's sit down and let's watch <i>The
Warrant</i>. And they didn't get up for a bathroom break once! I love, love,
love <i>The Warrant</i>. I want to do part two, part three, part four, and part
five!<o:p></o:p></span></div>
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Gregory Cruz, Neal, Annabeth Gish</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: You said you
were playing your father. In what sense?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH:<span style="mso-spacerun: yes;"> </span>My father was a Sergeant in the Army; came
over from Ireland.<span style="mso-spacerun: yes;"> </span>Immediately landed in
Boston, walked into the Army office and said, "Make me an American."
They said, "Okay, we'll ship you overseas for five years." That's
fine. When he came back, my dad was a very driven, hardworking, do-the-right-thing
kind of man. And he instilled that into all of us, I being the youngest of six.
My dad my mom really (taught) me what was right and what was wrong and, my
relationship with God. I was really fortunate to have my dad be such an
integral part of my life. And this last couple of years I did <i>Project Blue Book</i>;
there I am dressed up in military outfits and looking just like my father, and
trying to tap into my dad. John Breaker is very much like my and like myself.
So it was kind of easy for me to play Breaker.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Is <i>The Warrant</i> your first period
Western?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH: It is my
first period Western. I always wanted to do one. I did the mini series for Syfi
called <i>Tin Man</i>, which was kind of a Scifl take on the Wizard of Oz, with
Zoe Deschanel and Alan Cumming. I play the Tin Man (in) cowboy hat, duster, six-shooter.
A law enforcement man back in the late 1800s was the take on my character. It
was a lot of fun to play that guy. But an actual, <i>true</i> Western? This is
the first one I've ever done, and boy, I can't wait to get back in the saddle
again and do it again.<o:p></o:p></span></div>
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From <i>Tin Man</i>, Alan Cumming, Raoul Max Trujillo, Neal</div>
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as Tin Man, aka Wyatt Cain</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Did you grow up with Westerns?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH: My favorite
as a kid was <i>The Rifleman</i>. I couldn't get enough of it. I loved that and
<i>The Big Valley</i>. My brothers loved <i>Big Valley</i> and I would watch it
with them. And anything that John Wayne did, from <i>The Cowboys</i> to <i>The
Shootist</i>; the movies that were later in his career, those were the John
Wayne films that I cut my teeth on. I love watching INSP because they've always
had <i>The Big Valley</i>. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>As a kid, do you identify with a particular
brother on <i>The Big Valley</i>?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH:<span style="mso-spacerun: yes;"> </span>Lee Majors to me was just like the coolest
cat. My brothers were always, "I'm Heath," or "I'm Nick,"
For me it was more like, wow, those guys are just the dudes, more that than me
trying to be any of them, because my older brothers say, no, no, no. We're
these guys: you're too young. And they were right. My brother John says the
reason I'm so successful as an actor is I get to steal from my brothers and my
sister all the time, and he is absolutely spot on: the music I listened to was
the music they listened to, the shows that I gravitated towards were the shows
that they watched.<span style="mso-spacerun: yes;"> </span><i>The Rifleman </i>and
<i>My Three Sons</i> or <i>The Big Valley</i> -- those are the ones I want to
make. And I think that Hollywood has really gotten away from making those kinds
of shows because everybody wants to see crazy, on your edge, dark stuff. That's
the landscape of television nowadays. And it's really too bad. I mean, when I
was a kid, Sunday nights, the whole family, we'd sit around and watch <i>The
Wonderful World of Disney</i>. They don't have that anymore.<span style="mso-spacerun: yes;"> </span>You know, for the last five weeks of this
quarantine, my wife Ruve has been unbelievable in so many ways.<span style="mso-spacerun: yes;"> </span>When six o'clock comes, she's sitting us down
around the TV and we're all gonna watch a family movie. And we've watched a
family movie every single night for the last five weeks. And it's been kind of
awesome. What's going on (Covid-19) is heartbreaking. But again, with every
curse, you've to find the blessing and the blessing in this is that Ruve and
I've gotten to spend an extraordinary amount of time home with our children.<span style="mso-spacerun: yes;"> </span>We're hunkered down here at home, and it's
great for networks like INSP to be there for us. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Doing a
period story does have its own challenges. Were there any surprises for you?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH:<span style="mso-spacerun: yes;"> </span>I didn't realize I was that good with a
Winchester. (Laughs) No, I'm kidding. But it was fun. They said, what (kind of
gun) do you want? I'm like, <i>The Rifleman's</i> my favorite show of all time.
You’ve got to get me a Winchester. That one shot where I take off on the horse,
I crank it with one hand, like Rooster Cogburn, I'm firing a guy off the roof.
You know, just to be on a horse, firing that Winchester! I knew I was going to
enjoy it. I didn't realize I'd enjoy it that much, being on a horse and
filming. My dad grew up with horses in Ireland.<span style="mso-spacerun: yes;">
</span>On Sundays, after church, we'd go down to a place called Milford Farms.
And as a young boy I'd be riding the smaller horses. My brothers would ride the
bigger horses, but there I was pretending that I was John Wayne, riding around
on my little pony, and it was so much fun. I'm not sure if anything really
surprised me so much, except that I didn't realize how much I loved playing the
good guy. I want to keep doing those, because when my family is sitting around
watching movies, I want them to be able to watch <i>my</i> movies.<span style="mso-spacerun: yes;"> </span>A lot of the things that I do, they can't
really see, but this they can, or a <i>Project Blue Book</i>, the kinds of
characters I'm doing now.<span style="mso-spacerun: yes;"> </span>And I love
that. I really do.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>In <i>The Warrant</i>, do you have a
particular favorite scene or moment?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH:<span style="mso-spacerun: yes;"> </span>I really like anything I do with Greg
(Gregory Cruz), who played Bugle. We just had a ball.<span style="mso-spacerun: yes;"> </span>He's such a talented actor and he's such a
great guy; to have him as my sidekick -- or me as his, like sometimes it felt
like in the scenes -- was great.<span style="mso-spacerun: yes;"> </span>Originally
the beginning of the film was supposed to be my voice doing the voiceover;
talking about my daddy and the war and blah blah blah. And I told (Producer)
Gary Wheeler, I think it might work better if Greg’s character, Bugle, does the
voiceover. He's got that great voice, and it just seems more heroic opening it
that way, instead of me kind of talking over myself. <span style="mso-spacerun: yes;"> </span>And it works so well;, he's so dialed in, and
he's great on a horse, great with weapons, and his comic timing. I love the
fight scenes. I loved riding the horses. I love the scenes with Steven McQueen,
talking about life when we're holed up in that barn and then coming up firing.
I love the action of that. That to me, harkens back to this great old Western
sense of alright, it's you and me against a bunch of people who've got a lot
more guns and ammunition than we do, but what the heck? We'll just go for it.
And boy, that was just fun to play.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>One thing I found a really clever touch was
that Stephen McQueen is playing your son, but you’re a sheriff, he’s a Federal
Marshall, so for this particular job, he's your superior.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH: That was
a great moment. It wasn't the situation between me and Steven that made it so
funny. It was the look on Greg's face that made it so funny. Again, you have
that sidekick to work the humor; you need to infuse humor into these movies or
else it just becomes kind of dry and forced. But that levity allows the drama
to be that much higher staked.<span style="mso-spacerun: yes;"> </span>Brent
Christy did a fantastic job directing, with the time that we had to do it,
which wasn't a ton of time. We went so fast, but he wouldn't go to the next
scene until he got exactly what he wanted. Luckily with Greg and myself and
Steven, we were so prepared that a lot of times it's the first take. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Casper van
Dien –<o:p></o:p></span></div>
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Neal with Casper</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH:<span style="mso-spacerun: yes;"> </span>What a performance he did!<span style="mso-spacerun: yes;"> </span>We were talking about (casting) the bad guy,
and (Producer) Gary Wheeler mentioned what about Casper? I knew he was such a
great actor but I hadn't seen Casper in a while. And he's aged so well; he's
such a striking-looking guy, that to have him play the villain, when you’ve seen
him playing the good guys for so long.<span style="mso-spacerun: yes;"> </span>It
was such a breath of fresh air. And from the first time we shook hands, there
was a bond s between the two of us.<span style="mso-spacerun: yes;"> </span>It
was interesting because this wasn't a film about the stereotypical good guy,
stereotypical bad guy. These guys were kind of friends, and what he did was
kind of justified because he was there to revenge the death of his son. But
then he goes off the rails. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: If you'd
been offered the role of The Saint instead of Breaker, if you guys traded
roles, would you do it?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH: Absolutely.
The last 10, 15 years I've played so many villains that The Saint would have
been easy. It's a lot harder for me to play Breaker because I had to tap into
me. When I play villains, it's tapping into, okay, what's a fun thing here to
scare people, and what's a moment that I can lift that eyebrow at the right
time?<span style="mso-spacerun: yes;"> </span>But you don't have those bags of
tricks when you're the good guy; it's your heart on your sleeve, and you're
just letting it out. It’s, well what's my life really about? Am I doing the
right thing? If I go out and get shot and killed, what happens to my son and my
wife?<span style="mso-spacerun: yes;"> </span>There's a lot more at stake for
the good guy, because the bad guy, if you shoot me, it's all over. What the
heck: I'm going down with guns blazing.<span style="mso-spacerun: yes;"> </span>It's
not the same thing as a good guy. Ruve and I met the very first day doing <i>Band
of Brothers</i>. I was at home with my work every night, not just reading the
lines, but living the character as the method actor that I am. After two to
three months of dating, she's like, look: when you're done with work, you've
got to punch that card and (be) done until you punch in the next day. Because
if you're going to be like this 24 – 7, you're going to drive yourself, myself
and everybody else nuts.<span style="mso-spacerun: yes;"> </span>I thought, are
you crazy? I'm a method actor! But that may have been the greatest acting
lesson I've ever had in my life. Because if you're not enjoying your life and
living your life, you can't draw from anything. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE:<span style="mso-spacerun: yes;"> </span>Are there any particular memories or anything
funny that happened on the set? <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">NEAL MCDONOUGH:<span style="mso-spacerun: yes;"> </span>They said, we need to get someone for The
Saint's son. My nephew Michael, had just graduated from college and is very
artistic but also very athletic. I called Mike, I said, put yourself on tape,
read the lines, and send them to me. I sent it to the producer, who said, wow,
he did really good. And yes, he doesn't do much; he says a line and just gets
shot.<span style="mso-spacerun: yes;"> </span>But he has such an expressive face,
and it really worked.<span style="mso-spacerun: yes;"> </span>And my brother Bob
came down, and we're all there to see him do what he did. Because it's hard for
me to be away for five or six days. I'd fly back, be home in Vancouver for
seven or eight hours, and fly back to Atlanta. When I'm away from Ruve and the
kids, it really takes a toll on me. If it weren't for my brother Bob being
there and my nephew Michael, it probably would've been a little bit more of The
Saint in my performance than it would have been Breaker.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;"><b>...AND THAT'S A WRAP!</b></span></div>
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<span style="font-family: "times new roman" , serif;">If you haven't yet, please check out the June 2020 True West, which features my article celebrating Clayton Moore, and the 70th anniversary of the first Western TV series, <i>The Lone Ranger! </i></span></div>
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<span style="font-family: "times new roman" , serif;"><i>Hiyo-Silver, Away!</i></span></div>
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<span style="font-family: "times new roman" , serif;">Henry</span></div>
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<span style="font-family: "times new roman" , serif;">All Original Contents Copyright June 2020 by Henry C. Parke -- All Rights Reserved</span></div>
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Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-85153108889136852672020-05-10T19:23:00.000-07:002020-05-11T13:26:07.911-07:00REMEMBERING ANDREW FENADY, PLUS GENE AUTRY STREAMING, 'LIZZIE' REVIEW, KEATON STREAMING MONDAY NIGHT!<div class="MsoNormal" style="line-height: 200%;">
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>GENE AUTRY MOVIES &
TV STREAMING WITH SHOUT FACTORY!</b><o:p></o:p></span><br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">As fine a businessman as
he was a singer and Western star, Gene Autry famously acquired the rights to
all of his movies, and his Gene Autry Entertainment saw to their restoration,
and release on home video. Now, just in time for those of us suffering
with cabin fever, for the first time ever, Gene’s movies are being made
available for streaming! As of May 1<sup>st</sup>,
<i>South of the Border (1939), Gaucho Serenade (1940), Melody Ranch (1940), The
Strawberry Roan (1948), </i>and <i>Blue Canadian Rockies (1952) </i>are
available to stream through Shout Factory!
Another five will be added on June 1<sup>st</sup> -- <i>Public Cowboy
No. 1</i> (1937), <i>In Old Monterey</i> (1939), <i>Rovin’
Tumbleweeds</i> (1939), <i>Ridin’ On A Rainbow</i> (1941), <i>Sioux
City Sue</i> (1946). There will be
a new five titles added every month.<o:p></o:p></span><br />
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<span style="font-family: "times new roman" , serif; line-height: 200%;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/-Suky3iqKn0" width="560"></iframe></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>LIZZIE – A BLUE-RAY
REVIEW</b></span><br />
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Often when a star gets a producer credit on a film, it means nothing – it’s just
a way to give an actor a little more credit without giving them more money. But among the thirteen credited producers, Chloe
<a href="https://www.blogger.com/null" name="_Hlk40007153">Sevigny</a>, long fascinated by Borden, has for years been
the driving force behind this project. She
hired screenwriter Bryce Cass, and her seriousness sets the tone for this atmospheric, sympathetic, and often chilling examination
of the Lizzie Borden legend.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Unless you’ve been in a
coma for 128 years, you know that Borden was accused of slaughtering her father
(here, Jamey Sheridan) and stepmother (Fiona Shaw) with an axe, was tried, and
acquitted. It is often noted with amusement
from the smug superiority of the 20<sup>th</sup> and 21<sup>st</sup> centuries
that there were no other suspects, no one else with motive (aside from Lizzie’s
alibi’d sister), and yet the all-male jury (then the only kind) acquitted her
because they could not imagine a young woman capable of committing such a
crime. My guess is that the jury, after hearing about
her situation, found her not guilty because they simply understood, and forgave
her. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Either way, Sevigny,
Cass, and director Craig William MacNeill extrapolate upon the known facts to
tell the story of a young woman overpowered by the social rules in Victorian-era
Massachusetts, rules which treated women as life-long children, who would
forever be in the control of the men in their family. Well, she found a way to take control. (Ironic
how diametrically opposed most Victorian women’s lives were to that of Queen
Victoria, who gave the era its name.) <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">As Bridget Sullivan, the Irish
housekeeper who is treated with such contempt that she is assigned a different
first name because the Bordens prefer it, Kristen Stewart is a revelation as
Lizzie’s confidant and conspirator, and as frank and direct as Lizzie is
buttoned up. The performances are top
notch, actors, director and writer creating a believable humanity in even the
most hateful. The only minor disappointment
is Lizzie’s sister Emma, played by Kim Dickens, <i>Deadwood</i>’s Joanie
Stubbs, who performs well, but has so little to do. <i>Lizzie</i> is available from Amazon and
elsewhere.<o:p></o:p></span><br />
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<span style="font-family: "times new roman" , serif; line-height: 200%;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/ylfEsqKDgKI" width="560"></iframe></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>MONDAY NIGHT - MAY 11TH AT 7:30 -- DON’T
MISS BUSTER KEATON IN “ONE WEEK” AND “COPS”, WITH LIVE ACCOMPANIMENT – PLUS
Q&A W/PAUL DOOLEY, WHO WORKED WITH KEATON!</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The wonderful Retroformat
folks are presenting two of the absolutely best of Keaton’s shorts – which is
to say two of the best movies of any kind ever made – with Cliff Retallick’s
live score, and an interview with comic actor Paul Dooley – to me he’ll always
be the dad in BREAKING AWAY – who actually did a TV commercial with
Buster! <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Watch it live tonight on
Facebook – here’s the link: <a href="https://www.facebook.com/events/302674480721171/">https://www.facebook.com/events/302674480721171/</a><o:p></o:p></span></div>
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<b>REMEMBERING ANDREW J. FENADY</b><br />
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Screenwriter, novelist, playwright, and film and television producer Andrew J. Fenady passed away in April, at the age of 91. His beloved wife of 63 years, Mary Frances, had died the previous May. They leave five children, six grandchildren, and one great-grand son. He created the series THE REBEL, making a star of Nick Adams. He rescued the series BRANDED in mid-stream, and made it a hit. He wrote CHISUM for John Wayne, and turned Wayne's HONDO into a popular TV series which still has a cult following. He was one of the kindest men I knew, in a position and business not overflowing with kindness. He had a great sense of humor. He loved to write, and never stopped. He was so athletically driven that he'd had both hips replaced multiple times -- he would be back in the gym before he was fully healed, and would end up needing a newer new hip!<br />
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Back in 2012 I had the pleasure of interviewing him at length for the Round-up. Originally presented as a two-parter, I'm running the whole thing in one today.<br />
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<strong>Andrew J. Fenady</strong> is a writer and producer who will not stop working.<span style="mso-spacerun: yes;"> </span>On Saturday night, when I offered him a draft of this article for his comments, he asked me to FAX it to his office, as he’ll be going in to work at 9:00 a.m. – <i style="mso-bidi-font-style: normal;">on Sunday!<span style="mso-spacerun: yes;"> </span></i>When I asked him what he’d been up to, he said he’d just sent 73,000 words of his new western novel, <strong>DESTINY MADE THEM BROTHERS</strong>, to his publisher, <strong>Kensington</strong>.<span style="mso-spacerun: yes;"> </span>He told me it’s about three great men who cross paths:<strong> U.S. Grant, George Armstrong</strong> <strong>Custer</strong>, and Johnny Yuma – the character he created for <strong>Nick Adams</strong> 53 years ago for <strong>THE REBEL</strong>.<br />
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A.J. Fenady, Nick Adams, Irvin Kershner</div>
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A. J. Fenady has been creating exciting and thought-provoking entertainment for the small screen, big screen, stage and page since he started as a self-described ‘stooge’ on the documentary series <strong>CONFIDENTIAL FILE</strong> in 1953.<span style="mso-spacerun: yes;"> </span>He went on to create, write and produce THE REBEL, to rescue and revamp <strong>BRANDED</strong>, to adapt <strong>John Wayne’s</strong> movie <strong>HONDO</strong> into a TV series, and to write and produce the Duke in <strong>CHISUM</strong>.<span style="mso-spacerun: yes;"> </span>And the movies he’s made for theatres and TV include RIDE <strong>BEYOND VENGEANCE, BLACK NOON, THE MAN WITH BOGART’S FACE, THE HANGED MAN, TERROR IN THE WAX MUSEUM</strong>, and many more.<span style="mso-spacerun: yes;"> </span>I was grateful that he took some time off to talk to me about his career for the Round-up.</div>
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<strong>Andrew</strong>:<span style="mso-spacerun: yes;"> </span>I just fired up my favorite cigar, Romeo Y Julietta Cedro #1, so fire away.</div>
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<strong>Henry</strong>: That’s Cuban, isn’t it?</div>
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A: No, no.<span style="mso-spacerun: yes;"> </span>It’s Cuban seed, but <st1:place w:st="on">Dominican Republic</st1:place>.<span style="mso-spacerun: yes;"> </span>I’ll tell you, those Cubans are so damned strong.<span style="mso-spacerun: yes;"> </span>When we were shooting up in <st1:place w:st="on">Canada</st1:place>, the prop me gave me a box of Cuban cigars.<span style="mso-spacerun: yes;"> </span>After I smoked a few of those damned lung-cloggers I said, “Go back to the station and get some American cigars: these things are killing me!”</div>
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H: What were you shooting in <st1:place w:st="on">Canada</st1:place>?</div>
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A: We shot a lot of things there.<span style="mso-spacerun: yes;"> </span>The first thing was a two-hour TV movie with <strong>Bob Hope</strong> and <strong>Don Ameche</strong>, <strong>A MASTERPIECE OF MURDER</strong>.<span style="mso-spacerun: yes;"> </span>It’s the only TV movie that Bob Hope ever did, and it did very, very well, and Don Ameche was just a wonderful man to work with.<span style="mso-spacerun: yes;"> </span>And after that we did <strong>YES <st1:place w:st="on"><st1:state w:st="on">VIRGINIA</st1:state></st1:place>, THERE IS A SANTA CLAUS</strong>.<span style="mso-spacerun: yes;"> </span>We also did <strong>THE SEA WOLF</strong> with <strong>Charles Bronson</strong> up there.</div>
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H: Did you always love westerns?</div>
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A: Yes.<span style="mso-spacerun: yes;"> </span>When I was a young fellow I had an old broom, and I sawed the end off, and I would ride around the neighborhood.<span style="mso-spacerun: yes;"> </span>And that stick was<strong> Tony</strong>, and I was <strong>Tom Mix.</strong><span style="mso-spacerun: yes;"> </span>So it goes back to that.<span style="mso-spacerun: yes;"> </span>And in those days there were two tiers of Western movies, of western stars.<span style="mso-spacerun: yes;"> </span>The Saturday matinees and the serials – there were people like <strong>Bob Steele</strong> and <strong>Buck Jones</strong> and <strong>Hoot Gibson</strong> and <strong>Ken Maynard</strong>.<span style="mso-spacerun: yes;"> </span>And then on Sunday – well, at first John Wayne was in the lower tier, but then he graduated with <strong>STAGECOACH</strong>.<span style="mso-spacerun: yes;"> </span>And then there were people like <strong>Randolph Scott</strong> and <strong>Joel McCrea</strong> and the Duke.<span style="mso-spacerun: yes;"> </span>So we had the 60 minute cheapies, and we also had things like <strong>THE PLAINSMAN</strong>, and <strong>UNION PACIFIC</strong> to go to on Sundays.<span style="mso-spacerun: yes;"> </span>There was a movie theatre in <st1:place w:st="on">Toledo</st1:place> called <strong>THE REX</strong>, and the admission price was a nickel.<span style="mso-spacerun: yes;"> </span>And I went there one day and put down my nickel, and she said, “Ten cents.”<span style="mso-spacerun: yes;"> </span>And I said, “What?!”<span style="mso-spacerun: yes;"> </span>I was shocked, shocked, as <strong>Claude Rains</strong> would say.<span style="mso-spacerun: yes;"> </span>Twice as much money to see the same damned picture.<span style="mso-spacerun: yes;"> </span></div>
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H: You’ve had a very extensive career as both a writer and a producer.<span style="mso-spacerun: yes;"> </span>Which do you think of yourself as, primarily?</div>
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A: You know, I am what they call a hyphenate.<span style="mso-spacerun: yes;"> </span>A hyphenate wears two hats.<span style="mso-spacerun: yes;"> </span>The old saying is two heads are better than one, but that’s only true when one head knows what the hell the other one is doing.<span style="mso-spacerun: yes;"> </span>But the billing is writer-producer because of the saying, first comes the word.<span style="mso-spacerun: yes;"> </span>Well, that’s really not true either.<span style="mso-spacerun: yes;"> </span>First comes the idea.<span style="mso-spacerun: yes;"> </span>Words come from ideas, not ideas from words, so you’ve got to have some kind of a concept or some kind of a character.<span style="mso-spacerun: yes;"> </span>And for many years I had the advantage of being the writer, which means you might as well be living up in a cave, cloistered, and putting down your thoughts.<span style="mso-spacerun: yes;"> </span>Then, when you become a producer you pick up the phone and say, “Let’s get together.”<span style="mso-spacerun: yes;"> </span>And forty-seven guys come in and say, “What, chief?<span style="mso-spacerun: yes;"> </span>What what what what?”<span style="mso-spacerun: yes;"> </span>When I felt kind of cramped (as a writer), then I got to be the producer and we were in the wide open spaces.<span style="mso-spacerun: yes;"> </span><br />
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H: You’ve done movies and TV shows in a wide range of genres, but more westerns and crime stories than anything else.<span style="mso-spacerun: yes;"> </span>Why do you think you focused there?</div>
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A: I’ll tell you.<span style="mso-spacerun: yes;"> </span>I really started out in this business with <strong>Paul Coates’ CONFIDENTIAL FILE</strong>.<span style="mso-spacerun: yes;"> </span>I started out sort of as a stooge, then did some parts in the documentaries.<span style="mso-spacerun: yes;"> </span>Then I started giving them some ideas, and making outlines of what we were going to shoot.<span style="mso-spacerun: yes;"> </span>A lot of it dealt with crime, with dope, counterfeiting, and used car rackets – I mean, we exposed every racket in the world except tennis racquets.<span style="mso-spacerun: yes;"> </span>So crime was sort of my beginning and my background in documentaries.<span style="mso-spacerun: yes;"> </span>And the first feature that we did, <strong>STAKEOUT ON DOPE STREET</strong> (1958) was about three kids who find a quarter of a million dollars worth of heroin, and they don’t even know what it is.<span style="mso-spacerun: yes;"> </span>So the mob is after them, the cops are after them, and other kids are after them.<span style="mso-spacerun: yes;"> </span>But the switch to Westerns was because as a kid I was interested in Westerns – who the Hell wasn’t?<span style="mso-spacerun: yes;"> </span>We all had those six shooters and caps, and Westerns were the rage on television.<span style="mso-spacerun: yes;"> </span></div>
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H: How did you get together with <strong>Nick Adams</strong>?<br />
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A: I got the rights to <strong>THE</strong> <strong>EXECUTION OF PRIVATE SLOVIK</strong>, and we had it all set up.<span style="mso-spacerun: yes;"> </span><strong>Niven Bush</strong> and I were going to co-write the screenplay, <strong>Irvin Kershner</strong> was going to direct it – this was after we’d done some pretty good things.<span style="mso-spacerun: yes;"> </span>And <strong>Paul Newman</strong> said he wanted to play it.<span style="mso-spacerun: yes;"> </span>Well, I get a letter from Nick Adams saying, ‘Look Mr. Fenady.<span style="mso-spacerun: yes;"> </span>I know you’ve got Paul Newman, but if anything should happen to him, I should play Eddie Slovik.<span style="mso-spacerun: yes;"> </span>Eddie Slovik was Polish – I’m Polish.<span style="mso-spacerun: yes;"> </span>Eddie Slovik was from <st1:city w:st="on">Detroit</st1:city> – I’m from <st1:place w:st="on">Detroit</st1:place>.’<span style="mso-spacerun: yes;"> </span>The Polish part was true, the <st1:place w:st="on">Detroit</st1:place> part wasn’t, but it didn’t matter.<span style="mso-spacerun: yes;"> </span>He said, ‘Can I buy you lunch? I’d like to meet you.’<span style="mso-spacerun: yes;"> </span>I said okay, fine.<span style="mso-spacerun: yes;"> </span>We had lunch, and I paid for it.<span style="mso-spacerun: yes;"> </span>But then he kept pestering me.<span style="mso-spacerun: yes;"> </span>He’d come over and say, ‘Listen, do me a series – I want to do a series.’<span style="mso-spacerun: yes;"> </span>I said, ‘Well Nick, what do you want to do?’<span style="mso-spacerun: yes;"> </span>He said, ‘I do a great <strong>Jimmy Cagney</strong>.<span style="mso-spacerun: yes;"> </span>Something like a <strong>JOHNNY COME LATELY</strong>.’<span style="mso-spacerun: yes;"> </span>I said no.<span style="mso-spacerun: yes;"> </span>He said, ‘How about something like <strong>Cary Grant</strong> on <strong>GUNGA DIN</strong>?’<span style="mso-spacerun: yes;"> </span>No, no no.<span style="mso-spacerun: yes;"> </span>Well, eight of the top ten shows on television were westerns, at the time.<span style="mso-spacerun: yes;"> </span><strong>GUNSMOKE</strong> and <strong>HAVE GUN WILL TRAVEL</strong> and all of those.<span style="mso-spacerun: yes;"> </span>I said to him and Kershner, ‘Boys, if we’re gonna do a television series, we’re gonna do a Western.’<span style="mso-spacerun: yes;"> </span>So I sat down and wrote the damned thing.<span style="mso-spacerun: yes;"> </span>We took it to <strong>Dick Powell</strong>, who was a friend of mine; we were going to do a feature once.<span style="mso-spacerun: yes;"> </span>And he’d said, if you ever want to do television, let me have a look at it first.<span style="mso-spacerun: yes;"> </span>He looked at the script for THE REBEL and said, ‘We’ll do this on <strong>ZANE GREY THEATRE</strong> next year as a pilot, like we did <strong>WANTED DEAD OR ALIVE</strong>,’ and a couple of the other things that he sold.<span style="mso-spacerun: yes;"> </span>Great!<span style="mso-spacerun: yes;"> </span>Now this goes back to how we got involved with <strong>Goodson Todman Productions</strong>.<span style="mso-spacerun: yes;"> </span>While I was preparing a feature at <strong><st1:place w:st="on"><st1:city w:st="on">Paramount</st1:city></st1:place>,</strong> Kershner did a <strong>PHILIP MARLOWE</strong> (episode) – that was the first project they had that wasn’t a quiz show.<span style="mso-spacerun: yes;"> </span>They only did thirteen episodes.<span style="mso-spacerun: yes;"> </span>We were pretty hot – our names were in the paper all the time.<span style="mso-spacerun: yes;"> </span>And a fellow that worked there, a vice president, <strong>Harris Katleman</strong>, who is still around, said, ‘Do you and your partner have any westerns?<span style="mso-spacerun: yes;"> </span>We’d like to do a Western.’<span style="mso-spacerun: yes;"> </span>And Kershner said, ‘Well, we do, but we’re going to do it with Dick Powell.’<span style="mso-spacerun: yes;"> </span>(Katleman) called me.<span style="mso-spacerun: yes;"> </span>I said THE REBEL’s already promised to Dick Powell, but take a look at it, and if you like it, I’ll write another one for you.<span style="mso-spacerun: yes;"> </span>So he read it, called me back and said, ‘How much would it cost to shoot this picture?’<span style="mso-spacerun: yes;"> </span>I didn’t know how much.<span style="mso-spacerun: yes;"> </span>I grabbed a figure and said, fifty thousand dollars.<span style="mso-spacerun: yes;"> </span>He called me back and said Mark and Bill will put up fifty thousand up front: fifty-fifty.<span style="mso-spacerun: yes;"> </span>We’re partners if you want to do THE REBEL, and we’ll do it now.<span style="mso-spacerun: yes;"> </span>I said, we can’t.<span style="mso-spacerun: yes;"> </span>He said, I don’t think Dick Powell would stand in your way.<span style="mso-spacerun: yes;"> </span>Why don’t you go see him?<span style="mso-spacerun: yes;"> </span>Dick Powell said, God bless you, go ahead and do it.<span style="mso-spacerun: yes;"> </span>Who the Hell knows what’s going to happen between now and next year.<span style="mso-spacerun: yes;"> </span>Give ‘em Hell.<span style="mso-spacerun: yes;"> </span>So that’s how the association with Goodson Todman came about.<span style="mso-spacerun: yes;"> </span>We shot the damned thing in four days, and the irony is that at ABC there was only one half-hour left.<span style="mso-spacerun: yes;"> </span>And it was between a <strong>Four Star</strong> pilot (Dick Powell’s company) that they did with <strong>Michael Ansara</strong>, and THE REBEL, and THE REBEL beat out the other pilot.<span style="mso-spacerun: yes;"> </span>And the first one to call was Dick Powell, and he said, hey, we’ve got a lot of pilots.<span style="mso-spacerun: yes;"> </span>You only had one.<span style="mso-spacerun: yes;"> </span>I’m glad that it turned out this way.<span style="mso-spacerun: yes;"> </span>And after this if you want to see me any time the door’s wide open.<span style="mso-spacerun: yes;"> </span></div>
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H: Now Irvin Kershner is quite a director.<span style="mso-spacerun: yes;"> </span>All of the serious <strong>STAR WARS</strong> people always say that <strong>THE EMPIRE STRIKES BACK</strong> is <i style="mso-bidi-font-style: normal;">the</i> great Star Wars movie.<span style="mso-spacerun: yes;"> </span>What was he like as a guy?<span style="mso-spacerun: yes;"> </span></div>
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A: Well, Kershner and I were like brothers – we lived together for years when we were doing CONFIDENTIAL FILE.<span style="mso-spacerun: yes;"> </span>We were joined at the hip and in other places. (laughs)<span style="mso-spacerun: yes;"> </span>So we truly got along.<span style="mso-spacerun: yes;"> </span>Now Kershner always had kind of a hesitation at the beginning of each day.<span style="mso-spacerun: yes;"> </span>All he needed was a, ‘Come on Kershner!’<span style="mso-spacerun: yes;"> </span>A kick in the ass, really.<span style="mso-spacerun: yes;"> </span>And once he got going it was in a fury.<span style="mso-spacerun: yes;"> </span>He was terrific.<span style="mso-spacerun: yes;"> </span>But when you ask, what kind of a director was he?<span style="mso-spacerun: yes;"> </span>Well, he was a silent picture director.<span style="mso-spacerun: yes;"> </span>Because CONFIDENTIAL FILE was silent.<span style="mso-spacerun: yes;"> </span>We did 150 episodes, and we only had dialogue in about five of them.<span style="mso-spacerun: yes;"> </span>So it was a silent picture technique.<span style="mso-spacerun: yes;"> </span>The story was told in pictures, but when someone spoke, it meant something.<span style="mso-spacerun: yes;"> </span>That’s the way that we worked.<span style="mso-spacerun: yes;"> </span></div>
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H: Very interesting.<span style="mso-spacerun: yes;"> </span>I’ve never been able to find any CONFIDENTIAL FILE episodes.<span style="mso-spacerun: yes;"> </span></div>
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A: Well, they’re around.<span style="mso-spacerun: yes;"> </span>We did one on capitol punishment.<span style="mso-spacerun: yes;"> </span>He and I and a fellow named <strong>Gene Petersen</strong> – that was the entire staff – we went up to San Quentin, and I’m the only one who sat in one of those two chairs in the gas chamber, got strapped in, and got up and walked out.<span style="mso-spacerun: yes;"> </span>I played the part and wrote the narration and produced the damned thing.<span style="mso-spacerun: yes;"> </span>You can’t find that kind of experience today.<span style="mso-spacerun: yes;"> </span>You can’t buy it.<span style="mso-spacerun: yes;"> </span>One day we do that and the next week we do the John Tracy Clinic, or we do blind children, and then we do homosexuals; so in 150 episodes we did every kind of picture that was imaginable.<span style="mso-spacerun: yes;"> </span><br />
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H: Getting back to Nick Adams, did he really co-create the REBEL?</div>
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A: Oh, that’s another story.<span style="mso-spacerun: yes;"> </span>He read the thing and he said, ‘Let’s say that we co-created this.’<span style="mso-spacerun: yes;"> </span>And I didn’t care. Hell, I figured I was going to go on and do a lot of other things.<span style="mso-spacerun: yes;"> </span>If this helps the kid out, that’s okay.<span style="mso-spacerun: yes;"> </span>If you look at him, he wasn’t a leading man.<span style="mso-spacerun: yes;"> </span>But put him in that damned costume and he’s suddenly a leading man; and he was a talented fellow, and he was the most cooperative kind of a star you’d ever want.<span style="mso-spacerun: yes;"> </span>Just a prime example is, we’d shoot a day out on location, out in <st1:place w:st="on">Thousand Oaks</st1:place>, or Vasquez Rocks, and Nick bought a house out there in the Valley.<span style="mso-spacerun: yes;"> </span>We’d have a stretch-out, be on the way over there, and he would (meet us) in a gas station, already be in his outfit, be standing there waiting for us, and this is sometimes in the bitter cold of December, January.<span style="mso-spacerun: yes;"> </span>We’d slow down the stretch-out, he’d hop in and – zoom -- out we’d go, do the day’s work, and on the way back we’d dump him off at the same place.<span style="mso-spacerun: yes;"> </span>There weren’t many guys like that around.<span style="mso-spacerun: yes;"> </span>There weren’t then, and there aren’t now.<span style="mso-spacerun: yes;"> </span>Another thing about Nick was, if we were running behind, I’d save his close-ups and not shoot ‘em, and say, ‘Nick, we’ll do this later.’<span style="mso-spacerun: yes;"> </span>And sometime later on, two or three episodes after that, when we were ahead, I’d say okay Nick, we’re going to do all your close-ups from all the shows.<span style="mso-spacerun: yes;"> </span>He’d say, ‘Okay, who are you?’<span style="mso-spacerun: yes;"> </span>I’d read the lines offstage.<span style="mso-spacerun: yes;"> </span>‘I’m <strong>Agnes Moorehead</strong>.’<span style="mso-spacerun: yes;"> </span>He’d take a look at the script – ‘I remember that one.<span style="mso-spacerun: yes;"> </span>Let’s go.’<span style="mso-spacerun: yes;"> </span>And we would shoot the close-ups for that one.<span style="mso-spacerun: yes;"> </span>Then we’d shoot the close-ups for <strong>Carradine</strong>, or whoever the Hell else that we weren’t able to get.<span style="mso-spacerun: yes;"> </span>That’s the kind of a guy he was, too.<span style="mso-spacerun: yes;"> </span></div>
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H: It’s so sad, he died so young.<span style="mso-spacerun: yes;"> </span>Do you think he would have gone on to be a big leading man?</div>
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A: Well, I don’t know about the leading man part.<span style="mso-spacerun: yes;"> </span>But I think that he was the kind of a guy that, as he grew older, he would settle into more character parts, and be very comfortable doing that.<span style="mso-spacerun: yes;"> </span>So I think he had a future.<span style="mso-spacerun: yes;"> </span>No doubt about it in my mind.<span style="mso-spacerun: yes;"> </span></div>
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H: The character of Johnny Yuma is a Confederate veteran with ambitions to be a writer, which is not the goal of your standard western hero.<span style="mso-spacerun: yes;"> </span>How much of Johnny Yuma was Andrew Fenady?</div>
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A: I didn’t tell this to Nick until the second season.<span style="mso-spacerun: yes;"> </span>I said, ‘Nick, you know what we’re doing, don’t you?’<span style="mso-spacerun: yes;"> </span>“Yeah, yeah – we’re doing THE REBEL.’<span style="mso-spacerun: yes;"> </span>I said, ‘Nick, we’re doing <strong>Jack London</strong>.<span style="mso-spacerun: yes;"> </span>We’re doing a story of a young man who had a limited education, who had fought a war, only not with guns and with bullets, but against poverty.<span style="mso-spacerun: yes;"> </span>He wanted to be a writer, and he realized that you couldn’t write it unless you lived it.<span style="mso-spacerun: yes;"> </span>So he did everything he wrote about.<span style="mso-spacerun: yes;"> </span>He was a sailor, he was a miner, he was a farmer, he was a fighter, and this was my inspiration for THE REBEL; it was Jack London.’<span style="mso-spacerun: yes;"> </span>And how much of that is Fenady?<span style="mso-spacerun: yes;"> </span>Well, I don’t know, maybe 90% is Jack London, or maybe fifty fifty, half Jack London and half Fenady.</div>
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H: Now you couldn’t write them all yourself.<span style="mso-spacerun: yes;"> </span>Who were the best writers you were working with?<span style="mso-spacerun: yes;"> </span></div>
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Nick Adams with Strother Martin </div>
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A: The best writers I ever worked with – are you ready? – were <strong>Emily Bronte, Jack London, Raymond Chandler, Dashiell Hammett</strong>.<span style="mso-spacerun: yes;"> </span>I once said to my son, who is a writer, ‘My boy, if you’re ever going to get a collaborator, get a dead one.<span style="mso-spacerun: yes;"> </span>They’re the best kind.<span style="mso-spacerun: yes;"> </span>They don’t give you any damned trouble at all.’<span style="mso-spacerun: yes;"> </span>It’s true that a lot of the stuff that I did is based on classics.<span style="mso-spacerun: yes;"> </span><strong>RIDERS TO MOON ROCK</strong>, that’s a western version of <strong><st1:place w:st="on"><st1:placename w:st="on">WUTHERING</st1:placename> <st1:placetype w:st="on">HEIGHTS</st1:placetype></st1:place>.<span style="mso-spacerun: yes;"> </span>THERE CAME A STRANGER</strong> is really a western version of <strong>DOUBLE INDEMNITY</strong>.<span style="mso-spacerun: yes;"> </span>There are only so many plots – some people say there are nine plots, other people say there are seven, some say there’s only one plot.<span style="mso-spacerun: yes;"> </span>Somebody loses something.<span style="mso-spacerun: yes;"> </span>That’s the plot.<span style="mso-spacerun: yes;"> </span>Or vice versa – somebody finds something, like <strong>John Steinbeck’s <st1:place w:st="on"><st1:city w:st="on">PEARL</st1:city></st1:place></strong>.<span style="mso-spacerun: yes;"> </span>So never mind the plot, give me a character; give me somebody that people are interested in.<span style="mso-spacerun: yes;"> </span>What about this guy?<span style="mso-spacerun: yes;"> </span>Here’s a guy who has his face changed to look like Humphrey Bogart.<span style="mso-spacerun: yes;"> </span>That’s interesting – what’s he gonna do?<span style="mso-spacerun: yes;"> </span>What’s on his mind?<span style="mso-spacerun: yes;"> </span>You’ve got to have somebody that people are interested in.<span style="mso-spacerun: yes;"> </span><strong>Bill Goldman (BUTCH CASSIDY AND THE SUNDANCE KID</strong>), who’s a damned good writer, just kept saying ‘Structure, structure.’<span style="mso-spacerun: yes;"> </span>Well, he’s wrong: it’s the character and conflict that makes for an interesting story.<span style="mso-spacerun: yes;"> </span>And I always had characters that were interesting, conflict, something that was almost impossible to do.<span style="mso-spacerun: yes;"> </span>Something that the odds were against you.<span style="mso-spacerun: yes;"> </span><br />
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H: THE REBEL was your first series as a creator and producer.<span style="mso-spacerun: yes;"> </span>And you made 79 half hours in two seasons, which would be four or five seasons now.<span style="mso-spacerun: yes;"> </span>The pace must have been grueling.<span style="mso-spacerun: yes;"> </span>How did you get it all done?</div>
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A: Well, I’ll tell you how: because I was young, ambitious and ignorant.<span style="mso-spacerun: yes;"> </span>(laughs) That was the whole thing.<span style="mso-spacerun: yes;"> </span>The first 26 years that <strong>Mary Frances</strong> and I were married I never took a day off including Saturdays and Sundays, until we did <strong>THE MAN WITH BOGART’S FACE</strong>, and they sent us to <st1:place w:st="on">Cannes</st1:place>.<span style="mso-spacerun: yes;"> </span>And I said, ‘Mary Frances, we’ve been doing this all wrong!’<span style="mso-spacerun: yes;"> </span>Listen, in those days it was easier.<span style="mso-spacerun: yes;"> </span>You could talk to somebody who had some authority.<span style="mso-spacerun: yes;"> </span>You know, these days it’s all corporate.<span style="mso-spacerun: yes;"> </span>No one person can take the credit or will take the blame.<span style="mso-spacerun: yes;"> </span>When we did <strong>THE YOUNG CAPTIVES</strong>, I wrote a script, we went over to see <strong>D. A. Doran</strong> at <st1:place w:st="on">Paramount</st1:place>, and he could greenlight any picture up to $250,000.<span style="mso-spacerun: yes;"> </span>Well he liked the script, and he said, ‘Boys, how much can you make this for?’<span style="mso-spacerun: yes;"> </span>I said, ‘D.A., we’re going to make this one for $215,000.’<span style="mso-spacerun: yes;"> </span>He said, ‘Shoot it!’<span style="mso-spacerun: yes;"> </span>Well, you can’t get that kind of a go-ahead today.<span style="mso-spacerun: yes;"> </span></div>
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H: Where was THE REBEL shot?<span style="mso-spacerun: yes;"> </span><br />
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A: We shot it in three days.<span style="mso-spacerun: yes;"> </span>We were in profit right from the first day.<span style="mso-spacerun: yes;"> </span>We got $40,000 for each episode the first year.<span style="mso-spacerun: yes;"> </span>And I made ‘em for 38, 39 thousand dollars.<span style="mso-spacerun: yes;"> </span>And every once in a while I would do what I called a <strong>DESPERATE HOURS</strong> or a <strong>PETRIFIED FOREST,</strong> an episode that only took place in one place.<span style="mso-spacerun: yes;"> </span>Some of them went down to $29,000.<span style="mso-spacerun: yes;"> </span>But what we would do is we would shoot one day on location.<span style="mso-spacerun: yes;"> </span>Vasquez Rocks, and a lot in <st1:place w:st="on">Thousand Oaks</st1:place>.<span style="mso-spacerun: yes;"> </span>And the second day we would shoot on the lot; the (western) street at <st1:place w:st="on">Paramount</st1:place>.<span style="mso-spacerun: yes;"> </span>The third day we would do the interiors, whether it was someone’s house, or a shack, or a hotel or a jail.<span style="mso-spacerun: yes;"> </span>A sheriff’s office.<span style="mso-spacerun: yes;"> </span>So that was really the formula: first day out, second day on the street, and the third day interiors.<span style="mso-spacerun: yes;"> </span></div>
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H: I know you used some other western towns, because I’ve seen still of you shooting in <strong>Corriganville</strong>.</div>
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A: Oh, well that was where the pilot was shot.<span style="mso-spacerun: yes;"> </span>Wonderful place.<span style="mso-spacerun: yes;"> </span>And also we shot out at <st1:place w:st="on"><st1:placetype w:st="on">Fort</st1:placetype> <st1:placename w:st="on">Apache</st1:placename></st1:place> that <strong>(John) Ford</strong> built.<span style="mso-spacerun: yes;"> </span>We shot the third episode I wrote out there; it was called <strong>YELLOW HAIR.</strong><span style="mso-spacerun: yes;"> </span></div>
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H: In THE REBEL and later in <strong>BRANDED</strong> you attracted a remarkably high level of actors, who didn’t usually do half-hour episodics.<span style="mso-spacerun: yes;"> <strong> </strong></span><strong>John Carradine, John Ireland</strong>, <strong>Joan Leslie</strong>.</div>
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A: Well, what my plan was, I didn’t want to pay people a lot of money.<span style="mso-spacerun: yes;"> </span>But on the third episode, I rewrote this thing; it was a strong woman’s part.<span style="mso-spacerun: yes;"> </span>And I sent it over to <strong>Agnes Moorehead.</strong><span style="mso-spacerun: yes;"> </span>Now I knew her slightly.<span style="mso-spacerun: yes;"> </span>And everybody said, ‘Jesus Christ, she wants more money than we really should pay <i style="mso-bidi-font-style: normal;">anybody</i>.<span style="mso-spacerun: yes;"> </span>Andy, why are you paying her so much money?’<span style="mso-spacerun: yes;"> </span>I said, ‘I’ll tell you why.<span style="mso-spacerun: yes;"> </span>Because if Agnes Moorehead does a REBEL, I can’t think of many actors who would turn it down.’<span style="mso-spacerun: yes;"> </span>I could always say, ‘Agnes Moorhead did it, fellows.<span style="mso-spacerun: yes;"> </span>Now here’s how much money we’ve got.<span style="mso-spacerun: yes;"> </span>You want to do it?’<span style="mso-spacerun: yes;"> </span>And I would say 99% of the time the actor wanted to do it.<span style="mso-spacerun: yes;"> </span>Of course the scripts were good, too.<span style="mso-spacerun: yes;"> </span></div>
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Agnes Moorhead</div>
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H:<span style="mso-spacerun: yes;"> </span>They sure were.<span style="mso-spacerun: yes;"> </span>And the one with Aggie was particularly good.<span style="mso-spacerun: yes;"> </span><br />
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A: Yeah, Bob Steele was in that, too.<span style="mso-spacerun: yes;"> </span></div>
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H: Who were your favorite actors that you worked with in guest roles?</div>
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A: On THE REBEL?<span style="mso-spacerun: yes;"> </span>Well, John Carradine of course.<span style="mso-spacerun: yes;"> </span>We got to be very good friends.<span style="mso-spacerun: yes;"> </span>He was in the pilot.<span style="mso-spacerun: yes;"> </span>I’ll tell you about that.<span style="mso-spacerun: yes;"> </span>Stallmaster-Lister were so-called doing the casting, and when I wrote the pilot, I said, ‘Look, I wrote this part for John Carradine,’ though I’d never worked with him.<span style="mso-spacerun: yes;"> </span>They said, ‘Ahh, you don’t want him.<span style="mso-spacerun: yes;"> </span>We’ve had some bad experiences with him, and he’s done those horror movies, and blah blah blah.’<span style="mso-spacerun: yes;"> </span>So finally they convince me; <strong>J. Pat O’Malley</strong> was going to play that part.<span style="mso-spacerun: yes;"> </span>He’s good, but he’s not John Carradine.<span style="mso-spacerun: yes;"> </span>Well, the good Lord or an angel must have been looking over my shoulder, because I get a call from O’Malley, and he says, ‘I know I’ve got a contract, and I’ll honor it, but I’ve got a chance to do a feature.<span style="mso-spacerun: yes;"> </span>Could you excuse me from this?’<span style="mso-spacerun: yes;"> </span>And I said, ‘You bet.’<span style="mso-spacerun: yes;"> </span>I called Stallmaster-Lister and said, ‘Get me John Carradine, and I don’t want to hear any buts.<span style="mso-spacerun: yes;"> </span>This was meant to be.’<span style="mso-spacerun: yes;"> </span>So he did that, and after that we did a dozen things together.<span style="mso-spacerun: yes;"> </span>And a real pro, always prepared, just a gentleman.<span style="mso-spacerun: yes;"> </span>You know I went to his funeral, and <strong>Harry Townes</strong>, the actor -- he was in the pilot for <strong>THE YANK</strong>, and I used him in BRANDED and several other things.<span style="mso-spacerun: yes;"> </span>And I go to the funeral, it’s an Episcopal Church in <st1:place w:st="on">Hollywood</st1:place>, and who is the priest but Harry Townes.<span style="mso-spacerun: yes;"> </span>And he performed the ceremony.<br />
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RIDE BEYOND VENGEANCE</div>
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H: I have the feeling that <strong>Michael Rennie</strong> must have been a favorite, because it’s so unusual to see him in any Westerns but yours.<span style="mso-spacerun: yes;"> </span><br />
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A: That’s right.<span style="mso-spacerun: yes;"> </span>We got Michael Rennie to do that (BRANDED), and we became not real friends, but we had respect for each other.<span style="mso-spacerun: yes;"> </span>And then, when RIDE BEYOND VENGEANCE came along, I thought Michael Rennie, and he did the part and was very, very good.<span style="mso-spacerun: yes;"> </span>Another pro.<span style="mso-spacerun: yes;"> </span><br />
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H: Were there any actors that you wanted to work with that you didn’t get?<br />
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Chuck Connors in RIDE BEYOND VENGEANCE</div>
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A: Not there.<span style="mso-spacerun: yes;"> </span>But I’ve never worked with <strong>James Garner</strong>, and I would have loved to do something with him.<span style="mso-spacerun: yes;"> </span>And <strong>Clint Eastwood</strong> and <strong>Clint Walker</strong>.<span style="mso-spacerun: yes;"> </span>As a matter of fact, I may as well tell you this now; when I got RIDE BEYOND VENGEANCE and wrote the script, I wrote it for Clint Walker.<span style="mso-spacerun: yes;"> </span>Because (the character) was supposed to be a big, strong fellow.<span style="mso-spacerun: yes;"> </span>And I like Clint; we were pals.<span style="mso-spacerun: yes;"> </span>Never worked together.<span style="mso-spacerun: yes;"> </span>And I took it to <strong>Joe Levine</strong>, the sonuvabitch.<span style="mso-spacerun: yes;"> </span>And he said, ‘Great, we’ll do it.<span style="mso-spacerun: yes;"> </span>You’ve got a deal.’<span style="mso-spacerun: yes;"> </span>Then he calls me up and says, ‘I don’t want to do it with Clint Walker.<span style="mso-spacerun: yes;"> </span>You might as well do it with King Kong.’<span style="mso-spacerun: yes;"> </span>So that fell apart.<span style="mso-spacerun: yes;"> </span>But in the meanwhile, I did BRANDED, and Chuck Connors, who is a terrific actor, is also a thief.<span style="mso-spacerun: yes;"> </span>One day I had a script for RIDE BEYOND VENGEANCE – it was called NIGHT OF THE TIGER then – on my desk, and it was missing.<span style="mso-spacerun: yes;"> </span>And I said to my secretary, ‘Erika, did you take that script?’<span style="mso-spacerun: yes;"> </span>‘I didn’t take it.’<span style="mso-spacerun: yes;"> </span>Well in walks Chuck Connors a couple of hours later.<span style="mso-spacerun: yes;"> </span>He slams the script on the desk and said, ‘Goddamnit, I’ve got to do this picture!’<span style="mso-spacerun: yes;"> </span><br />
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<span style="mso-spacerun: yes;"> </span>Writer – Producer <strong>Andrew J. Fenady</strong> is probably best known for creating the series <strong>THE REBEL</strong>, and producing <strong>BRANDED</strong>.<span style="mso-spacerun: yes;"> </span>Others might argue his claim to fame was writing and producing the <strong>John Wayne</strong> classic <strong>CHISUM</strong>.<span style="mso-spacerun: yes;"> </span>He also turned <st1:city w:st="on">Wayne</st1:city>’s <strong>HONDO</strong> into a series.<span style="mso-spacerun: yes;"> </span>He is proud to have written, and continues to write, in many genres, from western to mystery to horror.<span style="mso-spacerun: yes;"> </span>He also writes for many different media – TV, film, short story, novel, stage play and radio play.<span style="mso-spacerun: yes;"> </span>And his radio plays are not from the ‘golden age’; he’s writing them to be performed on-stage right now.<span style="mso-spacerun: yes;"> </span><br />
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This is the second part of my interview with A.J.<span style="mso-spacerun: yes;"> </span>If you haven’t read part one, please go <a href="http://www.henryswesternroundup.blogspot.com/2012/03/rebel-creator-andrew-j-fenady.html">HERE</a>.<span style="mso-spacerun: yes;"> </span>As part one of my interview ended, A.J. had related how a script for a Western movie entitled <strong>RIDE BEYOND VENGEANCE</strong> had disappeared from his office.<span style="mso-spacerun: yes;"> </span>“Well in walks <strong>Chuck Connors</strong> a couple of hours later.<span style="mso-spacerun: yes;"> </span>He slams the script on the desk and said, ‘Goddamnit, I’ve got to do this picture!’”<span style="mso-spacerun: yes;"> </span>At the time, Chuck was starring in the series BRANDED for A.J.</div>
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A.J. FENADY:<span style="mso-spacerun: yes;"> </span>I said, ‘Well, I don’t know if we can put it together.’ He said, ‘Try!’<span style="mso-spacerun: yes;"> </span>One of the people who was instrumental in getting it done the way that it was done, at <st1:city w:st="on">Columbia</st1:city>, was <strong>Bill Todman.<span style="mso-spacerun: yes;"> </span>Harris Katleman</strong> called me and he said, ‘How much can you make this picture for?’<span style="mso-spacerun: yes;"> </span>I said I can make it for five-hundred thousand.<span style="mso-spacerun: yes;"> </span>He said, ‘Okay.<span style="mso-spacerun: yes;"> </span>We got you six.’<span style="mso-spacerun: yes;"> </span>So we did it with $600,000, and we didn’t spend it all.<span style="mso-spacerun: yes;"> </span>And we did it with Chuck and with all that cast.<span style="mso-spacerun: yes;"> </span>(<strong>Michael Rennie, Kathryn Hays, Joan Blondell, Gloria Grahame, Bill Bixby, Claude Akins, Gary Merrill,</strong> etc.) They play it all the time – I made an awful lot of money from that picture, and will continue to make it – I’ll tell you that story some time.<span style="mso-spacerun: yes;"> </span><br />
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RIDE BEYOND VENGEANCE villains Bill Bixby, Claude Akins and Michael Rennie</div>
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HENRY PARKE: And you have my absolute favorite actresses of all time, Gloria Grahame, in that.<span style="mso-spacerun: yes;"> </span></div>
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A.J.: I’d hired an assistant director named <strong>Tony Ray</strong>.<span style="mso-spacerun: yes;"> </span>And he came to me, kind of all shriveled up and said, ‘Listen, there’s a part in here that my wife could play.’<span style="mso-spacerun: yes;"> </span>And I said, ‘Well, uh…who’s your wife?’<span style="mso-spacerun: yes;"> </span>‘Gloria Grahame.’<span style="mso-spacerun: yes;"> </span>I said, ‘<i style="mso-bidi-font-style: normal;">You’re married to Gloria Grahame?<span style="mso-spacerun: yes;"> </span>Tell her to come on in.</i>’ And what he didn’t tell me, the sonuvabitch, was that she was pregnant.<span style="mso-spacerun: yes;"> </span>If you look real close, we never shot her stomach.<span style="mso-spacerun: yes;"> </span>But I couldn’t resist, because she was just so damned good.<span style="mso-spacerun: yes;"> </span></div>
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H: And five years later you used her again in your supernatural western, <strong>BLACK NOON</strong>.</div>
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A.J.: There was a part; I didn’t think she’d play it.<span style="mso-spacerun: yes;"> </span>She didn’t have many lines, but it was a good part.<span style="mso-spacerun: yes;"> </span>I said, let’s try and get Gloria Grahame, and somebody said, ‘She won’t do this.’<span style="mso-spacerun: yes;"> </span>I said we don’t know unless we try it – all she can do is say no.<span style="mso-spacerun: yes;"> </span>But she said yes, and she came to the rehearsals, and she was just wonderful.<span style="mso-spacerun: yes;"> </span>She was there all the time.<span style="mso-spacerun: yes;"> </span></div>
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H: When I was at <st1:place w:st="on"><st1:placename w:st="on">NYU</st1:placename> <st1:placename w:st="on">Film</st1:placename> <st1:placetype w:st="on">School</st1:placetype></st1:place>, a friend called and asked if I’d like to work with a film legend, but I couldn’t tell anyone.<span style="mso-spacerun: yes;"> </span>He told me to go to the <st1:place w:st="on"><st1:placename w:st="on">Grad</st1:placename> <st1:placetype w:st="on">School</st1:placetype></st1:place> editing room.<span style="mso-spacerun: yes;"> </span>As I’m about to walk in, my friend grabs me – he knows I’m madly in love with Gloria Grahame – and makes me swear that I will not mention her name.<span style="mso-spacerun: yes;"> </span>Then he lets me in, and there is Nicholas Ray, and his son Tony Ray, both of whom had been married to Gloria Grahame.<span style="mso-spacerun: yes;"> </span>And I repaired torn sprockets for Nick, who wanted a couple of reels of his work-in-progress ready for a screening.</div>
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A.J.: I never even knew that they (Nick and Tony) ever got together afterwards.<span style="mso-spacerun: yes;"> </span>(Note: Nick was married to Gloria when he caught her in bed with his son, Tony.<span style="mso-spacerun: yes;"> </span>She eventually married Tony, with a marriage to screenwriter <strong>Cy Howard</strong> in between.) I’m happy to hear that.<span style="mso-spacerun: yes;"> </span>Even though it’s a strange story.<span style="mso-spacerun: yes;"> </span>It’s almost as strange as the <strong>Rod Cameron</strong> story.<span style="mso-spacerun: yes;"> </span>He divorced his wife, and married his wife’s mother!<span style="mso-spacerun: yes;"> </span>And they lived happily ever after!</div>
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H: BRANDED was not originally your baby.<span style="mso-spacerun: yes;"> </span>How did you get involved, and was it already on the air when you did?<br />
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A.J. : No it wasn’t on the air.<span style="mso-spacerun: yes;"> </span>I’ll tell you what happened.<span style="mso-spacerun: yes;"> </span>I had an independent deal with United Artists for television and features, and I went over to <st1:city w:st="on">Paramount</st1:city>, because that was my favorite lot, because of <strong>Frank Caffey,</strong> who was in charge of physical.<span style="mso-spacerun: yes;"> </span>I had an office, and in the next office there were these people, and I kept hearing them hollering and cursing and banging against the wall.<span style="mso-spacerun: yes;"> </span>I said, what the Hell is going on over there?<span style="mso-spacerun: yes;"> </span>Well, it was the BRANDED outfit.<span style="mso-spacerun: yes;"> </span>And they were really in trouble.<span style="mso-spacerun: yes;"> </span>They’d shot two or three of their episodes, and they couldn’t even cut them together.<span style="mso-spacerun: yes;"> </span>They had a producer, may he rest in peace, named <strong>Cecil Barker</strong>, who specialized in comedy.<span style="mso-spacerun: yes;"> </span>And for some reason they had made him the producer, and he and Chuck (Connors) were at each other’s throats.<span style="mso-spacerun: yes;"> </span>It was just terrible.<span style="mso-spacerun: yes;"> </span>I get a call from a fellah at Proctor and Gamble, which had been one of the sponsors of THE REBEL. <span style="mso-spacerun: yes;"> </span>‘Harris Kattleman will call you before the end of business today.’<span style="mso-spacerun: yes;"> </span>He came in and said, ‘You’ve got to save our ass.<span style="mso-spacerun: yes;"> </span>We can’t go on like this.<span style="mso-spacerun: yes;"> </span>We can’t even go on the air with the shows we’ve got.<span style="mso-spacerun: yes;"> </span>We want you to take it over.’<span style="mso-spacerun: yes;"> </span>I said, ‘Harris, I’ve got a deal over here.’<span style="mso-spacerun: yes;"> </span>He said, ‘This is how much we can pay you.<span style="mso-spacerun: yes;"> </span>Will you do it?’<span style="mso-spacerun: yes;"> </span>It wasn’t really a question of money.<span style="mso-spacerun: yes;"> </span>I wasn’t really happy at United Artists anyhow – but that’s another story.<span style="mso-spacerun: yes;"> </span>So I went to United Artists and said, ‘Can I get out of this deal?<span style="mso-spacerun: yes;"> </span>Please?’<span style="mso-spacerun: yes;"> </span>And they said okay.<span style="mso-spacerun: yes;"> </span>But before that Harris said, ‘Come on over and talk to Chuck.’<span style="mso-spacerun: yes;"> </span>I said, ‘No.<span style="mso-spacerun: yes;"> </span>Have Chuck come over and talk to me.<span style="mso-spacerun: yes;"> </span>Let’s get started the right way.’<span style="mso-spacerun: yes;"> </span>So he came over and put on the act – ‘Oh, how do you do, Mr. Fenady?<span style="mso-spacerun: yes;"> </span>It’s a pleasure to meet you, Mr. Fenady.’<span style="mso-spacerun: yes;"> </span>All that kinda crap.<span style="mso-spacerun: yes;"> </span>And I said, ‘Look Chuck, I just want to ask you one question.<span style="mso-spacerun: yes;"> </span>We go into production, who’s the boss?’<span style="mso-spacerun: yes;"> </span>He said, ‘You are.’<span style="mso-spacerun: yes;"> </span>I said, ‘Okay, just remember one thing: you came to see me; I didn’t go to see you.’<span style="mso-spacerun: yes;"> </span>And you know what?<span style="mso-spacerun: yes;"> </span>Chuck was, in many ways, crazy.<span style="mso-spacerun: yes;"> </span>But he was also intelligent.<span style="mso-spacerun: yes;"> </span>You could sit down and talk to him.<span style="mso-spacerun: yes;"> </span>And if he had a point of view, and you had a point of view, and you’re point of view was better, he would acknowledge that.<span style="mso-spacerun: yes;"> </span>He’d say, ‘Alright, we’ll do it.’<span style="mso-spacerun: yes;"> </span>I loved working with him, and I loved him.<span style="mso-spacerun: yes;"> </span></div>
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H: How extensive were your changes to the original concept of BRANDED?</div>
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AJ: Well, not really to the concept, but to the style of writing.<span style="mso-spacerun: yes;"> </span>First of all I hated that ‘butch’ haircut that he had.<span style="mso-spacerun: yes;"> </span>I said, ‘Chuck, you look like Lurch!’<span style="mso-spacerun: yes;"> </span>You remember Lurch in <strong>THE ADDAMS FAMILY?</strong><span style="mso-spacerun: yes;"> </span>But we couldn’t do anything about it for a while, because that’s the way that he was, and we didn’t have time to let his hair grow.<span style="mso-spacerun: yes;"> </span>But after the first season, when we did RIDE BEYOND VENGEANCE, I said now you’ve got a chance to let your hair grow, and make it nice and curly.<span style="mso-spacerun: yes;"> </span>And he did.<span style="mso-spacerun: yes;"> </span>And in the second season he looked more like a leading man than he did like Lurch.</div>
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Connors disgraced -- note 'Lurch' hair.</div>
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Let me give you an example (of the writing style).<span style="mso-spacerun: yes;"> </span>In a script that somebody had written, Chuck Connors walks into a saloon and orders a beer.<span style="mso-spacerun: yes;"> </span>And there’s a free lunch there, with the mustard and all that other kind of accoutrement.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>And one of the two guys, it was <strong>Pat Conway</strong> who had all the dialog, started telling the whole Goddam story.<span style="mso-spacerun: yes;"> </span>He’s a coward and he did this and he ran away…<span style="mso-spacerun: yes;"> </span>Blah-blah-blah-blah-blah.<span style="mso-spacerun: yes;"> </span>And I said, fellahs, come on!<span style="mso-spacerun: yes;"> </span>Here’s how we’re gonna shoot the scene.<span style="mso-spacerun: yes;"> </span>He just whispers something to the guy he’s with.<span style="mso-spacerun: yes;"> </span>Then he walks up to the bar, Chuck is standing there.<span style="mso-spacerun: yes;"> </span>He reaches into the mustard, and he paints a yellow streak down Chuck’s back.<span style="mso-spacerun: yes;"> </span>Chuck turns around and punches him.<span style="mso-spacerun: yes;"> </span>And that’s the kind of thing that I inaugurated in the series.<span style="mso-spacerun: yes;"> </span>When something can be covered by one or two words, don’t push.<span style="mso-spacerun: yes;"> </span>A John Wayne kind of a phrase.<span style="mso-spacerun: yes;"> </span>We eliminated a lot of the dialog, and relied on what people could see on the screen and the punch line.<span style="mso-spacerun: yes;"> </span>Which was often followed by a punch. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
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H: It’s like you said about <strong>Irvin Kershner</strong>; you started in silent pictures too, in a sense.<span style="mso-spacerun: yes;"> </span>Do you think it was a help with BRANDED, that you had a theme song that laid out the plot every time?<span style="mso-spacerun: yes;"> </span></div>
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<o:p> </o:p>AJ:<span style="mso-spacerun: yes;"> </span>Yeah, absolutely.<span style="mso-spacerun: yes;"> </span>Wait, my damn cigar went out – too much talking and not enough inhaling.<span style="mso-spacerun: yes;"> </span>Alright, songs.<span style="mso-spacerun: yes;"> </span>Now look, THE REBEL told the story of Johnny Yuma when he roamed through the west.<span style="mso-spacerun: yes;"> </span>“He was panther quick and leather tough, ’cause he figured that he'd been pushed enough, the rebel.<span style="mso-spacerun: yes;"> </span>Johnny Yuma.”<span style="mso-spacerun: yes;"> </span>Well, you know a lot about him, right?<span style="mso-spacerun: yes;"> </span>Okay, well I didn’t write the song to BRANDED, but it carried out that same concept.<span style="mso-spacerun: yes;"> </span>And RIDE BEYOND VENGEANCE, which I think is the best song that I ever wrote the lyrics (to); <i style="mso-bidi-font-style: normal;">You Can’t Go Home Again.<span style="mso-spacerun: yes;"> </span></i>“A man will come home to the place of his youth, in search of the things left behind.<span style="mso-spacerun: yes;"> </span>He looks for a place, for a smile on a face, but the last mile’s the hardest to find.”<span style="mso-spacerun: yes;"> </span>That tells the story of the guy, you know?<span style="mso-spacerun: yes;"> </span>“I know the high country, where wild eagles fly, the desolate no-paths terrain.<span style="mso-spacerun: yes;"> </span>But now that my years are all winters I try to call back the summers in vain.”<span style="mso-spacerun: yes;"> </span>If you don’t know what that’s about, there’s something wrong!<span style="mso-spacerun: yes;"> </span>The same with CHISUM.<span style="mso-spacerun: yes;"> </span>“Chisum, John Chisum.<span style="mso-spacerun: yes;"> </span>Weary.<span style="mso-spacerun: yes;"> </span>Saddle-worn.<span style="mso-spacerun: yes;"> </span>Chisum, John Chisum.<span style="mso-spacerun: yes;"> </span>Can you still keep goin’ on?<span style="mso-spacerun: yes;"> </span>They’re bettin’ you can’t make it, but you bet your life they’re wrong.<span style="mso-spacerun: yes;"> </span>So keep ridin’ towards the <st1:place w:st="on">Pecos</st1:place>, to find where you belong.”<span style="mso-spacerun: yes;"> </span>Hey, that’s it.</div>
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H: And it’s great to have <strong>William Conrad</strong> speaking that.</div>
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AJ:<span style="mso-spacerun: yes;"> </span>Mmm-hmm.<span style="mso-spacerun: yes;"> </span>What a great guy – he came in one day and did that.<span style="mso-spacerun: yes;"> </span>One day, Hell – he did it in one hour.<span style="mso-spacerun: yes;"> </span>I said to him, Bill, do you think you ought to put a little more <st1:state w:st="on">Texas</st1:state> in that?<span style="mso-spacerun: yes;"> </span>He said, ‘You listen to it.<span style="mso-spacerun: yes;"> </span>There’s quite a bit of <st1:place w:st="on">Texas</st1:place> in there.’<span style="mso-spacerun: yes;"> </span>He knew what he was doing.</div>
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H: Radio’s Matt Dillon: he ought to.<span style="mso-spacerun: yes;"> </span>Midway through the first season of BRANDED, you switched from black and white to color.<span style="mso-spacerun: yes;"> </span><br />
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Chuck Connors, A. J. Fenady on right</div>
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AJ: It wasn’t even half way.<span style="mso-spacerun: yes;"> </span>We did four episodes, and I wrote three of them, and then they had three different writers writing a thing called <strong>THE MISSION</strong>, the three-parter.<span style="mso-spacerun: yes;"> </span>And I went to Bill Todman again.<span style="mso-spacerun: yes;"> </span>And I said, if you can get me $25,000 more than is in the budget, we can release this as a feature, and I’ll shoot the damned thing in color.<span style="mso-spacerun: yes;"> </span>So he went and got $25,000, the picture was released by <st1:place w:st="on">Columbia</st1:place> as <strong>BROKEN SABRE</strong>, and it made a ton of money.<span style="mso-spacerun: yes;"> </span>So from then on I said we’re going to shoot everything in color.<span style="mso-spacerun: yes;"> </span>‘What about the opening?’<span style="mso-spacerun: yes;"> </span>I said I don’t; I have to think about it.<span style="mso-spacerun: yes;"> </span>Somebody said, ‘That was shot in color.<span style="mso-spacerun: yes;"> </span>We were going to shoot it, and Chuck Connors said, let’s shoot it in color.<span style="mso-spacerun: yes;"> </span>We’ll<span style="mso-spacerun: yes;"> </span>put it on in black and white, but we’ll have it in color.<span style="mso-spacerun: yes;"> </span>So it was already in color, and we just shot the color version of (the show) from then on.</div>
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H: He was a smart guy.<br />
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AJ: I told you that he was intelligent.<span style="mso-spacerun: yes;"> </span>He was ornery sometimes, but intelligent.<span style="mso-spacerun: yes;"> </span><br />
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H: I know that at Warner Brothers Television, they dreaded switching their westerns to color because they relied so much on stock footage.<span style="mso-spacerun: yes;"> </span><br />
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AJ: You know what the old saying was, about those black and white Warner Brothers shows?<span style="mso-spacerun: yes;"> </span>If you see more than four people in the picture, it’s stock.<span style="mso-spacerun: yes;"> </span>(laughs)<span style="mso-spacerun: yes;"> </span>They used more damned stock than anyone else who ever did a television show.<span style="mso-spacerun: yes;"> </span><br />
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H: That’s what <strong>Ty Hardin (BRONCO)</strong> told me.<span style="mso-spacerun: yes;"> </span>But you didn’t use that much stock, did you?<br />
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AJ: I don’t think I used 100 feet of stock in all the things I did.<span style="mso-spacerun: yes;"> </span>We shot it.<br />
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H: With the BRANDED three-parter, <strong>THE MISSION</strong>, Jason McCord becomes a secret agent for President Grant.<span style="mso-spacerun: yes;"> </span>Was this story-line the result of the huge success of the James Bond movies at the time?<br />
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Leonid Brezhnev meets Connors</div>
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AJ: No.<span style="mso-spacerun: yes;"> </span>You know, I turned down <strong>THE WILD, WILD WEST</strong>, because I said, this is James Bond as a cartoon, and I don’t want to do it. <span style="mso-spacerun: yes;"> </span>(THE <st1:city w:st="on">MISSION</st1:city>) had nothing to do with James Bond or any of that.<span style="mso-spacerun: yes;"> </span>It was just part of the story.<br />
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H: You’ve had two very successful series in a format that’s pretty-much disappeared, the half-hour drama.<span style="mso-spacerun: yes;"> </span>Do you think the Western was particularly well suited for the half hour?<br />
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AJ: I’ll tell you something.<span style="mso-spacerun: yes;"> </span>After I did CHISUM I got a call.<span style="mso-spacerun: yes;"> </span>They said well, you probably wouldn’t be interested in doing television.<span style="mso-spacerun: yes;"> </span>Let me tell you something.<span style="mso-spacerun: yes;"> </span><strong>Ernest Hemingway</strong> was a pretty good writer.<span style="mso-spacerun: yes;"> </span>He not only wrote novels, he wrote novellas, and he also did short stories.<span style="mso-spacerun: yes;"> </span>Hell, I’ll do a short story.<span style="mso-spacerun: yes;"> </span>And the Western can certainly be adapted as a short story in a half hour format, and as far as the hour goes, that was a novella.<span style="mso-spacerun: yes;"> </span>Either way; it just took a little bit longer, you had a little more money to work with.<span style="mso-spacerun: yes;"> </span>So HONDO was a pleasure to do.<span style="mso-spacerun: yes;"> </span><br />
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H: Speaking of HONDO, THE REBEL and BRANDED and HONDO were all stories about men who were essentially rootless loners, who’d suffered a great personal tragedy and loss – it’s also true of the man in RIDE BEYOND VENGEANCE.<span style="mso-spacerun: yes;"> </span>They often seem to be in conflict with arbitrary and corrupt authority.<span style="mso-spacerun: yes;"> </span>Are these themes that you were consciously going to?<br />
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AJ: Not in all of them.<span style="mso-spacerun: yes;"> </span>For instance, in CHISUM, when L.G. Murphy (<strong>Forrest Tucker</strong>) came into town, and <strong>Ben Johnson</strong> kept saying, ‘There’s another of L.G. Murphy’s (gun)men, Duke said, ‘Listen, he’s not bothering us.<span style="mso-spacerun: yes;"> </span>It’s a free country.<span style="mso-spacerun: yes;"> </span>Leave him alone, until he does something that affects us, or breaks the law.’<span style="mso-spacerun: yes;"> </span>So I didn’t <i style="mso-bidi-font-style: normal;">always </i>do that.<span style="mso-spacerun: yes;"> </span>But I think there was an unconscious kind of a thing.<span style="mso-spacerun: yes;"> </span>Howard Hawks was the same way.<span style="mso-spacerun: yes;"> </span>In<strong> Howard Hawk’s</strong> movie <st1:place w:st="on"><strong><st1:placename w:st="on">RED</st1:placename> <st1:placetype w:st="on">RIVER</st1:placetype></strong></st1:place>, Harry Carey Sr. has a line that goes something like this:<span style="mso-spacerun: yes;"> </span>There’s three times when a man has a right to howl at the moon: when his first children are born, when he gets married, and when he finishes a job he had no business starting in the first place.<span style="mso-spacerun: yes;"> </span>So that was kind of a template.<span style="mso-spacerun: yes;"> </span>Finally, even in CHISUM, it got to a point when Ben Johnson said, ‘Now what are you going to do?’<span style="mso-spacerun: yes;"> </span>‘What I would have done twenty-five years ago:<span style="mso-spacerun: yes;"> </span>break out the Winchesters.’<span style="mso-spacerun: yes;"> </span>You know, there’s a time when you can’t sit by and let somebody get away with something, even if the law won’t stop them, if <i style="mso-bidi-font-style: normal;">you</i> can stop them.<span style="mso-spacerun: yes;"> </span>If it’s part of your code to stop ‘em, stop ‘em.<span style="mso-spacerun: yes;"> </span><br />
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H: Also in BRANDED and HONDO, the plight of the Indian, especially the Apache, at the hands of dishonest whites, and the Government military, is an often-seen theme.<span style="mso-spacerun: yes;"> </span>Is this something you felt strongly about?</div>
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AJ: Well, there are two sides to every story.<span style="mso-spacerun: yes;"> </span>The Apaches weren’t all saints, either.<span style="mso-spacerun: yes;"> </span>They cut off their wife’s noses, and they were slavers.<span style="mso-spacerun: yes;"> </span>But Duke, in HONDO, identified with the Apaches, and I kind of carried that theme out, doing the series.<span style="mso-spacerun: yes;"> </span>When somebody said to him, ‘One day there’ll be no need for reservations,’ he said, ‘There’s no need for ‘em now.’<span style="mso-spacerun: yes;"> </span>And I still think there’s no need for them now.<span style="mso-spacerun: yes;"> </span>All they’ve done is teach people to rely on the government: it’s usually a failure.<span style="mso-spacerun: yes;"> </span>Government can’t do it.<span style="mso-spacerun: yes;"> </span>They don’t gain any independence.<span style="mso-spacerun: yes;"> </span>They become subservient.</div>
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H: One thing that people like about Westerns is that they tend to be about black hats and white hats.<span style="mso-spacerun: yes;"> </span>You know who the good guy and bad guy is, and things will work out.<span style="mso-spacerun: yes;"> </span>But in your shows, many of the stories are based on tough moral choices, where the answers are not that obvious.<span style="mso-spacerun: yes;"> </span></div>
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AJ: And sometimes you really don’t know the answers.<span style="mso-spacerun: yes;"> </span>For example, in RIDE BEYOND VENGEANCE, when he leaves, you don’t know whether he came back (for the woman) or whether he didn’t.<span style="mso-spacerun: yes;"> </span>And at the end, modern day, when <strong>Arthur O’Connell</strong> is talking to <strong>James MacArthur</strong>, he asks MacArthur, ‘Do you think he ever came back?’<span style="mso-spacerun: yes;"> </span>And he says, ‘No, like the song says, you can’t go home again.’<span style="mso-spacerun: yes;"> </span>And he says, ‘Well, that’s just a song, and <i style="mso-bidi-font-style: normal;">home </i>is just a word.’<span style="mso-spacerun: yes;"> </span>So you don’t know whether he came back or whether he didn’t.<span style="mso-spacerun: yes;"> </span>Actually you can do a sequel to that.<span style="mso-spacerun: yes;"> </span><br />
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On CHISUM set, Johnn Wayne, Michael Wayne and A.J. Fenady go over the script.</div>
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H: That’s true.<span style="mso-spacerun: yes;"> </span>Were you planning on a sequel?<br />
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AJ: No, I’m not much for sequels.<span style="mso-spacerun: yes;"> </span>In writing novels, yes.<span style="mso-spacerun: yes;"> </span>With<strong> THE MAN WITH BOGART’S FACE</strong> I wrote a sequel.<span style="mso-spacerun: yes;"> </span>Another novel that I did, <strong>A. NIGHT IN <st1:place w:st="on"><st1:city w:st="on">BEVERLY HILLS</st1:city></st1:place></strong> and <strong>A. NIGHT IN HOLLYWOOD FOREVER</strong>, that was a sequel.<span style="mso-spacerun: yes;"> </span>They want me to do more of those, but for some reason…<span style="mso-spacerun: yes;"> </span>Well, for one reason, the mail building in that, the <st1:place w:st="on"><st1:placename w:st="on">Writers & Artists</st1:placename><st1:placetype w:st="on">Building</st1:placetype></st1:place>, has now been taken over, and the whole thing has changed, and that was supposed to be his headquarters.<span style="mso-spacerun: yes;"> </span>I could use it, but right now I’m busy doing other things.<span style="mso-spacerun: yes;"> </span></div>
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H: Before we leave the Western series, what series did you like other than your own?<span style="mso-spacerun: yes;"> </span>Did you watch <strong>WAGON TRAIN</strong> --?</div>
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AJ: <span style="mso-spacerun: yes;"> </span>Not so much WAGON TRAIN, but I loved <strong>Clint Walker</strong>.<span style="mso-spacerun: yes;"> </span>I thought he was great as Cheyenne Bodie, and I talk to him at least once a month even now.<span style="mso-spacerun: yes;"> </span>That was it as far as western series go.<span style="mso-spacerun: yes;"> </span>As far as I’m concerned, the best western features, you’d have to start with <strong>STAGECOACH</strong> and go to <strong><st1:place w:st="on"><st1:placename w:st="on">RED</st1:placename> <st1:placetype w:st="on">RIVER</st1:placetype></st1:place>, THE SEARCHERS.</strong><span style="mso-spacerun: yes;"> </span>And also <strong>THE PROFESSIONALS</strong> was damned good.<span style="mso-spacerun: yes;"> </span>It was later, it was in the 20<sup>th</sup> century, but that was a helluvah movie.<span style="mso-spacerun: yes;"> </span>They usually say don’t judge a book by its movie.<span style="mso-spacerun: yes;"> </span>But very often the movies, as far as scripts go, improved on the novels.<span style="mso-spacerun: yes;"> </span>It wasn’t a western, but<strong> LAURA</strong> was a better movie than it was a novel.<span style="mso-spacerun: yes;"> </span>I think that RED RIVER – you know, I love <strong>Borden Chase</strong> – but the script was better than the novel, if you read it.<span style="mso-spacerun: yes;"> </span>And <strong>THE PROFESSIONALS, A MULE FOR THE MARQUESA</strong>, the script was a lot better.<span style="mso-spacerun: yes;"> </span>So sometimes you can improve on it.<span style="mso-spacerun: yes;"> </span>First of all, you’re forced to consolidate.<span style="mso-spacerun: yes;"> </span>You don’t have 400 pages or 300 pages.<span style="mso-spacerun: yes;"> </span>You’ve got to tell the story in an hour and a half.<span style="mso-spacerun: yes;"> </span>And you’re forced to make it tighter.<span style="mso-spacerun: yes;"> </span>Those are my favorite features, as far as westerns go.<span style="mso-spacerun: yes;"> </span></div>
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H: Did you ever read <strong>James M. Cain’s</strong> novel, <strong>MILDRED PIERCE</strong>?</div>
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AJ: No, but I read the novel <strong>DOUBLE INDEMNITY.</strong><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>The script was ten times as good.<span style="mso-spacerun: yes;"> </span></div>
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H: The <strong>Raymond Chandler</strong> script; it’s great.<span style="mso-spacerun: yes;"> </span>The thing with MILDRED PIERCE, which I think is a great movie.<span style="mso-spacerun: yes;"> </span>In the novel, there’s no murder.<span style="mso-spacerun: yes;"> </span>That was created because the movie really needed something.<span style="mso-spacerun: yes;"> </span>In 1967 you produced the series HONDO, based on the John Wayne movie.<span style="mso-spacerun: yes;"> </span>Was adapting the film to a series your idea?<br />
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CHISUM - Glenn Corbett, Ben Johnson, Wayne</div>
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AJ: Yes, it was my idea.<span style="mso-spacerun: yes;"> </span>First of all, <strong>Michael (<st1:city w:st="on">Wayne</st1:city>)</strong> and I became good friends; we used to work out together at the gymnasium at <st1:city w:st="on">Paramount</st1:city>. And he loved THE REBEL, and Duke loved THE REBEL – he used to watch it every Sunday night when he was home.<span style="mso-spacerun: yes;"> </span>So I said to <strong>Allan Courtney</strong>, who was in charge of television at MGM, ‘How would you like to partner in with John Wayne and do HONDO?’<span style="mso-spacerun: yes;"> </span>He said, ‘Well, I saw that picture a long time ago.<span style="mso-spacerun: yes;"> </span>Let’s run it.’<span style="mso-spacerun: yes;"> </span>We ran it, and he said, ‘How the Hell do you make a series out of that?’<span style="mso-spacerun: yes;"> </span>And I said, ‘Well, I know how to do it.<span style="mso-spacerun: yes;"> </span>Would you be interested?’<span style="mso-spacerun: yes;"> </span>He said, ‘Hell yes!’<span style="mso-spacerun: yes;"> </span>So I wrote a format.<span style="mso-spacerun: yes;"> </span>And took it over to Michael and said, ‘You want to make some money, and perpetuate HONDO?<span style="mso-spacerun: yes;"> </span>We’ll do it as a television series.’<span style="mso-spacerun: yes;"> </span>And I gave him the material.<span style="mso-spacerun: yes;"> </span>It was thirty or forty pages, and he told it to Duke.<span style="mso-spacerun: yes;"> </span>And Duke says ‘This is the guy who did THE REBEL.’<span style="mso-spacerun: yes;"> </span>I had met him a couple of times.<span style="mso-spacerun: yes;"> </span>What happened was, <strong>Otho Lovering</strong> was my editor.<span style="mso-spacerun: yes;"> </span>He edited a lot of John Ford pictures.<span style="mso-spacerun: yes;"> </span>He edited STAGECOACH; he edited <strong>THE LONG VOYAGE HOME</strong>.<span style="mso-spacerun: yes;"> </span>One day, we’re doing THE REBEL, I’m in the office, and I’ve got the door open as I always did.<span style="mso-spacerun: yes;"> </span>And Otho from outside says, ‘Hey, there’s someone out here who’d like to come in and say hello.’<span style="mso-spacerun: yes;"> </span>I say, ‘Well bring him in!’<span style="mso-spacerun: yes;"> </span>So I look, and there’s little Otho – he stood about five feet tall – and there’s John Wayne, who filled the whole damned doorway.<span style="mso-spacerun: yes;"> </span>And he said, ‘See, Duke.<span style="mso-spacerun: yes;"> </span>That’s what I was talking about.’<span style="mso-spacerun: yes;"> </span>I had a HUGE picture of Duke.<span style="mso-spacerun: yes;"> </span>It went from the ceiling all the way down to the floor, as Hondo.<span style="mso-spacerun: yes;"> </span>And after we shook hands he said, ‘You know, that’s one of my favorite pictures.<span style="mso-spacerun: yes;"> </span>The rights come back to me in two years.’<span style="mso-spacerun: yes;"> </span>And I never forgot that.<span style="mso-spacerun: yes;"> </span>Well two and a half years later I said, that’s when I was at MGM, and that’s how HONDO came about.<span style="mso-spacerun: yes;"> </span>The change I made was making the setting not some lady’s cabin out in Apache land, but that she and her husband ran the general store, inside of a fort.<span style="mso-spacerun: yes;"> </span>So I had the whole damned fort to work with.<span style="mso-spacerun: yes;"> </span>And there was a wonderful fort at MGM on <st1:place w:st="on">Lot</st1:place> 3.<span style="mso-spacerun: yes;"> </span></div>
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H: Now did HONDO lead more or less directly to your writing CHISUM?<span style="mso-spacerun: yes;"> </span></div>
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AJ: They asked if I would accept <strong>Bob Morrison,</strong> who was Duke’s brother, as associate producer.<span style="mso-spacerun: yes;"> </span>Well, he and I got to be very close.<span style="mso-spacerun: yes;"> </span>He was a wonderful, wonderful gentle man.<span style="mso-spacerun: yes;"> </span>He was a tough guy, but he was very gentle.<span style="mso-spacerun: yes;"> </span>And he kept saying, ‘A.J., write something for Duke.<span style="mso-spacerun: yes;"> </span>He needs something good.’<span style="mso-spacerun: yes;"> </span>And I always had this idea about CHISUM.<span style="mso-spacerun: yes;"> </span>And I wrote a format, a story outline, and I called Michael (<st1:city w:st="on">Wayne</st1:city>) and I said I’d like to come over and talk to you about something for Duke.<span style="mso-spacerun: yes;"> </span>It’s called CHISUM.’<span style="mso-spacerun: yes;"> </span>He said, ‘Oh, the <st1:place w:st="on">Chisholm Trail</st1:place>.’<span style="mso-spacerun: yes;"> </span>I said, ‘No.<span style="mso-spacerun: yes;"> </span>That was Jesse Chisholm, who was part Comanche, and this is John Simpson Chisum, the cattle drive from <st1:state w:st="on">Texas</st1:state> to <st1:state w:st="on">New Mexico</st1:state>.’<span style="mso-spacerun: yes;"> </span>He said, ‘Oh.<span style="mso-spacerun: yes;"> </span>That do sound like Duke, don’t it?’<span style="mso-spacerun: yes;"> </span>Anyhow, I went over there, and that’s a long story you can read about in my book when I write it, but that’s how that came about: Bob Morrison via Michael Wayne via the Duke, and we did CHISUM.<span style="mso-spacerun: yes;"> </span></div>
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H: I did not know that John Chisum was a real man.<span style="mso-spacerun: yes;"> </span>Because CHISUM is your telling of the Lincoln County Wars.<span style="mso-spacerun: yes;"> </span>How close did you stay to the actual history?</div>
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AJ: Well, when somebody would say something (was inaccurate), Duke would say, ‘Damn it, we’re not making a documentary, we’re making a movie!’<span style="mso-spacerun: yes;"> </span>I took some liberties.<span style="mso-spacerun: yes;"> </span>(laughs)<span style="mso-spacerun: yes;"> </span>Matter of fact I took quite a few liberties.<span style="mso-spacerun: yes;"> </span>But the basic characters were all there: Billy the Kid, Pat Garrett and Henry Tunstall, L.G. Murphy and all the rest of them, they were all involved in the Lincoln County War, and so was Chisum.<span style="mso-spacerun: yes;"> </span></div>
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H: You wrote and produced CHISUM.<span style="mso-spacerun: yes;"> </span>As a producer, how much could you actually control John Wayne?<span style="mso-spacerun: yes;"> </span></div>
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AJ: Who wanted to control John Wayne?<span style="mso-spacerun: yes;"> </span>For cryin’ out loud, if he didn’t know what was good for him, nobody did.<span style="mso-spacerun: yes;"> </span>He had an instinct.<span style="mso-spacerun: yes;"> </span>He was not someone who would say something (onscreen) if it did not need to be said.<span style="mso-spacerun: yes;"> </span>And he cut himself out of a scene between Billy the Kid and Henry Tunstall, when he was supposed to be standing there -- he had one or two lines.<span style="mso-spacerun: yes;"> </span>He said, ‘I don’t need to be in there.<span style="mso-spacerun: yes;"> </span>It’s their scene.<span style="mso-spacerun: yes;"> </span>It’s their part of the plot.<span style="mso-spacerun: yes;"> </span>Let’s forget my being in it.’<span style="mso-spacerun: yes;"> </span>And I said okay.<span style="mso-spacerun: yes;"> </span>Another line I had, when Murphy started a store, and Duke and Tunstall say, well maybe we’ll start a store.<span style="mso-spacerun: yes;"> </span>And Forrest Tucker, L.G. Murphy says, ‘Don’t tell me you’re going to start a bank too.’<span style="mso-spacerun: yes;"> </span>And Duke’s line, as I wrote it, was, ‘Why not?<span style="mso-spacerun: yes;"> </span>All it takes is money.<span style="mso-spacerun: yes;"> </span>And I’ve got plenty.’<span style="mso-spacerun: yes;"> </span>He said, ‘McFenady, I don’t need to say I’ve got plenty.<span style="mso-spacerun: yes;"> </span>They know I’ve got plenty.’<span style="mso-spacerun: yes;"> </span>So then later on, when they were going to start their store and their bank, <strong>Andrew Prine</strong>, said to him, ‘What do you know about running a store?’<span style="mso-spacerun: yes;"> </span>Then Andrew Prine quoted Chisum: <span style="mso-spacerun: yes;"> </span>‘All it takes is money.’<span style="mso-spacerun: yes;"> </span>And Duke said, ‘Yeah.<span style="mso-spacerun: yes;"> </span>Mine.’<span style="mso-spacerun: yes;"> </span>So that worked out very well.<span style="mso-spacerun: yes;"> </span></div>
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H: So John Wayne called you McFenady?</div>
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AJ: Not all the time, but most of the time.<span style="mso-spacerun: yes;"> </span>I never asked him why.<span style="mso-spacerun: yes;"> </span>I figured if he wanted me to know, he would tell me.<span style="mso-spacerun: yes;"> </span>When there were people around he’d say, ‘Hey, McFenady this and McFenady that.’<span style="mso-spacerun: yes;"> </span>He was the giant of all giants.<span style="mso-spacerun: yes;"> </span>Very good to me, and to a lot of other people.</div>
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H:<span style="mso-spacerun: yes;"> </span>In CHISUM you had a particularly strong supporting cast.<span style="mso-spacerun: yes;"> <strong> </strong></span><strong>Forrest Tucker, Ben Johnson, Andrew Prine, Christopher George, Brice Cabot, Patrick Knowles</strong>.<span style="mso-spacerun: yes;"> </span>As well as a lot of familiar faces from the Ford and Hawks stock company.<span style="mso-spacerun: yes;"> </span>How did you go about assembling all of them?<br />
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AJ: You know what?<span style="mso-spacerun: yes;"> </span>All you had to do was say I’m doing a picture with John Wayne; you want to be in it?<span style="mso-spacerun: yes;"> </span>And the answer was yes.<span style="mso-spacerun: yes;"> </span>‘Cause who the Hell didn’t want to do a picture with <st1:city w:st="on">Wayne</st1:city>?<span style="mso-spacerun: yes;"> </span>Well, I tell you who didn’t want to be in a picture with him.<span style="mso-spacerun: yes;"> </span>Who was in <strong>THE HELLFIGHTERS</strong> with him?<span style="mso-spacerun: yes;"> </span><strong>Katherine Ross.</strong><span style="mso-spacerun: yes;"> </span>He wanted her to be in TRUE GRIT, to play the girl, but she didn’t want to do a John Wayne picture.<span style="mso-spacerun: yes;"> </span>She wanted to do a Katherine Ross picture, so she turned the thing down.<span style="mso-spacerun: yes;"> </span>But it turned out very, very well because that little girl that played in <strong>TRUE GRIT, Kim Darby</strong>, was terrific.<span style="mso-spacerun: yes;"> </span>The whole picture was much better than the remake.<span style="mso-spacerun: yes;"> </span>I couldn’t understand half the things the guys were saying in the remake.<span style="mso-spacerun: yes;"> </span>They were mumbling in their beards and mumbling in their hats.<span style="mso-spacerun: yes;"> </span>When John Wayne said something, you didn’t have to say, ‘What did he say?’<span style="mso-spacerun: yes;"> </span></div>
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H: <span style="mso-spacerun: yes;"> </span>Director <strong>Andrew V. McLaglen</strong>, son of <st1:city w:st="on">Wayne</st1:city>’s frequent co-star Victor, directed <st1:city w:st="on">Wayne</st1:city> many times.<span style="mso-spacerun: yes;"> </span>What was he like to work with?</div>
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AJ:<span style="mso-spacerun: yes;"> </span>He was wonderful, just wonderful.<span style="mso-spacerun: yes;"> </span>I talk to him at least once a month, too.<span style="mso-spacerun: yes;"> </span>He’s in his nineties now.<span style="mso-spacerun: yes;"> </span>He did over 100 <strong>GUNSMOKES</strong> and 115 <strong>HAVE GUN WILL TRAVELS.</strong><span style="mso-spacerun: yes;"> </span>He knew what he was doing.<span style="mso-spacerun: yes;"> </span>Another thing was, he shot the script.<span style="mso-spacerun: yes;"> </span>He didn’t screw around on the stage and say, let’s try this and let’s try that.<span style="mso-spacerun: yes;"> </span>He read the script, and if he had any suggestions he made it before we got there.<span style="mso-spacerun: yes;"> </span>He respected the script, and so did Duke.<span style="mso-spacerun: yes;"> </span>And Duke said to me more than once, ‘You know McFenady, this is the most pleasant picture I ever made.’<span style="mso-spacerun: yes;"> </span>He didn’t say it was the best, but he said it was the most pleasant.<span style="mso-spacerun: yes;"> </span>And we just got along famously.<span style="mso-spacerun: yes;"> </span>We were going to do something else too, but it just never happened.<span style="mso-spacerun: yes;"> </span></div>
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H: You had made a ton of Westerns by the time you did CHISUM, but was that the first one you’d done in <st1:country-region w:st="on">Mexico</st1:country-region>?<span style="mso-spacerun: yes;"> </span></div>
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AJ: Yes.<span style="mso-spacerun: yes;"> </span>The thing was, Duke owned <st1:place w:st="on">Mexico</st1:place>.<span style="mso-spacerun: yes;"> </span>He had shot six or seven pictures down there, and he owned the street at <st1:state w:st="on">Durango</st1:state>, he owned land there, and he owned every damned thing.<span style="mso-spacerun: yes;"> </span>And there was never any trouble at all.<span style="mso-spacerun: yes;"> </span>I’d be riding in an open car with Duke, down the streets of <st1:state w:st="on">Durango</st1:state>, and people are hanging out the windows yelling, ‘John Whine!<span style="mso-spacerun: yes;"> </span>John Whine!’<span style="mso-spacerun: yes;"> </span>He could have run for governor or president or what have you, and would have got elected by 99%.<span style="mso-spacerun: yes;"> </span>And Batjac had kind of a formula for the Duke.<span style="mso-spacerun: yes;"> </span>We could have shot it here in the <st1:country-region w:st="on">United States</st1:country-region>, but he wanted to shoot it down there, he felt comfortable down there.<span style="mso-spacerun: yes;"> </span>He’d bring his yacht there, the Wild Goose.<span style="mso-spacerun: yes;"> </span>(laughs) Not in <st1:state w:st="on">Durango</st1:state>, because it was in the middle of <st1:country-region w:st="on">Mexico</st1:country-region>.<span style="mso-spacerun: yes;"> </span>But he’d go to <st1:city w:st="on">Mazatlan</st1:city> once in a while when we were preparing.<span style="mso-spacerun: yes;"> </span>By the time we did CHISUM I got to know him very, very well.<span style="mso-spacerun: yes;"> </span>Because I was not a part of it, but I was on the periphery of all those other pictures before.<span style="mso-spacerun: yes;"> </span>I was on HELLFIGHTERS, that’s when he decided he wanted to do CHUISUM.<span style="mso-spacerun: yes;"> </span>And then he did TRUE GRIT, and I was there, working in his office.<span style="mso-spacerun: yes;"> </span>And on <strong>THE UNDEFEATED,</strong> I was down there almost all the time while he was doing that; we were knocking around with the script and knocking around with some tequila and gin.<br />
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H: Your next film was a horror/supernatural western, BLACK NOON.<span style="mso-spacerun: yes;"> </span>How’d that come about?</div>
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AJ:<span style="mso-spacerun: yes;"> </span>Aha!<span style="mso-spacerun: yes;"> </span>You know we had six kids, five boys, so I was in Little League, and one of the other coaches in Little League was a guy named <strong>Paul King</strong>.<span style="mso-spacerun: yes;"> </span>He was in charge of production for CBS, their movies of the week.<span style="mso-spacerun: yes;"> </span>And he said, ‘I know you’re a bigshot, you just did CHISUM.<span style="mso-spacerun: yes;"> </span>I don’t suppose you’d do a movie of the week.’<span style="mso-spacerun: yes;"> </span>And that’s when I said, ‘Hemingway did short stories.<span style="mso-spacerun: yes;"> </span>If it’s something that I like, I’ll do it.’<span style="mso-spacerun: yes;"> </span>So he and <strong>Philip Barry</strong> and I had lunch, at Musso Franks, and they said, what do you want to do?<span style="mso-spacerun: yes;"> </span>I said there’s this western…and he said, ‘Stop.<span style="mso-spacerun: yes;"> </span>Andy, you can’t get my attention by any log-line on a western.’<span style="mso-spacerun: yes;"> </span>Just didn’t want to do a western.<span style="mso-spacerun: yes;"> </span>And I said, ‘I can get your attention in four words: witchcraft in the west.’<span style="mso-spacerun: yes;"> </span><strong>ROSEMARY’S BABY</strong> had just come out, so they said, ‘Whatayagot?<span style="mso-spacerun: yes;"> </span>Whatayagot?’<span style="mso-spacerun: yes;"> </span>They read the thirteen pages and said, ‘Will you write a script?<span style="mso-spacerun: yes;"> </span>Where do you want to go?’<span style="mso-spacerun: yes;"> </span>So I went to <strong>Arty Goldberg</strong> who was at Screen Gems at the time – I knew him from the old ABC days, and said how would you guys like to do a CBS movie?<span style="mso-spacerun: yes;"> </span><strong>Larry Gordon</strong> was there at the time.<span style="mso-spacerun: yes;"> </span>Who later became THE Larry Gordon.<span style="mso-spacerun: yes;"> </span>And he said, ‘We’ve taken sixteen projects to CBS, and they’ve turned us down on every one of them.’<span style="mso-spacerun: yes;"> </span>I said they’re not going to turn us down on this one – believe me.<span style="mso-spacerun: yes;"> </span>So I write the script, and Larry Gordon and I were going over with the script and talk to them about it.<span style="mso-spacerun: yes;"> </span>I was driving, he got in the car, and all of a sudden he takes out a paper bag and puts it against his face.<span style="mso-spacerun: yes;"> </span>I think, this guy’s going to vomit.<span style="mso-spacerun: yes;"> </span>‘What’s the matter with you, Larry?’<span style="mso-spacerun: yes;"> </span>‘I’m hyperventilating.<span style="mso-spacerun: yes;"> </span>They’re gonna turn us down!’<span style="mso-spacerun: yes;"> </span>‘No they aren’t, Larry.’<span style="mso-spacerun: yes;"> </span>So we brought them the script, they said go ahead and shoot it. <span style="mso-spacerun: yes;"> </span>And it turned out very, very well.<span style="mso-spacerun: yes;"> </span></div>
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H: In 1974 you made your last western to date, <strong>THE HANGED MAN</strong>.<span style="mso-spacerun: yes;"> </span></div>
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AJ: That was a great premise.<span style="mso-spacerun: yes;"> </span>A man who has done some bad things in his life is falsely accused of murder.<span style="mso-spacerun: yes;"> </span>And they hang him, but he doesn’t die.<span style="mso-spacerun: yes;"> </span>Why was he saved?<span style="mso-spacerun: yes;"> </span>There had to be a reason.<span style="mso-spacerun: yes;"> </span>My line was, ‘What did Lazarus do for the rest of his life?’<span style="mso-spacerun: yes;"> </span>He was trying to find out why he was spared.<span style="mso-spacerun: yes;"> </span>I’ll tell you why it didn’t go (to series).<span style="mso-spacerun: yes;"> </span>By then, westerns were on their way out.<span style="mso-spacerun: yes;"> </span>And that’s when I said, A.J., you’ve got to switch gears.<span style="mso-spacerun: yes;"> </span>You ain’t gonna be able to sell many westerns, so let’s try something else.<span style="mso-spacerun: yes;"> </span>And I loved private eyes, just loved ‘em.<span style="mso-spacerun: yes;"> </span>And wrote THE MAN WITH BOGART’S FACE.<span style="mso-spacerun: yes;"> </span>I did that when I was doing two other movies of the week at Warner Brothers, so I did it on Warner Brothers’ time.<span style="mso-spacerun: yes;"> </span></div>
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H: Why do you think Westerns faded out?</div>
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AJ:<span style="mso-spacerun: yes;"> </span>I’ll tell you why.<span style="mso-spacerun: yes;"> </span>Those guys like <strong>Sam Peckinpah</strong> and <strong>Altman </strong>seemed to be hell-bent on making rats out of every hero in the west who ever lived, whether it was Wild Bill Hickok or Buffalo Bill, or Wyatt Earp, they just corrupted the western.<span style="mso-spacerun: yes;"> </span>But people were doing westerns; only audiences didn’t know they were doing westerns.<span style="mso-spacerun: yes;"> </span>What is <strong>STAR WARS?</strong><span style="mso-spacerun: yes;"> </span>It was a western, only instead of a stagecoach and horses, you had rockets and spaceships.<span style="mso-spacerun: yes;"> </span>But the plot was the same.<span style="mso-spacerun: yes;"> </span>Two guys that were pals break up, one guy goes into danger, and the other guy says the Hell with you.<span style="mso-spacerun: yes;"> </span>And just when you think one guy’s gonna get it, the other guy changes his mind and comes in and saves the other lead.<span style="mso-spacerun: yes;"> </span>Borden Chase used that in practically every story he ever did.<span style="mso-spacerun: yes;"> </span><st1:placename w:st="on">RED</st1:placename> <st1:placetype w:st="on">RIVER</st1:placetype> and<strong> <st1:place w:st="on"><st1:city w:st="on">BEND</st1:city></st1:place> OF THE RIVER</strong> and <strong>VERA CRUZ</strong>.<span style="mso-spacerun: yes;"> </span></div>
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H: I have a sense of what you think of Peckinpah.<span style="mso-spacerun: yes;"> </span>What did you think of Leone and the spaghetti westerns?</div>
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AJ: I couldn’t stand them.<span style="mso-spacerun: yes;"> </span>I was bored to death with those God damned close-ups and lingering shots.<span style="mso-spacerun: yes;"> </span>I had a chance to make a lot of those, because I was hot; go to <st1:country-region w:st="on">Italy</st1:country-region>, go to <st1:country-region w:st="on">Spain</st1:country-region>.<span style="mso-spacerun: yes;"> </span>But like I said before, Mary Frances and I had six kids, and they were growing up.<span style="mso-spacerun: yes;"> </span>And I didn’t want to wander any farther from 126 North Rossmore than I had to.<span style="mso-spacerun: yes;"> </span>I stayed here.</div>
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H: What are you writing today?</div>
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A. J. Fenady at a recent book signing</div>
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AJ: Well, last year I had open-heart surgery, pretty serious stuff.<span style="mso-spacerun: yes;"> </span>I didn’t feel any pain, but they said you’ve got to do it, so I did it.<span style="mso-spacerun: yes;"> </span>But during that time I finished up <strong>THE RANGE WOLF,</strong> which is going to come out the end of this year.<span style="mso-spacerun: yes;"> </span>And what it is, it’s a western version of <strong>THE SEA WOLF.</strong><span style="mso-spacerun: yes;"> </span>Instead of a ship, it’s a cattle drive.<span style="mso-spacerun: yes;"> </span>But it’s the same story, the same plot, only in a different venue, with different trappings.<span style="mso-spacerun: yes;"> </span></div>
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H: Is this something you’d like to make as a movie?</div>
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AJ: They’re not going to make that movie now.<span style="mso-spacerun: yes;"> </span>I don’t think so.<span style="mso-spacerun: yes;"> </span>I mean, twenty years from now they might do it.<span style="mso-spacerun: yes;"> </span>Also I wrote a short story that was published in a book called <strong>LAW OF THE GUN</strong>.<span style="mso-spacerun: yes;"> </span>The story is <strong>DEAD MAN RIDING TO TOMBSTONE,</strong> and I also wrote a novella while recovering, called <strong>THE BIG GUNS, or WHOSE LITTLE LILLY IS SHE?,</strong> that’s in a collection of supposedly the greatest living western writers (laughs).<span style="mso-spacerun: yes;"> </span>Called ROUND-UP, which was sponsored by the Western Writers of America.<span style="mso-spacerun: yes;"> </span>And I’m currently working on another <i style="mso-bidi-font-style: normal;">big</i> western.<span style="mso-spacerun: yes;"> </span>You know I’ve written seven or eight plays, the last couple of them were in collaboration with my son Duke.<span style="mso-spacerun: yes;"> </span>Three of them are radio plays that are going to be done at the Palmdale Playhouse.<span style="mso-spacerun: yes;"> <strong> </strong></span><strong>YES <st1:state w:st="on"><st1:place w:st="on">VIRGINIA</st1:place></st1:state>, THERE IS A SANTA CLAUS</strong> this December.<span style="mso-spacerun: yes;"> </span>Then they’re going to do the radio version of THE SEA WOLF, and Duke collaborated with me on that.<span style="mso-spacerun: yes;"> </span>Then THE BIG GUNS, OR WHOSE LITTLE LILLY IS SHE as a radio play is going to be performed.<span style="mso-spacerun: yes;"> </span>So busy, busy, busy.<span style="mso-spacerun: yes;"> </span></div>
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H: Are you planning to make any more movies?</div>
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AJ: Well, it’s so tough to get one done.<span style="mso-spacerun: yes;"> </span><strong>Steve Speilberg</strong> can’t get a movie made that he wants.<span style="mso-spacerun: yes;"> </span>I’ve only got so much time left, you know?<span style="mso-spacerun: yes;"> </span>It’s not exactly the last round-up, but I know people who have been trying to get a movie made for twenty years and they haven’t done it.<span style="mso-spacerun: yes;"> </span>I haven’t got twenty years.<span style="mso-spacerun: yes;"> </span>So I’m very content to write plays, radio plays, and now if something happens, it happens.<span style="mso-spacerun: yes;"> </span>If not, I’ll go on doing what I’m doing.<span style="mso-spacerun: yes;"> </span></div>
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A.J. with L.Q. Jones at the Silver Spur Awards, 2011</div>
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H: What advice would you have for someone trying to get a western made today?</div>
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AJ: I would be very discouraging.<span style="mso-spacerun: yes;"> </span>Because no one wants to do a classic, pure western.<span style="mso-spacerun: yes;"> </span>They want things like the remake of the WILD, WILD WEST, with all kinds of rockets in it, and all kinds of crap.<span style="mso-spacerun: yes;"> </span>They corrupt the western.<span style="mso-spacerun: yes;"> </span>They won’t do it.<span style="mso-spacerun: yes;"> </span>If they did one, like <strong>Clint Eastwood </strong>did THE <strong>UNFORGIVEN</strong>, I guarantee you they’d make a helluvah lot of money.<span style="mso-spacerun: yes;"> </span>And even Clint says it’s tough to get one of those things made.<span style="mso-spacerun: yes;"> </span>One of my sons, <strong>Andy Frank Fenady,</strong> is President of Physical Production at Universal, and they’re not going to make a western, not gonna make a classic-type John Ford, John Wayne western now.<span style="mso-spacerun: yes;"> </span>First of all there is no John Ford and there is no John Wayne.<span style="mso-spacerun: yes;"> </span>And these guys today, I don’t know if they could carry a western.<span style="mso-spacerun: yes;"> </span>The odds are very much against it.<span style="mso-spacerun: yes;"> </span><br />
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Silver Spurs, Mr. & Mrs. Dick Jones with Mary Frances & A.J.</div>
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The advice of a writer is, you’ve got to swing a little bit with the times.<span style="mso-spacerun: yes;"> </span>I know people that are specifically a certain kind of writer.<span style="mso-spacerun: yes;"> </span>They can only write adaptations.<span style="mso-spacerun: yes;"> </span>Or they can only write detective stories.<span style="mso-spacerun: yes;"> </span>As far as I’m concerned, if you can write, you can write.<span style="mso-spacerun: yes;"> </span>If you can tell a story, you can write a song, you can write a novel, you can write a script: it’s just finding the format.<span style="mso-spacerun: yes;"> </span>The first time I wrote a play, YES VIRGNIA, THERE IS A SANTA CLAUS, I said, now how do you get started?<span style="mso-spacerun: yes;"> </span>I went and read <strong>THE GLASS MENAGERIE</strong>, where Tom narrates the thing.<span style="mso-spacerun: yes;"> </span>I said aha!<span style="mso-spacerun: yes;"> </span>That’s how it’s done.<span style="mso-spacerun: yes;"> </span>So I sat down and wrote it as a play.<span style="mso-spacerun: yes;"> </span>You’ve got to be able to not so much specialize, because your specialty is liable to come out of fashion.<span style="mso-spacerun: yes;"> </span>And you’d better be able to pull a switcheroo, like I did from documentaries like CONFIDENTIAL FILE to westerns like THE REBEL to detective stories like THE MAN WITH BOGART'S FACE<span style="mso-spacerun: yes;"> </span>And now I find the market for me is novels, and you can write western novels.<span style="mso-spacerun: yes;"> </span>And I won the Owen Wister Award from the Western Writers of America, the highest award that you can get, and the Golden Boot Award, and all that, and you get a reputation, and there is a market for western novels.<span style="mso-spacerun: yes;"> </span>I mean, you’re not going to make millions, but on the other hand, you’re working at your trade.<br />
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<span style="mso-spacerun: yes;"><b>...AND THAT'S A WRAP! </b> </span><br />
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<span style="mso-spacerun: yes;">Happy Trails,</span><br />
<span style="mso-spacerun: yes;"><br /></span>
<span style="mso-spacerun: yes;">Henry</span><br />
<span style="mso-spacerun: yes;"><br /></span>
<span style="mso-spacerun: yes;">All Original Contents Copyright May 2020 by Henry C. Parke -- All Rights Reserved</span></div>
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<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-63532682622332333652020-04-13T01:20:00.000-07:002020-04-13T01:20:16.552-07:00MY INTERVIEW WITH JAMES DRURY, PLUS DVD REVIEWS AND ON-LINE SCREENINGS!<br />
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">MY INTERVIEW WITH JAMES
DRURY <o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">By
Henry C. Parke<o:p></o:p></span></div>
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<span style="background-color: white; font-family: "Times New Roman", serif; font-size: 12pt;">Conducted
Wednesday, January 6</span><sup style="font-family: "Times New Roman", serif;">th</sup><span style="background-color: white; font-family: "Times New Roman", serif; font-size: 12pt;">, 2016</span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">“People
say, are you retired?<span style="mso-spacerun: yes;"> </span>I tell them no,
I’m not retired; I just can’t get a job.<span style="mso-spacerun: yes;">
</span>That’s really the truth.<span style="mso-spacerun: yes;"> </span>I would
go to work tomorrow if somebody had a job for me. “ <o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">We lost
James Drury on April 6<sup>th</sup>. He was 85. His wife of forty years, Carl
Ann Head, had died this past August. Drury so epitomized the character of The
Virginian, the decent, savvy, supremely competent, private man, that it’s hard
to compare him to anyone on television except -for James Arness as Matt Dillon.
<span style="mso-spacerun: yes;"> </span>If you can play someone that well for
249 90-minute episodes, you’re doing something right. <o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">Over
the years I’d been to a number of events that he’d attended, and had tried to
set up an interview. Finally, in January of 2016, I succeeded. We both had gone
to New York University, which was interesting in his case because James Drury didn’t
actually graduate from high school.<o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_Hlk37503027"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES DRURY: </span></a><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">I had been expelled from high
school on the last day of the year, in fact, the day before graduation.<span style="mso-spacerun: yes;"> </span>I hollered in an assembly – that was the
extent of my crime.<span style="mso-spacerun: yes;"> </span>They had the guys
come and get me out of the assembly and take me outside, and they told me I was
never going to graduate from University High School; they were going to keep my
diploma in a safe, and I might be able to get it in ten years or
something.<span style="mso-spacerun: yes;"> </span>My father did go back and get
it a long time later; we had a ceremony when we got it out.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<a href="https://www.blogger.com/null" name="_Hlk37503064"></a><a href="https://www.blogger.com/null" name="_Hlk37503051"><span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: From there you went to New York University. I guess it helped that your
father was a Professor there.<o:p></o:p></span></span></a></div>
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<span style="mso-bookmark: _Hlk37503051;"><span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></span></span></div>
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<span style="mso-bookmark: _Hlk37503051;"><span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: Of Marketing and Advertising.<span style="mso-spacerun: yes;"> </span>My
dad said, well, you can go to NYU.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: _Hlk37503051;"><span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: Where you didn’t study Marketing and Advertising, but Drama. <o:p></o:p></span></span></span></div>
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<span style="mso-bookmark: _Hlk37503051;"><span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></span></span></div>
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<span style="mso-bookmark: _Hlk37503051;"><span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY:<span style="mso-spacerun: yes;"> </span>They were teaching the classics –
Shakespeare and Shaw and Barrie; all the great playwrights. I worked in the
classics for three years.<span style="mso-spacerun: yes;"> </span>I had been
working in summer stock for two years, and at the end of my junior year I took
a vacation, out to California to see my mother for a couple of weeks. I had
done an audition for a talent scout at Loew’s Incorporated, which was M.G.M.,
in New York, for a man named Dudley Wilkinson.<span style="mso-spacerun: yes;">
</span>And I didn’t think he was very interested, because he was having his
shoes shined throughout the entire audition.<span style="mso-spacerun: yes;">
</span>But apparently, he called M.G.M. on the coast, and they called me when I
got to my mother’s house, and said come in, we want to meet with you.<span style="mso-spacerun: yes;"> </span>That next day they signed me to a contract
for seven years: I thought this was just great.<span style="mso-spacerun: yes;">
</span>Of course, after the first year they dropped me.<span style="mso-spacerun: yes;"> </span>(laughs) Then I signed a seven-year contract
with 20<sup>th</sup> Century Fox, and at the end of two years <i>they</i>
dropped me.<span style="mso-spacerun: yes;"> </span>At M.G.M. I did seven
pictures, and I had about twelve lines altogether, just tiny little bit
parts.<span style="mso-spacerun: yes;"> </span>When I got to Fox, I played Elvis
Presley’s brother in LOVE ME TENDER, Pat Boone’s brother in BERNADINE.<span style="mso-spacerun: yes;"> </span>Then I got a good role as a cavalry
lieutenant in THE LAST WAGON, with Richard Widmark, Felicia Farr and Nick
Adams.<span style="mso-spacerun: yes;"> </span>It was really a classic Western,
and did very well.<span style="mso-spacerun: yes;"> </span>(Writer/Director)
Delmer Daves was particularly great with cavalry stuff, because he knew all
about how the cavalry was supposed to work and form, so we truly looked like
the American cavalry of that time.<span style="mso-spacerun: yes;"> </span>I was
just thrilled with that, but then they dropped me.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503051;"><span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"><br /></span></span></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503051;"><span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">So I
was on the open market. I did three or four RAWHIDES, I did five of the
GUNSMOKES, HAVE GUN WILL TRAVEL, I did TRACKDOWN with Robert Culp, THE REBEL, MAN
WITHOUT A GUN, with Rex Reason.<o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503051;"><span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503051;"><span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: That’s a lot of Westerns.<o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503051;"><span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503051;"><span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: I got cast in a lot of Westerns because I had a western background.<span style="mso-spacerun: yes;"> </span>I had my own horse from the time I was about
twelve years old, and been raised around horses and cattle, so I had skills
that a lot of other guys didn’t have.<span style="mso-spacerun: yes;"> </span></span></span></span><span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">And when I moved to Texas, I really became a
horseman.<span style="mso-spacerun: yes;"> </span>I had a lot of great
professional trainers who were delighted to work with me, and let me ride their
million-dollar horses, and I got to the point where I consider myself a
horseman now.<span style="mso-spacerun: yes;"> </span>And I went through the
dressage and all the other disciplines, and started winning cutting horse
competitions and reining horse competitions and playing polo and jumping.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY PARKE: When did you move
to Texas?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES DRURY: I met a lady, and
about two days later I said, where do you want to live?<span style="mso-spacerun: yes;"> </span>And she said I live in Houston.<span style="mso-spacerun: yes;"> </span>That was the end of that discussion, and
we’re still on our honeymoon.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY PARKE: What year was
that?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES DRURY: We married in 1979;
actually we were together for about four years before that, so around
1975.<span style="mso-spacerun: yes;"> </span>We’re just together like two
halves of a pair of scissors.<span style="mso-spacerun: yes;"> </span>And we’re
still together and very happy.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY PARKE: Back when you were
doing episodic TV, before THE VIRGINIAN, you played a lot of villains.<span style="mso-spacerun: yes;"> </span>Which is more fun?<span style="mso-spacerun: yes;"> </span>Playing a hero like The Virginian, or bad
guys?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES DRURY: Well, the villains
in a piece are usually the more complex characters, and they’re usually more
fun to put together, because you don’t have any restrictions on your social
behavior – a villain can do anything he wants to do.<span style="mso-spacerun: yes;"> </span>So I had a lot of fun playing those
characters.<span style="mso-spacerun: yes;"> </span>But it’s two sides of the
same coin; because you have to have a villain, and you have a protagonist who
can counterpunch the villains.<span style="mso-spacerun: yes;"> </span>That’s
what makes the drama, and I just love playing both sides of the coin.<span style="mso-spacerun: yes;"> </span>I had a lot of fun playing the villains, and
when they started getting me to play heroes, they wouldn’t let me play villains
anymore.<span style="mso-spacerun: yes;"> </span>Until many years later, I got
to play a couple of villains for David Carradine, on KUNG FU – THE LEGEND
CONTINUES.<span style="mso-spacerun: yes;"> </span>I went to Canada and did a
couple of those, and played some really bad guys, and had fun with those.<span style="mso-spacerun: yes;"> </span>That was great.<span style="mso-spacerun: yes;"> </span>I’m still anxious to play either heroes or
villains, whatever people will give me a job for.<span style="mso-spacerun: yes;"> </span></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY PARKE: You’ve played a
lot of George Bernard Shaw.<span style="mso-spacerun: yes;"> </span>What were
your favorite Shaw roles?<o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES DRURY: Probably Marchbanks
in <i style="mso-bidi-font-style: normal;">Candida</i>.<span style="mso-spacerun: yes;"> </span>And I loved playing Don Juan in <i style="mso-bidi-font-style: normal;">Don Juan in Hell</i>.<span style="mso-spacerun: yes;"> </span>I was able to do a full production of that in
Dallas, right after I moved to Texas.<span style="mso-spacerun: yes;">
</span>I’ve had lot of fun with Shaw, and I admire him so much.<span style="mso-spacerun: yes;"> </span>It’s amazing how he had a definite socialist
political agenda, but he was able write plays that appealed to everybody.<span style="mso-spacerun: yes;"> </span>Anybody who reads Shaw will see the definite
political leaning, but his characters were all everyman and everywoman, and
that’s what sets him apart.<span style="mso-spacerun: yes;"> </span>I think Shaw
and Shakespeare are the greatest playwrights in the English language that have
ever come along.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="mso-bookmark: _Hlk37503064;"><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><span style="mso-spacerun: yes;"><br /></span></span></span></div>
<span style="mso-bookmark: _Hlk37503064;"></span>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: I was recently watching a movie you did before THE VIRGINIAN, RIDE THE
HIGH COUNTRY.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: Wonderful movie – and that was when Sam Peckinpah was just getting
started.<span style="mso-spacerun: yes;"> </span>He was just marvelous in
everything he did.<span style="mso-spacerun: yes;"> </span>And inventive – we’d
sit around when we weren’t working, and watch him direct, because he came up
with such great ideas for everybody.<span style="mso-spacerun: yes;"> </span>He
was a visionary.<span style="mso-spacerun: yes;"> </span>Then he got into the
vodka I guess, after a while, and became real mean and unpredictable, and I
heard some bad stories about him later. But he was wonderful to work with when
I worked with him, and I’d been working with him for years.<span style="mso-spacerun: yes;"> </span>In fact, when I did that TRACKDOWN with
Robert Culp, Peckinpah had written that (RIDE THE HIGH COUNTRY) script, so we
met at that time, and got to be friends from then on.<span style="mso-spacerun: yes;"> </span>Originally, he had wanted Robert Culp for my
part.<span style="mso-spacerun: yes;"> </span>And Robert Culp’s agent said no,
we don’t want Robert playing a bad guy, so he got me, and I was able to play
the part with great gusto, and I surely did enjoy that. We got into a
snow-storm up in the mountains, and then they had to use artificial snow down
in the mine camp. They had fire-hoses full of soap-suds sprayed up on the side
of the hill to give the illusion of snow.<span style="mso-spacerun: yes;">
</span>That’s the definition of acting, to create the not reality, but the
illusion of reality.<span style="mso-spacerun: yes;"> </span>And that’s what’s
so wonderful about the profession of acting: you have a chance to create those
illusions.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>If people believe you, then you have done your
job.<span style="mso-spacerun: yes;"> </span>And that’s what we all strive
for.<span style="mso-spacerun: yes;"> </span>Spencer Tracy said, “Acting is a
great profession if you don’t get caught at it.”<span style="mso-spacerun: yes;"> </span>And every time you see a performance by a
man or woman, on the screen or in the theatre, where you become aware of the
fact that they’re acting, they got caught acting.<span style="mso-spacerun: yes;"> </span>And we all get caught, but you try to
minimize that as much as possible.<span style="mso-spacerun: yes;"> </span>That’s
the main challenge to being an actor, but it’s a worthwhile challenge, one that
good actors relish, and one that I certainly enjoy.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: You also starred in a string of films for Walt Disney.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: I enjoyed POLLYANA, and I enjoyed the one about the circus, TOBY
TYLER.<span style="mso-spacerun: yes;"> </span>I shot that chimpanzee out of the
tree, and I’ll never live that down.<span style="mso-spacerun: yes;"> </span>People
come up to me right now and say, why did you shoot that chimp?<span style="mso-spacerun: yes;"> </span>It was a big mistake, folks; I’m real sorry
about that.<span style="mso-spacerun: yes;"> </span>I also did a couple of
ELFAGO BACAs with Robert Loggia, who we just lost (in 2015).<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE:<span style="mso-spacerun: yes;"> </span>Shortly before you did THE
VIRGINIAN, you starred in an excellent pilot, THE YANK, which was going to be
the companion show for THE REBEL.<span style="mso-spacerun: yes;"> </span>I was
surprised that it didn’t go.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES DRURY:
That was the year that the networks all went from half-hour western shows to
hour western shows.<span style="mso-spacerun: yes;"> </span>And we were a half
an hour.<span style="mso-spacerun: yes;"> </span>We could have expanded it to an
hour easily, but they just didn’t buy it.<span style="mso-spacerun: yes;">
</span>And it was a little jewel of a show – it was beautifully written and
directed.<span style="mso-spacerun: yes;"> </span>I also made a half-an-hour
pilot for THE VIRGINIAN, playing the Virginian, for <i style="mso-bidi-font-style: normal;">Screen Gems, Columbia Studios</i>.<span style="mso-spacerun: yes;">
</span>That had been about three years before, in ’58 or ’59.<span style="mso-spacerun: yes;"> </span>We had a good little half hour show.<span style="mso-spacerun: yes;"> </span>The Virginian was treated far differently
than he was in the show we finally wound up doing, but the characters was
basically the same.<span style="mso-spacerun: yes;"> </span>The costumes were
all different – they made a southern dandy out of him.<span style="mso-spacerun: yes;"> </span>He had a shirt with frilly cuffs and a frilly
front, and was very much the southern gentleman.<span style="mso-spacerun: yes;"> </span>Way back then in the fifties, they were
afraid of too much emphasis on guns.<span style="mso-spacerun: yes;"> </span>So
they had me wear a little bitty gun.<span style="mso-spacerun: yes;"> </span>It
was a six-shooter, but it probably shot a .22 or .25 caliber slug, and I wore
it on my belt, very unobtrusively.<span style="mso-spacerun: yes;"> </span>But
we still used it the same way, and I would have gone to a .45 if we had (been
picked up).<span style="mso-spacerun: yes;"> </span>But again, that didn’t sell,
and we were able to do the 90-minute version.<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: How did you get the role of The Virginian?<o:p></o:p></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
<div class="MsoNormal" style="line-height: 200%; margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: <span style="mso-spacerun: yes;"> </span>I had signed one more seven-year
contract, with <i style="mso-bidi-font-style: normal;">Universal Studios</i>, and
I had no assignment; they just signed me to a contract as a stock player.<span style="mso-spacerun: yes;"> </span>And then they told me about a month later to
come in and test for the role of The Virginian.<span style="mso-spacerun: yes;">
</span>I’m sure they had that in mind all along.<span style="mso-spacerun: yes;"> </span>But I didn’t know that when I signed the
contract, or I would have asked for a lot more money.<span style="mso-spacerun: yes;"> </span>(laughs) Anyway, they tested me for the role,
and their only comment was, you’re too fat: go lose some weight.<span style="mso-spacerun: yes;"> </span>So, I lost about ten pounds and tested
again.<span style="mso-spacerun: yes;"> </span>They said, you’re too fat: go
lose some weight.<span style="mso-spacerun: yes;"> </span>So I lost thirty
pounds in thirty days.<span style="mso-spacerun: yes;"> </span>I ate a head of
lettuce every other day, I ran it off on the Los Angeles River; worked out
twice a day, really concentrated on it, and I got way, way down.<span style="mso-spacerun: yes;"> </span>I had to test three times. The third test they
didn’t really make a comment at all.<span style="mso-spacerun: yes;">
</span>They just didn’t tell me to lose any more weight.<span style="mso-spacerun: yes;"> </span>And so I figured well, I got that part
done.<span style="mso-spacerun: yes;"> </span>And then on the Friday night
before the Monday morning that we started to shoot, they informed me and Doug
McClure that we had the parts of the Virginian and Trampas.<span style="mso-spacerun: yes;"> </span>They didn’t give us any real warning at all,
but of course we’d been thinking about it for quite a while – Doug had been
testing, too.<span style="mso-spacerun: yes;"> </span>We started then, and nine
years later we were done.<span style="mso-spacerun: yes;"> </span>We never got
the memo.<span style="mso-spacerun: yes;"> </span>You couldn’t do THE VIRGINIAN:
it was logistically impossible.<span style="mso-spacerun: yes;"> </span>It’s
still logistically impossible, but we did it anyway.<span style="mso-spacerun: yes;"> </span>It really did require a lot of concentration
and dedication to get the thing right.<span style="mso-spacerun: yes;"> </span>We
just worked on it with everything we had, and never worried about what time it
was, and we got it done.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: What was an average work-week like for you and Doug?<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: You’d get there at 6:30 or seven o’clock in the morning, and usually get
out of the studio by about eight or nine o’clock at night.<span style="mso-spacerun: yes;"> </span>You’d do that five days a week. We used to
work Saturdays, but it had just changed, so you had Saturday and Sunday off to recuperate
and learn the next week’s script.<span style="mso-spacerun: yes;"> </span>And I had
the gift of being able to do that with great facility.<span style="mso-spacerun: yes;"> </span>You had multiple units working all the time,
to meet the air-dates.<span style="mso-spacerun: yes;"> </span>We took eight
days to make one, and we used one up every five days.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>One
memorable day I worked on five different episodes of THE VIRGINIAN.<span style="mso-spacerun: yes;"> </span>I went from soundstage to soundstage to the
backlot to soundstage to the backlot again.<span style="mso-spacerun: yes;">
</span>That will really test your memory and your mettle, to try and make sure
you doing the right thing at the right time in the right episode without making
any mistakes.<span style="mso-spacerun: yes;"> </span>I was able to do that, so
I think I’m justifiably proud of that record, and I don’t think it will ever be
matched.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: No, not when a TV season now consists of, like, nine episodes.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: That’s right.<span style="mso-spacerun: yes;"> </span>First couple of
years I think we made thirty-three shows a year, then we made thirty, then we
made twenty-six. But I don’t think we ever made less than twenty-six in all the
years we were on the air, which was nine seasons, including the final season,
where they changed the name to THE MEN FROM SHILOH.<span style="mso-spacerun: yes;"> </span>Which seemed like a good idea at the time,
but everybody was looking for THE VIRGINIAN, and they couldn’t find it.<span style="mso-spacerun: yes;"> </span>And they never heard of THE MEN FROM SHILOH, so
it went off the air.<span style="mso-spacerun: yes;"> </span>It was a good idea
that didn’t work.<span style="mso-spacerun: yes;"> </span>But I was in favor of
it at the time, so I have no one to blame but myself.<span style="mso-spacerun: yes;"> </span>I don’t blame anybody; everything runs its
course.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: Nine seasons is a pretty terrific run.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br />JAMES
DRURY: Well, it was the third-longest-running western.<span style="mso-spacerun: yes;"> </span>GUNSMOKE and BONANZA ran longer than we did,
so I think that’s a pretty good record, and we’re happy with that.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: Who were your favorite guest stars?<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: That would be hard to say because every week I knew I was going down the
hill and going to work with somebody wonderful.<span style="mso-spacerun: yes;">
</span>And we had Bette Davis, Joan Crawford, George C. Scott, Robert Redford.<span style="mso-spacerun: yes;"> </span>Harrison Ford actually played a small role in
THE VIRGINIAN. Vera Miles did several of the shows.<span style="mso-spacerun: yes;"> </span>Ralph Bellamy – the list goes on and on and
on.<span style="mso-spacerun: yes;"> </span>Suffice it to say that there were 249
guest stars, and they all had a chance to do a great, complex role, and I think
that’s what people respond to.<span style="mso-spacerun: yes;"> </span>Because
we literally made a movie every week. 79 minutes and thirty seconds worth of
film, which is as long as a lot of feature films today.<span style="mso-spacerun: yes;"> </span>That’s really the key to our success then,
and the fact that people have responded so well to it in reruns.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: During the run of the show, more than one man owned Shiloh.<span style="mso-spacerun: yes;"> </span>You’ve said that Lee J. Cobb was your
favorite, but what did you think of Charles Bickford, John McIntire, and Stewart
Granger?<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: After Cobb we got John Dehner – which everybody forgets.<span style="mso-spacerun: yes;"> </span>He was a great actor, I got along wonderfully
with him.<span style="mso-spacerun: yes;"> </span>He told me to quit drinking,
and I told him to mind his own business.<span style="mso-spacerun: yes;">
</span>He proved to be right; I finally did quit drinking later.<span style="mso-spacerun: yes;"> </span>In fact I’ve been sober 35 years; but that’s
the work of my wife, Carl Ann.<span style="mso-spacerun: yes;"> </span>She told
me she loved me but if I didn’t quit she was going to leave me.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>And by
God, that got my attention, so I was finally able to quit.<span style="mso-spacerun: yes;"> </span>But I drank an awful lot during the
show.<span style="mso-spacerun: yes;"> </span>You never would see it in the show
that I know of, but people were concerned, and then people were
complaining.<span style="mso-spacerun: yes;"> </span>You get enough complaints,
you take some action. <span style="mso-spacerun: yes;"> </span>I thought John Dehner
was great, and then one day he was gone, and I think that’s when Bickford came
in.<span style="mso-spacerun: yes;"> </span>And of course, Bickford couldn’t be
better – he was perfect for the role, and perfect for that position.<span style="mso-spacerun: yes;"> </span>And he loved doing it, and died on the
show.<span style="mso-spacerun: yes;"> </span>He finished the show on a Friday
night, went home, and died on Sunday morning.<span style="mso-spacerun: yes;">
</span>He had pneumonia, and we didn’t know it.<span style="mso-spacerun: yes;">
</span>We knew he was sick.<span style="mso-spacerun: yes;"> </span>He insisted
on staying on a cold night and finishing out his work on that show, and then he
never came back.<span style="mso-spacerun: yes;"> </span>Then we got the McIntires.<span style="mso-spacerun: yes;"> </span>Jeanette Nolan, John McIntyre’s wife, had
been one of the leading characters in the half-hour version of THE VIRGINIAN
that I’d done for <i>Screen Gems</i>, and we’d worked in other shows, too; I’d
done an ALFRED HITCHCOCK with her, so we were good friends.<span style="mso-spacerun: yes;"> </span>And John McIntire was a big part of THE YANK,
that Andy Fenady did as a spin-off of THE REBEL.<span style="mso-spacerun: yes;"> </span>He was the old doctor.<span style="mso-spacerun: yes;"> </span>So I was very close friends with both of
them, and when they came on, it was wonderful.<span style="mso-spacerun: yes;">
</span>We had a great run with them, and would continue with them for a long
time.<span style="mso-spacerun: yes;"> </span>Then they changed the show, and
brought on Stewart Granger.<span style="mso-spacerun: yes;"> </span>And since I have
nothing nice to say about him, I won’t say anything.<span style="mso-spacerun: yes;"> </span>Okay?<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: Okay! Do you have any favorite episodes?<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: I liked an awful lot of them; we watched one the other night that I
hadn’t seen in a long time.<span style="mso-spacerun: yes;"> </span>It was
called LAST GRAVE AT SOCORRO CREEK.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>It was with Kevin Coughlin, and the guy who
played the villain was a good friend of mine, Steve Inhat.<span style="mso-spacerun: yes;"> </span>But the ones that stand out, there’s two that
were great little stories.<span style="mso-spacerun: yes;"> </span>One was
FELICITY’S SPRING, with Katherine Crawford.<span style="mso-spacerun: yes;">
</span>Because of the nature of the show, I always had to have my fiancé or
loved one go off and die in the 89<sup>th</sup> minute, just before the end of
the show, so I could have another girlfriend the next week.<span style="mso-spacerun: yes;"> </span>She died of an unknown, strange disease, just
before I married her.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>That one, and THE MOUNTAIN OF THE SUN.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: For much of the series you had Clu Gulager as a co-star.<span style="mso-spacerun: yes;"> </span>What was he like to work with?<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: He’s wonderful.<span style="mso-spacerun: yes;"> </span>Clu is always
interesting.<span style="mso-spacerun: yes;"> </span>He always does things that
surprise you.<span style="mso-spacerun: yes;"> </span>Every time I had a scene
with him, we had sparks fly, and we created the illusion of reality.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>It
just pays to sit down and watch Clu and see what he’s going to do next.<span style="mso-spacerun: yes;"> </span>And of course, Doug McClure and I became very
close friends, and got closer and closer as the show went on. You do form some
great friendships on shows like that, because you’ve been through the fire
together.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: Was there much concern about sticking close to the novel THE VIRGINIAN?<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: We went far afield from the story of THE VIRGINIAN.<span style="mso-spacerun: yes;"> </span>The book published in 1902 by Owen Wister was
the first literary western.<span style="mso-spacerun: yes;"> </span>Before that,
western stories had mostly been dime novels like.<span style="mso-spacerun: yes;"> </span>He was truly a literary author, and a highly
educated man; I think he was from Philadelphia.<span style="mso-spacerun: yes;">
</span>Of course, he became friends with Teddy Roosevelt, and went out to
Wyoming with Roosevelt on a major hunting trip, and I guess that’s when he
stayed and decided to write about the Wyoming cowboy.<span style="mso-spacerun: yes;"> </span>I always thought that elements of THE VIRGINIAN
have been influential in many, many westerns.<span style="mso-spacerun: yes;">
</span>For example, you look at the Spaghetti Westerns that Clint Eastwood did
in the early days, in Italy and Spain. ‘The man with no name’ and PALE RIDER
all bears a debt to THE VIRGINIAN, because that’s where the idea of the no-name
cowboy came from.<span style="mso-spacerun: yes;"> </span>I always thought that
was a wonderful device, because it gives you an air of mystery that you don’t
have to do anything to achieve:<span style="mso-spacerun: yes;"> </span>it’s
built into the part.<span style="mso-spacerun: yes;"> </span>If you walk into a
room and someone says behind their hand, there’s the Virginian over there, well,
all of a sudden you’re mysterious.<span style="mso-spacerun: yes;"> </span>And
if you’re mysterious, it becomes interesting.<span style="mso-spacerun: yes;">
</span>I think that’s one of the reasons Clu is so interesting is he’s mysterious.<span style="mso-spacerun: yes;"> </span>I mean that as a compliment.<span style="mso-spacerun: yes;"> </span>Because you don’t know what Clu’s going to do
next, and that’s a mystery.<span style="mso-spacerun: yes;"> </span>It creates
definite interest.<span style="mso-spacerun: yes;"> </span>I think that many,
many westerns, THE PLAINSMAN, THE KENTUCKIAN, all of those great pictures bear
a debt of gratitude to that original book by Owen Wister.<span style="mso-spacerun: yes;"> </span>In the confines of a television show, we
couldn’t really stay with the characters the way they were in the book.<span style="mso-spacerun: yes;"> </span>Trampas and Steve would have died in the
first episode.<span style="mso-spacerun: yes;"> </span>So we made leading men
out of them because no one man could do all the leading man roles.<span style="mso-spacerun: yes;"> </span>Doug had to do his share, and Steve did his share
because I couldn’t be everywhere every day.<span style="mso-spacerun: yes;">
</span>There weren’t enough hours in the day to do it, so we just had to make
it work.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: Between all of the Western events and Veteran Charity events, I guess
you spend a lot of your life on planes. <o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: <a href="https://www.blogger.com/null" name="_Hlk37081637">I don’t fly; I drive everywhere.<span style="mso-spacerun: yes;"> </span>I quit flying in ’78, simply because I don’t
want to put up with people telling to take my boots off, or pat me down.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>I
don’t take kindly to that, and I’m likely to get into a big roaring fight, even
today with anybody who tells me to do that.<span style="mso-spacerun: yes;">
</span>It’s like touching my hat. So I stay out of airports. I just drive up
the road, and nobody bothers me.<span style="mso-spacerun: yes;"> </span>I can
go anywhere I want and take my guns with me, and that’s the way it should be.</a><o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><a href="https://www.blogger.com/null" name="_Hlk37081637"><br /></a></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: I understand you’re a Navy veteran.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: Yes, I was given a direct commission in the Navy during the Vietnam
War.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>They made a Lieutenant Commander out of me,
and I traveled for the Navy for public relations purposes all over the
world.<span style="mso-spacerun: yes;"> </span>It was a great experience, and I
was very honored to be chosen.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: Was this after THE VIRGINIAN?<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: It was during THE VIRGINIAN.<span style="mso-spacerun: yes;"> </span>I
went to Vietnam in 1966, took my own USO unit over there.<span style="mso-spacerun: yes;"> </span>I had already been commissioned in the Navy,
but I didn’t travel for the Navy, I was travelling for the USO at that time,
just like a Bob Hope tour, but not as elaborate<span style="mso-spacerun: yes;">
</span>But we played all over that country for 28 days.<span style="mso-spacerun: yes;"> </span>From Huay in the north down to Fuqua Island
off the southern tip of Vietnam.<span style="mso-spacerun: yes;"> </span>We
played for three guys in a fox-hole and fifteen thousand guys in an
airbase.<span style="mso-spacerun: yes;"> </span>I had two girl dancers, and
they did two or three numbers, and I had a couple of western musicians, and we
would tell some jokes, and then the girls would dance, we’d tell some more
jokes, and they’d dance some more.<span style="mso-spacerun: yes;"> </span>And
we were a big hit everywhere we’d go, because most of those guys hadn’t seen an
American girl in a long, long time.<span style="mso-spacerun: yes;"> </span>That
was a seminal experience as well, being over there, seeing that war up close
and personal.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>We traveled mainly in those de Havilland
Doves, those short take-off and landing airplanes.<span style="mso-spacerun: yes;"> </span>Those farmers would pick up their rifles and
take a shot at us.<span style="mso-spacerun: yes;"> </span>But none of them were
duck-hunters, and they’d always hit us in the tail of the airplane.<span style="mso-spacerun: yes;"> </span>We’d hear a bang, and there’d be a hole is
the sheet-metal in the tail of the airplane.<span style="mso-spacerun: yes;">
</span>But it never hurt the airplane any.<span style="mso-spacerun: yes;">
</span>We got fired on a lot, but nothing that gave us any trouble.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY PARKE:
It’s a little surprising that a New York boy should grow up to became famous as
a Western icon.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: My dad was teaching at NYU, and my mother was running the family ranch
in Oregon.<span style="mso-spacerun: yes;"> </span>They’d get together in the
summer time, and Christmas and Easter.<span style="mso-spacerun: yes;">
</span>But her father, my grandfather, was the main male figure in my life growing
up.<span style="mso-spacerun: yes;"> </span>He had me shooting when I was six years
old, and had me on the back of one of his Belgian plow-horses when I was two or
three – that’s one of my earliest memories.<span style="mso-spacerun: yes;">
</span>The horse’s back was so broad my legs stood straight out in both
directions.<span style="mso-spacerun: yes;"> </span>I loved the feel of it and
the heat of it, and the dust, and the smell of the horse, and I wouldn’t come
down all day.<span style="mso-spacerun: yes;"> </span>He was an Oregon rancher
and a dirt farmer, a great character, and a great example of a frontiersman and
a pioneer.<span style="mso-spacerun: yes;"> </span>The kind of man that won the
west.<span style="mso-spacerun: yes;"> </span>So I grew up with that, and that
informed a lot of what I did, as The Virginian.<span style="mso-spacerun: yes;">
</span>I tried to represent the working cowboy, and I’ve been told by working
cowboys that I did good, so that’s also a big feather in my cap, coming from
those guys.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">HENRY
PARKE: Growing up, were there any cowboy actors that you admired?<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">JAMES
DRURY: Well, of course everyone admired John Wayne and Roy Rogers and Gene
Autry.<span style="mso-spacerun: yes;"> </span>I used to go to the Saturday
afternoon serials and see them.<span style="mso-spacerun: yes;"> </span>Loved
them all. I admired Joel McCrea and Randolph Scott, and I got to work with
them, so that was another milestone for me, in RIDE THE HIGH COUNTRY.<span style="mso-spacerun: yes;"> </span>I’ve been extremely lucky.<span style="mso-spacerun: yes;"> </span>I may be one of the luckiest men who ever
lived – that’s what I take away from it.<o:p></o:p></span></div>
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<span style="background: white; font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;">THE VIRGINIAN airs seven days a week on INSP, and weekdays on STARZ ENCORE WESTERNS.<o:p></o:p></span></div>
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<span style="background: white; font-family: "Times New Roman", serif; font-size: 12pt; line-height: 32px;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/miOVwqI5H5U" width="560"></iframe></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">And
here’s that pilot of THE YANK.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><iframe allow="accelerometer; autoplay; encrypted-media;
gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Yk6gEm7aPMQ" width="560"></iframe><o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><b>‘OUTLAWS’
AND ‘TRAPPED IN TIJUANA’ -- DVD REVIEWS</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnkoVn4UgfxTbBG-Pvx2_fZ2dMKJx0enrmcIhZpAyhFAPQZ_ziqv7zFVkU8ZwjzviBx2xk9MssQrY4VygT6LCWACkEZf_-no_P5hOsXOdxbjbL7fJrrdaWeJahMRhhRx25o5RxC975qqjz/s1600/outlaws+cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="732" data-original-width="510" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnkoVn4UgfxTbBG-Pvx2_fZ2dMKJx0enrmcIhZpAyhFAPQZ_ziqv7zFVkU8ZwjzviBx2xk9MssQrY4VygT6LCWACkEZf_-no_P5hOsXOdxbjbL7fJrrdaWeJahMRhhRx25o5RxC975qqjz/s320/outlaws+cover.jpg" width="222" /></a></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><b><br /></b></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">In
1960, NBC premiered an hour-long Western series, OUTLAWS, with the original
premise of being a Western crime show that focused on the criminals, although
the regulars were all lawmen. Featuring long-time Warner Brothers tough-guy
Barton MacLane, of MALTESE FALCON and TREASURE OF THE SIERRA MADRE; and Don
Collier, who would become the foreman of THE HIGH CHAPARRAL, and appear in a
slew of feature Westerns, the show ran only two seasons, and produced only
fifty episodes. Alpha Video has released a pair of episodes, and they are
unusual dramas well worth watching.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">In the
grim but moving pilot, THIRTY A MONTH, the accidental death of a cowhand moves
his fellow drovers to consider more promising lines of work, including robbery.
But trail-boss Rance (Steve Forrest) has saved his wages for ten years, and is
about to buy a piece of land. When his bank folds, his mind snaps, and he leads
drovers Robert Culp, Warren Oates and Garry Walberg on an ill-fated train
robbery.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">In the
series’ third episode, BEAT THE DRUM SLOWLY, drovers Vic Morrow and Dean Jones first
lose their boss’ money to roulette wheel, then when they win it back, the place
is robbed, their winnings are gone, and they are lured by slimy Ray Walston
into a heist to get the money back. Even with just these two strong episodes,
the weakness of the premise is obvious: if we’re going to spend an hour with
criminals, we have to acre about them, hence the stories tend to be full of
extenuating circumstances, and takes of otherwise good men forced into crime.<span style="mso-spacerun: yes;"> </span>But these two episodes are quite good.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><br /></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">OUTLAWS
lists for $7.98. Alpha Video/Oldies.com is currently shut down due to the
Coronavirus, but when they reopen, it can be purchased <a href="https://www.oldies.com/product-view/8195D.html">HERE</a>.<o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">A movie
which could only be embraced by Duncan Renaldo completists, TRAPPED IN TIJUANA (1932)
opens with some promise. Early in the 20<sup>th</sup> century, at a United States
Fort near the Mexican border, the General’s tiny twin sons are playing when a
Yaqui bandit, played exuberantly by Frank Lanning, swipes one of the boys, who
is never heard from again. Jump ahead twenty years, and unless you’ve never
seen any movie involving separated twins, you will be able to guess everything
that happens to the two brothers, played by Duncan Renaldo, for an excruciating
sixty minutes. Renaldo does as well as he can with what he’s given to work
with, and there is some fun to seeing him play two roles. His co-star is lovely
Edwina Booth, with whom he had starred the previous year in the M.G.M. hit TRADER
HORN. It would be her last movie, after which she would be bed-ridden for five years as a result of illnesses contracted while filming TRADER HORN in Africa. It would be Renaldo's last film before being arrested and imprisoned for two years for entering the country illegally. This poverty row effort from Fanchon Royer, one of the few women to successfully
produce movies in the 1930s, was based on a story idea from cowboy actor Rex
Lease, who stuck to acting after this one. It’s available for $7.98 from Alpha
Video/Oldies.com, once they reopen, <a href="https://www.oldies.com/product-view/8271D.html">HERE</a>.</span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><b>HAPPY
EASTER!</b><o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><b><br /></b></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><iframe allow="accelerometer; autoplay; encrypted-media;
gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/r0H6fBSMxl8" width="560"></iframe><o:p></o:p></span></div>
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<br /></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><b>…ONE
MORE THING!</b><o:p></o:p></span></div>
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<span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">If you’re
a fan of silent movies, and want to see then they way they should be seen, with
a live musical accompaniment, here’s great news: <span style="mso-spacerun: yes;"> </span><i>Retroformat Silent Films</i> is
joining forces with <i>Flicker Alley, Lobster Films</i> and <i>Blackhawk
Films</i> to bring you a new weekly silent film simulcast,
featuring live musical accompaniment by Retroformat Musical
Director Cliff Retallick!<span style="mso-spacerun: yes;"> Join them </span>by clicking the link below on Monday, April 13, 2020 at 7:00
p.m. PDT for two hilarious Charlie Chaplin short films: "The
Masquerader" (1914) and "One A.M." (1916): <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><a href="https://www.facebook.com/events/150226829733946/">https://www.facebook.com/events/150226829733946/</a></span><span style="background: white; color: black; font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>AND THAT’S A WRAP!</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Happy Trails,<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">All Original Material
Copyright April 2020 by Henry C. Parke – All Rights Reserved<o:p></o:p></span></div>
<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-89313020869059002252020-03-31T18:43:00.000-07:002020-04-01T01:09:31.687-07:00NEW WESTERN – ‘A SOLDIER’S REVENGE’, INTERVIEW W/DIR. MICHAEL FEIFER, PLUS RANDOLPH SCOTT DOUBLE-FEATURE REVIEW!<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>WRITER-DIRECTOR MICHAEL FEIFER ON 'A SOLDIER'S REVENGE':</b></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>GUN-RUNNING, AND POST-CIVIL WAR P.T.S.D.</b></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">With 64 feature directing
credits, and 37 screenwriting credits since 2005, you can safely call Michael
Feifer prolific.<span style="mso-spacerun: yes;"> </span>From action films to true
crime to horror to Christmas movies, to ‘dog-who-saved-various-holidays’
movies, he’s delved into most genres. On
Tuesday, June 16<sup>th</sup>, just in time for Father’s Day, his newest film
will be coming out on home video, from <i>Well Go U.S.A., </i>available from
Walmart and other retailers, as well as VOD download. It’s Michael’s third
Western. His first was the contemporary SODA SPRINGS (2012), starring
Jay Pickett and Tom Skerritt, followed the same year by WYATT EARP’S REVENGE,
whose cast includes Val Kilmer and Trace Adkins. Partnered with co-producer and
Western expert Peter Sherayko, in addition to A SOLDIER’S REVENGE, Michael has
a fourth Western, SHOOTING STAR, in the can, to be released later this year,
and three more Westerns set to go before camera: one would be rolling by the
end of this week if not for the Coronavirus. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A SOLDIER’S REVENGE is a
post-Civil War tale of a former Confederate soldier, Frank Connor (Neal
Bledsoe), whose PTSD has made him unable to adapt to civilian life. He’s lost
his marriage, isolated himself, and survives by taking assignments as a paid
gunman. <span style="mso-spacerun: yes;"> </span>The unwanted responsibility
thrust upon him by a chance meeting with two desperate children leads him to
uncover a gun-running scheme operated by former friend and comrade-in-arms Briggs
(Rob Mayes). <span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Back in 2011 I had the
pleasure of spending a few days on the set of WYATT EARP’S REVENGE, at Caravan
West Ranch and Paramount Ranch. (If you'd like to read those articles, go <a href="http://henryswesternroundup.blogspot.com/2011/03/on-set-with-wyatt-earp-part-1.html">HERE</a> and <a href="http://henryswesternroundup.blogspot.com/2011/05/wyatt-earp-back-at-paramount-ranch.html">HERE</a>.) Just a
day ago I had the chance to catch up with Michael, telephonically, about A
SOLDIER’S REVENGE, and his other Westerns in the pipeline.<o:p></o:p></span></div>
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Frank (Neal Bledsoe) and Griggs (Rob Mayes) as </div>
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Rebel comrades </div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: You wrote the
script for <i>A Soldier’s Revenge</i> some years ago, and as another genre. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">MICHAEL: I just wrote a
low-budget action movie. There wasn't particularly a plan; I was just starting
to write scripts. I've written now 40 or so scripts. It's just been sitting
around for 10 years. And then, Peter Sherayko called me up and said, Hey, I
have an investor, Rick Pihl, for a Western. You got any Westerns sitting
around? I said, I don't, but I do have this action movie that I think I can
convert into a Western. So I made a bunch of changes, but it’s basically a
similar storyline. The action movie was based on an Iraq War soldier. It was a
PTSD story. I changed the SUVs into wagons and horses, and changed the city of
L.A. <span style="mso-spacerun: yes;"> </span>into a Western town. The original script
had a DARPA, secret Defense Department compound, and that changed to Briggs'
compound. Peter read it, and brought in all his Western-isms: Frank saying, I
roll my own hoop, a hard-boiled egg is yellow on the inside, stuff about a
curly wolf -- things like that. Peter brought that actual Western lingo to the
script, which was really nice.<span style="mso-spacerun: yes;"> </span>And
Peter's like, if you want to be true to the timeline, the men who ran guns, they
ran women, too. So there's the scene where Frank pulls up the stagecoach, and my
wife, Caia Coley, plays one of the prostitutes. Peter came in and brought in
his lingo and the right types of guns and the right timeline and the right
geographical settings, <span style="mso-spacerun: yes;"> </span>we changed Briggs
into a gun runner.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY:<span style="mso-spacerun: yes;"> </span>How did you like shooting the Civil War
scenes?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">MICHAEL:<span style="mso-spacerun: yes;"> </span>I really enjoyed them. You know, usually on a
low-budget movie, you really don't have the money for practical effects (note:
practical effects are effects that are done on-set and on-camera, as opposed to
CGI). Most of the effects you see in a movie are visual effects. But we
actually had Christian Ramirez, my production designer, put together some
canons to blow material in the air, which is really, really nice. The civil war
reenactor guys, they come ready to go with all the accoutrements and costumes,
and so truly quick and easy to get into and start shooting. I would love to
shoot another war movie that's just Civil War, trench warfare, or a <span style="mso-spacerun: yes;"> </span>World War One movie. <span style="mso-spacerun: yes;"> </span>It's just so visual and visceral and textured.
<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: Frank Connor's
character, today we would say he had PTSD. What did they call it after the
Civil War?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">MICHAEL: They called it <i>Soldier's
Heart</i>, the original name of the film. <span style="mso-spacerun: yes;"> </span>Peter was the one who named the film <i>Soldier’s
Heart</i>. They didn't really have an understanding of what it was, but they
knew that something traumatically would happen to you in war, and seeing such
terrible things. The movie is being released as <i>A Soldiers Revenge</i>
because that title had a little more of an action feel to it than a drama feel
to it.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: When I talked to
Peter about it, having been a Vietnam War veteran himself, and <span style="mso-spacerun: yes;"> </span>having friends who suffered from PTSD, the
theme was very important to him. I was wondering if you've had a response from
any other vets.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">MICHAEL: Oh, you know
it's interesting. Peter's a gang of background actors that work on the movies, we
call them Peter Sherayko's Buckaroos, many of them are vets, and many of them
came to me during the shoot and thanked me for making a story where you have
a character who's suffering from PTSD, suffering from soldier's heart. They
found a lot of moments that really expressed their feelings, and appreciated
that it was being explored. And the more light you put on the subject, the more
people could come out from their own personal shadows and get help and feel that
there's others like others like them. So a lot of guys actually came up and,
and, and thanked me.<o:p></o:p></span></div>
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Neal Bledsoe and AnnaLyne McCord</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: You've certainly
taken us far out of the 21st century with this one. Where did you film it?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">MICHAEL: We filmed on
three ranches in Los Angeles. Caravan West Ranch, which is Peter Sherayko's production
facility, in Agua Dulce. We filmed at Big Sky Ranch in Simi Valley, which is <i>where
The Little House on The Prairie </i>was filmed. We shot at Rancho Deluxe, in
Santa Clarita. Big Sky Ranch is where the yellow house that's where Briggs'
house is. People might be familiar with that from <i>Westworld</i> ‘s first
season. There used to be more Western towns in Los Angeles. In fact, Paramount
Ranch burned down, and another fantastic West town was torn down. So there were
more options, but you know, L.A. is where they shot all the old westerns and
what we're still doing here.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY:<span style="mso-spacerun: yes;"> </span>How long was your shooting schedule?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">MICHAEL:<span style="mso-spacerun: yes;"> </span>17 days.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: Wow -- that's tight!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">MICHAEL: Not for me,
(laughs). Actually that's four days longer than my normal schedule. <i>Shooting
Star</i>, the last one, I actually did that in 19 days, which was even nicer. You
know, a studio film, they might shoot 45 to 90 days. When you shoot independent
films, specifically Western, you’ve just gotta work fast, you've got to have a
well-oiled crew working together. You could tell when a movie is gonna really
work out when you're on on-set, when everybody's really enjoying the process. <span style="mso-spacerun: yes;"> </span>And the fruits of our labor will be revealed
to the world on June 16th.<o:p></o:p></span></div>
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Val Kilmer, Michael Feifer, Neal Bledsoe</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY : What part of
making a film is the most fun, or the most challenging?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">MICHAEL: Actually the
most fun <i>and</i> the most challenging is directing. I just thoroughly enjoy
putting the pieces together, conceptualizing scenes, picking my lenses, camera
movement, telling my crew, my cast what I need them to do. Everybody works together
for one final goal. It’s just the complete creativity of directing a movie. I
went to school for architecture, I was a graphic designer as a kid. I was a
photographer and sculptor and drew, and directing movies is the aggregate of
all of that together into one. If I couldn't direct movies, I would want to be
a professional baseball player. It's like being a pitcher on the mound and
you're in control of that game. And you only have those 17 days. That's it. There's
no pickups or re-shoots on independent films; there's no budget for it. I'm so
hyper-vigilant about getting the day started as quick as possible and shooting
everything I can within a day.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: What is your
favorite part of the finished film?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">MICHAEL: There's a part
where the kids are sleeping on a horse, and Frank leads them, comes to a spot
and stops. He's leaning on the horse and he tells the kids, basically tells
himself, and tells the kids while they're sleeping (something crucial that
would give too much of the plot away!) There's something about the scene's
really beautiful to me. I think Neil Bledsoe, his performance just hearkens
back to Westerns of the ‘40s and ‘50s and ‘60s. It's just a sweet moment, one of
the kids kind of looks up and then looks down again cause she was listening.
That’s Savannah Judy -- Savannah and Luke Judy play the kids. You know making
moments where people are shooting each other and riding quick and killing
somebody are really fun to do and really exciting. But when you could draw the
emotion in the middle of a big Epic Western, and it's just him with the two
kids, I think I might like that scene the best.<o:p></o:p></span></div>
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Luke and Savannah Judy</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY:<span style="mso-spacerun: yes;"> </span>I was delighted to see Jimmy Russo in the
film. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">MICHAEL:<span style="mso-spacerun: yes;"> </span>Well, he's a fascinating guy, really a
legendary actor. I was just watching him in <i>Open Range</i> the other night,
with Robert Duvall and Kevin Costner. My favorite part of his was in <i>Extremities</i>,
with Farrah Fawcett. We have a friend in common, Jay Pickett, who's also in <i>Soldier's
Heart</i>, and Jay Pickett and James Russo coached baseball together; their
kids were on the same baseball team. I needed a really, really strong actor to
start off the movie. Frank goes to take care of one of his bounty hunting jobs,
which is to take out James Russo's character, Artemus Walsh. It's a long scene
and it's a tension-filled scene and it has great moments. I needed someone to
really start the movie off with a bang, no pun intended, and a really strong
performance. Someone who's gritty and just real, and James came to mind.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">And onset was actually
fascinating to watch him. We get onset, rehearse it, block the scene, and once
we shoot the master, you kinda know what you're doing. When you get to the
mediums and close-ups, you can evolve the moments more. Russo grabbed Neil and
just set out a couple of directors chairs while the guys are lighting the set
and just started working with Neil: let's work it, let's work it, let's do it
again, let's do it again. Generally with independent films there's no
rehearsals, there's no money to do rehearsals ahead of time. But we had this
moment in time because we were lighting the set and James was just working with
Neil and was like, let's do it again, and Mike, do you mind if I change the
words here? <span style="mso-spacerun: yes;"> </span>And Neil's really an actor's
actor too, and he was loving it.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY:<span style="mso-spacerun: yes;"> </span>It was so nice to see Val Kilmer as Frank's
father. Haven't you guys worked together before?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">MICHAEL:<span style="mso-spacerun: yes;"> </span>We worked together on <i>Wyatt Earp's Revenge</i>.
And I did that in 2011 and filmed him at the Fairmont Hotel in San Francisco.
One day, 13 pages. It's one of those just sort of amazing experiences. But we
had so much material to do. I didn't have time to get to know Val, to talk to
him. Fast forward, eight years later, and I emailed him and said, Hey Val, do
you remember when we got together for <i>Wyatt Earp's Revenge</i>? I’ve got
another Western. And he emailed me back, yeah, I remember, good times. <span style="mso-spacerun: yes;"> </span>In fact, if you watch, I'm sure a lot of
people recognize that Val's gone through some health issues, but there's a
certain sort of pathos to his character, that he was able to bring out, that I
think is really just fascinating to watch. Even with the health issues he's
been having. I'm just so impressed with Val, he's such a good guy. Such a nice,
a nice person who's really very giving and just wants to do the best he can and
help his fellow actor. And it was a pleasure to work with him.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY:<span style="mso-spacerun: yes;"> </span>I understand you have several other Western
movie projects in the works.<o:p></o:p></span></div>
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Mike Feifer and Peter Sherayko</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">MICHAEL:<span style="mso-spacerun: yes;"> </span>We shot <i>Shooting Star</i> in October, and
it's in post. <i>Shooting Star</i> stars Drew Waters, Heather McComb , Peter
Sherayko and Michael Pare, Jake Busey, but it also stars two young actresses
who've never acted before and just blew me away. They were brilliant. One is
Lyana Ferrino who plays the young girl, Blaze, who gets hurt at the beginning
of the film, and is sort of the impetus for the entire story of the film. And
then the lead actress is Brooklin Michelle. We'll probably complete post production
in a couple of months. Then I have three more Western's coming up: <i>Catch the
Bullet</i>, <i>Desperate Riders,</i> and <i>The Siege at Rhyker's Station.</i>
We were supposed to shoot <i>Catch the Bullet</i> April 6th, but unfortunately
with the Coronavirus and the quarantine, we have to delay that. And Val Kilmer
was going to be in that movie too. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">You asked about something
challenging. Probably the most challenging thing other than just directing a Western
movie, is the horse-riding. It's very hard to find experienced actors who can
also ride horses; not just ride a horse, like gallop a horse, but control a
horse. And it's very difficult to get. So on <i>Catch the Bullet</i>, there's a
gang of bad guys and there's three good guys chasing down the bad guys and they
all have to ride horses. So for <i>Catch the Bullet</i>, I'm hiring cowboys and
stunt men who ride horses to play the roles, rather than actors and teaching
them how to ride. I want these guys to be able to ride like there's no
tomorrow, so the scenes just feel more dynamic and more real. <span style="mso-spacerun: yes;"> </span>(laughs) In <i>Shooting Star</i>, I used a
yoga ball. I’d put the actors on a yoga ball and have them bounce up and down,
and make like their on a running horse. Sometimes we put the yoga ball in the
back of the pickup truck and drive the pickup truck with the yoga ball. There's
all sorts of techniques you have to use.<o:p></o:p></span></div>
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Jake Busey takes aim!</div>
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<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Shooting Star</span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">
is going to be entirely in black and white, going to be reminiscent of westerns
of the fifties and sixties, and we're going to do the music a very similar way.
It looks spectacular in black and white. I'm really excited, really excited, and
I'm not going to change it. People think, if you do it black and white, you're
not gonna make any money. </span><span style="background-color: white; color: #29303b; font-family: "Times New Roman", serif; font-size: 16px;">I'm like, ah, no, we're actually going to make a lot more money!</span><span style="background-color: white; color: #29303b; font-family: "Times New Roman", serif; font-size: 16px;">"</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>“TO THE LAST MAN” AND “THE
FIGHTING WESTERNER”<o:p></o:p></b></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>A RANDOLPH SCOTT DOUBLE
FEATURE FROM ALPHA VIDEO DVD $7.98</b><o:p></o:p></span></div>
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Jack LaRue and Randolph Scott</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Back in the early 1930s,
Paramount brought ten Zane Grey Westerns to the screen, all starring young
leading man Randolph Scott. Low-budget, but not B-Westerns in the usual sense,
not aimed strictly towards kiddie matinees, some very fine films were made, all
with strong casts, some with fine directors. Alpha-Video has released a
double-feature pair, TO THE LAST MAN (1933), and THE FIGHTING WESTERNER (1935).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">TO THE LAST MAN, directed
by the wonderful Henry Hathaway (TRUE GRIT 36 years later!), it opens after the
Civil War, with Mark Hayden (Egon Brecher), going home to the Kentucky hills,
but only long enough to take his three kids to live somewhere away the deadly
feud that has killed many in his family, and the opposing family, the Colbys,
led by Jed Colby (Noah Beery Sr.). When Jed murders Mark’s father, Mark’s
decision to have Jed arrested and tried rather than shooting him, is considered
cowardly and dishonorable by <i>both</i> sides, and when Jed gets out of prison
after fifteen years, he’s determined to destroy Mark as slowly and painfully as
possible. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Randolph Scott, as Mark’s
eldest son, doesn’t appear until 20 minutes into this just-over-an-hour movie,
but when he does the film belongs to him, and to lovely Esther Ralston as Jed’s
daughter Ellen – if you sense a Romeo and Juliet vibe, you’re not wrong. The
supporting cast is delightful, with many actors you’ve never seen so young
before, including Fuzzy Knight, Jack LaRue as Jed’s former cellmate, Buster
Crabbe as Mark’s kid brother, Gail Patrick as their sister, and Barton MacLane
as Mark’s son-in-law. It features a very early role for John Carradine, and the
very first screen appearance for Shirley Temple, who is utterly charming. <o:p></o:p></span></div>
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Delmar Watson, Randolph Scott, and in her very first</div>
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scene in a movie, Shirley Temple</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">It’s a pre-Code film,
which means, yes, Esther Ralston really seems to be skinny-dipping, and some of
the violence is startling brutal. There’s one moment as tough as the scene in
LITTLE CESAR when the gangster is brought home. Most interesting is a moment
where Ellen asks cousin Eli (James Eagle) how a fine lady dresses. As he describes
how his mother would dress, we realize what neither he nor Ellen do, that his
mother was working in a brothel.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">THE FIGHTING WESTERNER
was originally released as THE ROCKY MOUNTAIN MYSTERY, and is in fact more of a
Mystery than a Western, and not a very involving one at that. Randolph Scott is
a mining engineer who arrives at a radium mine to find he’s there to replace a
murdered man. All of the heirs have come for the reading of the will, and
someone is bumping them off. Scott plays Watson to Sheriff (and vaudeville
comic) Chic Sale’s Holmes. Also in the cast are lovely Ann Sheridan very early
in her career; lovely Kathleen Burke, best remembered as the Panther Woman in
ISLAND OF LOST SOULS; and David Belasco discovery Mrs. Leslie Carter.<span style="mso-spacerun: yes;"> </span>It was the second film directed by talented
journeyman Charles Barton, who the previous year won an Oscar for Best
Assistant Director – yes, they used to give Oscars for that job. He would make
his reputation directing some of Abbott & Costello’s funniest films, including
ABBOTT & COSTELLO MEET FRANKENSTEIN. He has one wonderful sequence here, a
fight-to-the-death at the mine’s stamp mill. Both films are from badly
scratched but high-quality prints. Alpha Video’s offices are currently closed due to the Coronavirus. But when things get back to normal, you can order them
<a href="https://www.oldies.com/product-view/8280D.html">HERE</a>. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>…AND THAT’S A WRAP!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Have a great week, keep
washing your hands and hiding from your neighbors! <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Happy Trails,<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">All Original Material Copyright
Mach 2020 by Henry C. Parke – All Rights Reserved<o:p></o:p></span></div>
<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-45910776733193458272020-03-23T03:22:00.000-07:002020-03-24T15:39:35.692-07:00UPDATED 3-24-2020! ‘TRAVELS WITH DARLEY’ HOST DARLEY NEWMAN, DVD REVIEWS, ‘THE PATHFINDER’ AND ‘THE SONG OF HIAWATHA’, PLUS TCM ANNOUNCES FEST HOME EDITION!<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>HENRY’S WESTERN ROUND-UP
RETURNS TO WEEKLY SCHEDULE!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 16px;">Greetings from Quarantine, Rounders!</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">As I commence – or actually
continue – the second decade of <i>The Round-up</i>, I have decided to return
to posting every Sunday. As those of you who have been with <i>The</i> <i>Round-up</i>
since the beginning will remember, <i>The</i> <i>Round-up</i> was a regular
Sunday-night event – actually more like a Monday at 3 a.m. event. It gradually
changed to a monthly-ish deal because of the success <i>The Round-up </i>brought
me: I was honored to be hired as the Western Film and TV Editor of <i>True West
Magazine</i>. I began reading <i>True West</i> when I was ten years old. The
magazine was a rare sight in my Brooklyn neighborhood, but whenever my family
would travel West for vacations – my parents loved long-drive vacations – I would
snap up copies wherever I could find them. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Of course, my monthly
duties for <i>True West</i>, in addition to teaching full-time, took a toll on
the time I could spend on <i>The Round-up</i>. Well, with all of the bad news
we are currently sharing, one surprise consequence for me is that, at least for
the rest of the school year, I am not currently a full-time teacher. I plan to
use some of that extra time to finish a book, and a screenplay that should have
taken me three months, but has taken over a year. Maybe two years. And at least
for the time being, I’m going to post <i>The Round-up</i> every Sunday night.
It’s going to be a bit shorter than it has been of late, because as we all
know, at the moment there is <i>no</i> scripted film or TV production going on.
But there are completed shows and films in the pipeline, and there are
filmmakers who, like all of us, are sitting around at home, that I can talk to.
I will feature at least one review of a new or recent home video release every
week: we all need new things to watch. I also hope to make book reviews a more regular
event. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I’m starting this new
Round-up with an interview with Darley Newman, host of <i>Travels with Darley</i>,
a fascinating world travel series found on many PBS stations, here in L.A. on
KCET, and on Amazon as well. I know none of us are going anywhere right now,
but we will soon, and Darley has some wonderful ideas for places to visit.
Things will get better!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>TRAVELS WITH DARLEY – A Chat
with TV Travel Host Darley Newman</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Darley Newman has been
traveling the United States, and the world, since 2016, creating and hosting
her show, <i>Travels with Darley</i>. In each 30-minute episode – half of them in
the United States and half around the world – she tracks down locals to advise
her. “The idea for this show is to travel with locals as your guides. Actually,
<i>Travel Like a Local</i> was the original name.” <span style="mso-spacerun: yes;"> </span>Athletic and adventurous, Darley’s show focuses
on local history and food and drink, but also hiking, biking, horseback riding,
bungee jumping, swimming with sharks, and the occasional need to put distance
between Darley and an enraged elephant.<span style="mso-spacerun: yes;">
</span>It’s not an idea that came to Darley overnight. <span style="mso-spacerun: yes;"> </span>“I wanted to do this since high school. I said,
I'm going to host a travel show one day and didn't know how to exactly do that,
but I'm pretty creative. So I came up with a way. And I love doing it for Public
Television because nobody dictates the content. I love that because you can still
tell really good stories, and you can get in depth, which is harder to find in
the media nowadays.” <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">We had a chance to meet
and talk recently, when she came to Los Angeles, to celebrate the arrival of <i>Travels
with Darley</i> at KCET. It’s currently seen on 96% of PBS stations, and
available on Amazon.<span style="mso-spacerun: yes;"> </span>She first became
interested in travel due to a sad circumstance.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">DARLEY: I grew up in
Myrtle Beach, South Carolina. The first big trip I took was when I was five or
six, and I came out to California. My grandfather passed away, he got cremated,
and we came out to spread his ashes in different areas that he felt strongly
about. We did one in the San Francisco area. <span style="mso-spacerun: yes;"> </span>We went to Chinatown one night, over by the
Golden Gate Bridge. I remember falling asleep in a restaurant in Chinatown,
under the table, because I was so tired. But it was neat. I mean, I've got this
love to travel. I love the adventure of it; I look at every day as an
adventure.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: Tell me about your
first travel series.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">DARLEY: I started doing
this show called <i>Equitrekking</i> many years ago. The idea was to go
horseback riding around the world with locals as your guides, which sounds
bizarre, but it's been really successful. Because you get into a lot of natural
areas, and see things that people don't normally get to experience or film. I
did everything; going to Botswana, Africa and doing a safari on horseback,
where I got charged by an elephant. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: What exotic places
have you visited on <i>Travels with Darley</i>?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">DARLEY: I've ridden with
the Bedouin in Jordan. I've snowmobiled across glaciers in Iceland, I just
jumped off the Macau Tower in Macau, China and filmed it in 360 and survived.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: Anything unusual a
little closer to home?<o:p></o:p></span></div>
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Darley at Theodore Roosevelt Park in North Dakota</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">DARLEY: I just did North
Dakota this past year, which I thought was fascinating. And I didn't know
anyone else who's filmed there. I looked up travel content and couldn't find
anything done on the areas where we ended up going. We discovered such
interesting things; you can hike to ice caves in the summer and cool off in the
grasslands, which is kind of interesting. There's really fascinating Native
American culture there, and tribes that I'd never heard of, which we all should
learn about. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: North Dakota is
perfect for my readership, because their main interest is the American West.
Any other episodes that would be of particular interest to them?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">DARLEY: Oh, tons. I just
did this new season. We did Tahoe and Reno – Reno I thought was really
interesting and underrated, really awesome art scene. There’re just murals all
over town, I love when there's street art and murals. I think it makes something
different for people to just enjoy things out in the public, public art. Then
there's railroad history. I did a segment on the Transcontinental Railroad
that's in the show. In Wyoming I did a whole thing on the history of ranches.
Went to a hundred-year-old-ranch in Wyoming. I love going to ranches because
again, there's not as many. There are dude ranches out there, but there's not
as many that are getting preserved there. We're losing some still. The people that
run ranches, they've chosen this lifestyle; they're fascinating to talk with or
hang out with. And that goes for like so many businesses. Because if you choose
to do what you love, wow, what freedom there is with that. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: Are you doing any
riding in the current series?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">DARLEY: It's funny, when
I first started <i>Travels with Darley</i>, I was like, I'm not going to do any
riding, because I'm going to try to differentiate the series. But I'm in the first
season, in Maryland, eastern shore. I went to Assateague Island, and they've
got wild horses there so I have to cover it, right? <span style="mso-spacerun: yes;"> </span>I ended up doing a fair number with horses. <span style="mso-spacerun: yes;"> </span>I just filmed in Qatar. We're going to release
this winter (note: it’s a available now) and I actually got to saddle up there,
and ride at a lot of those stables, and they’ve got a lot of the prize race
horses there. But then you could also go and take a riding lesson. It was
really hot.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: How hot?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">DARLEY: Like 110.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: That's hot.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">DARLEY: And humid. I was
surprised.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">HENRY:</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"> </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">What is the first thing you do when you're
visiting a new place?</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">DARLEY: I always walk
around. It's nice to explore somewhere on foot, just kind of weaving through a
place, not necessarily having a set agenda, to see what you can stumble upon,
as long as you're safe about it. I love it in Seville, Spain, one of my
favorite places, because you can just wind through their public streets forever,
and just get lost, and see so much as you do so.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: How is <i>Travels
with Darley</i> different from other travel shows?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">DARLEY: Everything that I
have done in all of these episodes, they're all things that anybody can go and
do. I didn't get exclusive access; they're open to the public. So you can
either just watch it, and feel like you've traveled, or you can really actually
do it, which is nice. We're trying to cover a lot of U.S. places, because there
aren't as many shows that are doing that, and there's just so much that we have
in the U.S. to experience; things people don't know about.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: How big an
operation are you?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">DARLEY: When we're
filming, there's four of us in total. That includes me. We're a small team. I
hear about other shows, and they're like half a dozen, dozen people on them.
and I'm like, what do they all do? I edited every single episode up to this
last season. You don't need a huge team now with all the modern technology. And
since I started doing it, things have just gotten easier, year upon year, and I
think it's really exciting.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>‘THE PATHFINDER’ & ‘THE
SONG OF HIAWATHA’ – SPLIT DECISION <o:p></o:p></b></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>A DVD REVIEW</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The tremendous success of
1992’s LAST OF THE MOHICANS, with which Director Michael Mann made an
international star of Daniel Day Lewis, led to a rise in Indian-centered Westerns,
and a revived interest in the writings of MOHICANS author James Fenimore Cooper.
The two films presented in this double-feature from Mill Creek Entertainment,
1996’s THE PATHFINDER, based on Cooper’s 1840 novel, continuing the MOHICANS
story, and 1997’s THE SONG OF HIAWATHA, from Henry Wadsworth Longfellow’s 1855
epic poem, were a direct result. Produced back to back for Hallmark
Entertainment, they are clearly of the same world, yet are remarkably
different. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Both films were shot in
the beautiful green wilds of Ontario, Canada, and both feature MOHICANS star
Russell Means, and fine fellow Native actor Graham Greene. PATHFINDER is shot competently,
if without inspiration, with good costuming. There are some splendid sailing
ships, and the most exciting sequence is a well-done storm at sea that
threatens to destroy the ship. But while there are some good performances –
Charles Edward Powell as a traitorous English officer, female lead and later
THE MAGNIFICENT SEVEN series star Laurie Holden, many performances are weak,
and Kevin Dillon has the thankless job of following Daniel Day Lewis in a
terribly underwritten role, coming off as the great stone face. Even Jaimz
Woolvett, who was so memorable as The Schofield Kid in UNFORGIVEN, is woefully
miscast here as a ship’s captain. <span style="mso-spacerun: yes;"> </span>Stacy
Keach has a nice cameo as a French politician. I was recently interviewing him
about his Westerns. When I asked him about PATHFINDER, he said, “Oh my, yes. I
went up (to Canada) for a day to shoot that thing.” When I confessed that, at
the time, I hadn’t seen it, he laughed, “Nor have I.” <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">THE SONG OF HIAWATHA, on
the other hand, is awfully good, and largely unknown. In addition to Means and
Greene – who do far better work here – the excellent Indigenous cast includes Gordon
Tootoosis, Adam Beach, beautiful Irene Bedard as Minnehaha, and as Hiawatha,
Litefoot, who played the title character in THE INDIAN IN THE CUPBOARD, and has
the distinction of being the first successful Native American rapper. Among the
talented non-Native cast members are Michael Rooker and David Stratairn. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Screenwriter Earl W.
Wallace had a long career in television, including GUNSMOKE episodes and
movies, and shared on Oscar for WITNESS. Remarkably, director Jeffrey Shore has no other directing credits. </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">The double feature is
available from Mill Creek Entertainment, for $9.98, <a href="https://www.millcreekent.com/products/song-of-hiawatha-pathfinder?_pos=1&_sid=e827675b1&_ss=r">HERE</a>.</span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>UPDATE 3-24-2020 – TCM ANNOUNCES
CLASSIC FILM FESTIVAL HOME EDITION!</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><iframe allow="accelerometer; autoplay; encrypted-media;
gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/WyQvA19m6GQ" width="560"></iframe><o:p></o:p></span></div>
<br />
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">It was no surprise, but a
big disappointment, when TCM cancelled it’s TCM CLASSIC FILM FESTIVAL: after
all, <i>everything </i>is cancelled until further notice. But those clever
characters at TCM have decided that the original dates for the event, April 16<sup>th</sup>
through the 19<sup>th</sup>, will be the first ever HOME EDITION version of the
classic event, featuring movies that have been presented at the Fest in the
past, and ones that would have been presented this year. Also, interviews and
events that were filmed at previous TCM Fests will be featured, including Luise
Rainer (2011), Eva Marie Saint (2014), Kim Novak (2013), Faye Dunaway (2017),</span><b><span style="background: white; font-family: proxima-nova, serif;"> </span></b><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Norman
Lloyd (2016), and Peter O’Toole (2012). The announcement adds, this special
edition of the Fest begins April 16 at 8pm (ET), continuing until April 19 on
TCM and will include TCM hosts, special guests and events to follow on-air and
online. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>AND THAT’S A WRAP! </b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">And I’ll be back next
Sunday with more! In the meantime, please check out the April <i>True West
Magazine</i>, on newsstands now, featuring my article on the 40<sup>th</sup>
anniversary of the release of THE LONG RIDERS. In writing the article I had the
pleasure of interviewing stars and producers and brothers James Keach (Jesse
James) and Stacy Keach (Frank James), Robert Carradine (Bob Younger), Pamela
Reed (Belle Starr) and director Walter Hill!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Happy Trails,<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">All Original Contents
Copyright March, 2020 by Henry C. Parke – All Rights Reserved<o:p></o:p></span></div>
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<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-36017287112615098052020-02-24T21:58:00.001-08:002020-03-09T21:39:00.889-07:00‘CALL OF THE WILD’, ‘BEN HALL’ KICKSTARTER, ‘TCM FEST’, ‘WESTERN PORTRAITS’ SIGNING & INTERVIEW – AND IT’S THE ROUND-UP’S 10TH ANNI!<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>UPDATED TCM FEST INFO! </b></span><br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>‘CALL OF THE WILD’
Reviewed</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Over the years, Jack
London’s brilliant, ground-breaking novel about a dog kidnapped and forced to
pull sleds during the Yukon Gold Rush has been filmed many times. The chief
human role of John Thornton has been portrayed by a remarkably fine collection
of actors, starting in 1923 with silent star Jack Mulhall, followed by Rutger
Hauer, Charlton Heston, Nick Mancuso, and my personal favorite, Clark Gable, in
William Wellman’s 1935 version, co-starring Buck, the St. Bernard offspring of
Buster Keaton’s remarkable pooch.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The problem has always
been that while the book is about the dog, the films have always been about the
humans, the filmmakers never figuring out how to direct a dog through a
performance that would carry the story.<span style="mso-spacerun: yes;">
</span>Ironically, director Chris Sanders has scaled that mountain in the same
way Willis O’Brien humanized an ape in 1933’s <i>King Kong</i>: with animation.
The difference here, of course, is that instead of stop-motion, the magic is
done through CGI.<o:p></o:p></span></div>
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Harrison Ford meets Buck</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Sanders has succeeded
remarkably. While a first-time director of live action, as a writer he scripted
<i>Mulan</i>, and created <i>Lilo & Stitch</i>, <i>How to Train Your Dragon</i>,
and <i>The Croods</i>. He directed the last three, and was thrice
Oscar-nominated for Best Animated Feature.<span style="mso-spacerun: yes;">
</span>Screenwriter Michael Green (<i>Murder on the Orient Express, Blade
Runner 2049</i>) has preserved and polished the most important elements of the
story, made a few PC changes, and softened elements for a younger audience, but
maintained the integrity and purpose of the tale. There are few if any deaths
of me or dogs onscreen, but you’ll notice who doesn’t return. And they’ve
preserved included Buck’s gradual drawing away from humans and their
civilization. <o:p></o:p></span></div>
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Buck -- not bad for a CGI pooch!</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Harrison Ford has the
confidence and presence to play John Thornton without the human interaction his
predecessors in the role had, perfectly involving when alone, or with the dog
as his only companion.<span style="mso-spacerun: yes;"> </span>Of special note
is Terry Notary, who played the role of Buck, although his image is, of course,
entirely removed, and the glorious cinematography by two-time Oscar winner for <i>Schindler’s
List</i> and <i>Saving Private Ryan</i>, Janusz Kaminski. There are literally
so many hundreds of people involved in animating Buck that I don’t know where
to start giving credit. </span><i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Call of the Wild</span></i><span style="font-family: "times new roman" , serif; font-size: 12pt; line-height: 200%;">
is that rarity, a fine family film, with nothing patronizing meant by that
label.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>COMING ATTRACTIONS -- EVENTS
THIS WEEK OR SOON AFTER!<o:p></o:p></b></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>‘THE HISTORY OF PARAMOUNT RANCH’ THIS THURSDAY!</b><o:p></o:p></span></div>
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Paramount Ranch in Wyatt Earp's Revenge</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">On Thursday, February 27<sup>th</sup>,
7 p.m. at the New Life Church, 10650 Reseda Boulevard, Porter Ranch 91326, The
San Fernando Valley Historical Society presents Mike Malone. Mike spent the
last 16 years of his Park Ranger career at the Santa Monica Mountains National
Recreation Center, home of the Paramount Ranch. He’s spent years researching
the extensive film history of the area, and will give a PowerPoint presentation
incorporating his extensive photo collection.<span style="mso-spacerun: yes;">
</span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The event is free, but contributions
are welcome.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The ranch, once one of
the busiest filming locales in California, celebrated it’s 90<sup>th</sup>
anniversary in 2017, and tragically burned to the ground in 2018, a victim of
the Woolsey Fire. It is set to begin rebuilding this year. The Ranch’s history
is as convoluted as it is long, and should make a fascinating presentation.
Just to give you a teaser, after the original Paramount Ranch fell into ill
repair and disuse, the Hertz family from back east bought a large section of
RKO’s Western Town in the San Fernando Valley and hauled it to the Paramount
Ranch location. And when <i>that</i> one wore out, it was rebuilt by the
producers of DR. QUINN, MEDICINE WOMAN.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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AT THE EGYPTIAN!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">On Friday, February 28<sup>th</sup>,
at 7:30 pm, Retroformat presents the biggest hit of 1913, the first feature
released by Universal Pictures, TRAFFIC IN SOULS – OR WHILE NEW YORK SLEEPS, a
dramatic exposé of the white slave trade, presented with a live accompaniment
by Retroformat Musical Director Cliff Retallick. Also on the two hour program,
two Mack Swain comedies, Ambrose’s First Falsehood (1914) and Willful
Ambrose (1915). Tickets<b>: <a href="https://fandan.co/2um98Iu" target="_blank">https://fandan.co/2um98Iu</a>. </b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>ARCHAEOLOGY WEEKEND FEB. 29
– MAR. 1 AT BORREGO SPRINGS</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Colorado Desert Archaeology
Society and Anza-Borrego Desert State Park present pottery-making demonstrations,
Native American crafts displays, tours of the Archaeology Lab, and field trips.
Learn more at <a href="http://www.anzaborregoarcheao.org/">www.anzaborregoarcheao.org</a><o:p></o:p></span></div>
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SIGNING MARCH 6 AT BOOK SOUP</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">On Friday, March 6<sup>th</sup>,
at 7 p.m., at Book Soup in West Hollywood, Steve Carver and C. Courtney Joyner will
be joined by several of their book’s subjects, including Bo Svenson (“Kill
Bill”), Jeff Kober (“The Walking Dead”) and L. Q. Jones (“The Wild Bunch”), for
a panel discussion, moderated by Film historian Stephen B. Armstrong. <span style="mso-spacerun: yes;"> </span>Copies of “Western Portraits: The Unsung
Heroes & Villains of the Silver Screen” will be available for purchase and
signing.<span style="mso-spacerun: yes;"> </span>Book Soup is located at 8818
Sunset Boulevard in West Hollywood, 90069.<span style="mso-spacerun: yes;">
</span>My interview with Courtney is later in this column.<o:p></o:p></span></div>
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‘LEGEND OF BEN HALL’ DIRECTOR’S CUT</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">If you’ve been reading
The Round-up, or my articles in True West, for a while, you’re probably
familiar with Australian filmmaker Matthew Holmes, and his film <i>The Legend
of Ben Hall, </i>the true story of the legendary bushranger – highwayman to us
Yanks -- which True West named Best Foreign Western Movie for 2016. <i><span style="mso-spacerun: yes;"> </span></i>(If you’d like to refresh your memory, you
can read my first Round-up piece <a href="https://henryswesternroundup.blogspot.com/2015/03/ben-hall-rolls-word-on-westerns-rides.html">HERE</a>, and my True West article <a href="http://www.truewestmagazine.com/the-legend-of-ben-hall/">HERE</a>.</span><span style="font-family: "times new roman" , serif; font-size: 12pt;">)</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Last week I spoke to
Matthew about his new Kickstarter campaign to produce a Director’s Cut of <i>Ben
Hall, </i>which would add more than an hour of scenes that he was required to
cut for the theatrical release. As of this writing, 132 backers have
contributed over $26,000 Australian of the $90,000 Australian (about $59,482
U.S.) goal. You can check on their progress – or better still, become a backer –
by clicking this <a href="https://www.kickstarter.com/projects/legendofbenhall/the-legend-of-ben-hall-extended-directors-cut">LINK</a>.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Q: The released version
of <i>Legend of Ben Hall</i> runs a little over two hours. How much longer will
it be with the added material?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A:
The Director’s Cut will boast an additional 60 minutes at least. We anticipate the
running time will fall between 180 – 200 minutes. It’s going to be quite a
different experience for the audience compared to the Theatrical Cut, not just
in length, but in tone as well. It’s a darker version of the story. I’m planning
the Director’s Cut to be a more sensory film experience.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Q:
Will the added footage be additional scenes, or will it be making the existing
scenes longer?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A:
Both. For the Theatrical Cut we had to reduce scenes down substantially or
remove them entirely to bring the running time down. It was a painful process for
me because there were so many wonderful moments and important scenes that had
to be sacrificed for that reason. We have 30 new scenes to be added and at
least 45 scenes that will be expanded upon.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Q:
We’ve all heard stories about movies being taken away from their creators and
being badly chopped. Is that the case here? <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A:
Not really. At no point was the film taken away from me, but there was a lot of
debate between me and my editor and producers as to what should stay and what
should go. But I was told I had to bring the film closer to two hours and ultimately,
I had to be the one to make the hard choices. We delivered a version that was
closer to 2 hours, but after watching it I truly felt we had broken the movie by
removing too much. Fortunately, my producer Russell Cunningham allowed to me
reinstate about 15 minutes, which was great. But even at 139 minutes, the
Theatrical Cut feels rushed and limited to me. That’s because I know there’s
just so many more layers to the story and characters.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Q:
Which will you be adding more of, acting, or action?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A:
It’s probably about 20% more action and 80% more drama. There’s a whole action
sequence that had to be lifted entirely, and most of the existing action scenes
will be expanded upon. <span style="mso-spacerun: yes;"> </span>The majority of
the deleted material is character-based drama, and expands the world they live
in and the emotional journeys they are on. The new additions will also include
a lot more historical references and nuances. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Q:
Any new characters?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A:
Yes. There are at least four new characters and several of the minor characters
will be given more to do. It was heart-breaking to have to tell those actors
that their scenes had to be dropped. One of those actors was my brother Darren
who played a policeman that gets taken captive by the gang. Darren took the bad
news well, knowing that’s how these things go sometimes. But we’ll both be so
thrilled to have it reinstated. He did a marvelous job.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Q:
As I recall, Ben Hall began with a Kickstarter campaign. Was that how you
financed the original movie?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A:
In 2014 I launched a Kickstarter campaign to fund an ambitious short film about
Ben Hall, which was essentially the last reel of the feature. We managed to raise
$40,000 above our target goal, which allowed us to get even more ambitious. The
footage we created enabled us to raise some private investment to expand it
into a full-length feature. ‘The Legend of Ben Hall’ would not exist if it weren’t
for our generous Kickstarter pledgers back in 2014. Now 6 years later, I just
hope they are willing to go on one last ride with me.<o:p></o:p></span></div>
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Jack Martin as Ben Hall, left. Director Holmes with backwards cap.</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Q:
There are a lot of choices of benefits to claim, depending on the level of
pledge. If you were contributing, which option would you select?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A:
I always try to make Kickstarter rewards as generous as possible because ultimately,
I’m not asking for charity. Pledgers are essentially pre-buying this Director’s
Cut, which in turn allows me to go make it for them. So it’s an absolute
win-win for everyone and we all get want we want. That’s the beauty of
crowd-funding, when it’s done correctly. </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">I
would probably pick the $250 pledge for the Blu-Ray and Book - because I’m a
struggling filmmaker I couldn’t afford a higher pledge than that!</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Q:
I notice one of the options is to be a featured extra. Does that mean that
you’re going back to camera? What did you miss the first time?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A:
Yes, we are absolutely doing some more filming. For the Theatrical Cut, we used
some deleted scenes footage to create a montage because we ran out of time and
money to film the dedicated shots we planned for that montage. So when we
restore those deleted scenes back into the movie, that will create some gaps
that need filling. So it means we can offer people the experience of being on a
film set, meeting the actors and they get to feature within this Director’s Cut.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">What’s
even more exciting: if we over-finance the Kickstarter by $10,000 or more –
that will afford us the chance to shoot some bonus scenes that were in the
original screenplay but were removed before filming began. In short, we can
make this Director’s Cut even better if we get enough people pledging toward
it. It really is up to the fans as to how epic this Director’s Cut will be.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Q:
If you don’t reach your goal of $90,000 Australian, what happens to the money? <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A:
When someone makes a pledge on Kickstarter, no money is removed from their
account unless we reach the target amount. It’s all or nothing. So people can
safely make a pledge at anytime knowing that their money is not withdrawn until
the end of the campaign - and only withdrawn if the campaign is
successful.<span style="mso-spacerun: yes;"> </span>If we don’t reach our
minimum target by March 29<sup>th</sup>, then no money ever comes out… but the
Director’s Cut will never happen. That would be such a tragedy because all this
amazing footage is sitting on my hard drives waiting to see the light of day.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Cinematic
glimpses into Australia’s Wild West are so rare, so for audiences to miss out
on the wealth of material we shot would be very unfortunate. We really want to make
this extended edition not only for the fans, but the rest of the world, because
it’s going to be a much richer movie experience. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">‘The
Legend of Ben Hall’ has been a big seller in the home entertainment market the
United States, even more-so than in Australia. So I would urge our American fans
to make a pledge toward this Director’s Cut so they can discover the story the
way we originally set out to tell it.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Personally,
I won’t ever at feel at rest until this version of the film is completed. The
Ben Hall story has been burning in me since 2007, and that passion for this
story is not easily extinguished. <span style="mso-spacerun: yes;"> </span>So I
live in hope that the fans will support me in completing this journey I started
13 years ago. In return, I promise to deliver the most epic Ben Hall movie I
can manage!<o:p></o:p></span></div>
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Jamie Coffa takes aim.</div>
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<span lang="EN-AU" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Q: What about your next project. Do you have anything
going?<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">A: Aside from this Ben Hall Director’s Cut
campaign, I have a low budget horror film called ‘BlackJack’ that I’m chasing
finance for. Horror is a new genre for me, but its one I’m looking forward to
working in.<o:p></o:p></span></div>
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<span lang="EN-AU" style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I also have a script entitled ‘The Legend of
Frank Gardiner’ that is a prequel to ‘The Legend of Ben Hall’. It’s slowly
gathering some interest in the USA. The film chronicles the rise and fall of
Ben Hall’s friend and criminal mentor Frank Gardiner and will feature the true
account of largest gold robbery in the British Empire at that time. Many actors
from the first film will be reprising their roles such as Jack Martin (Ben
Hall) and Jamie Coffa (John Gilbert). It will be very exciting if that happens,
because the US will finally discover just how wild Australia’s ‘wild west’
period really was!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>TCM
CLASSIC FILM FESTIVAL – APRIL 16-19!</b><o:p></o:p></span></div>
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The Hollywood American Legion Post</div>
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is TCM's newest venue</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">For
the eleventh year in a row, for four days in April, Turner Classic Movies will
once again take over Hollywood!<span style="mso-spacerun: yes;"> </span>This is
my one can’t-miss film festival, an unbelievable embarrassment of cinema
riches, with so many wonderful films shown on big screens in wonderful venues.
The films are always introduced by someone knowledgeable, often by someone
involved in its making – stars, directors, writers, special effects
people.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">This
year’s theme is <i>Grand Illusions: Fantastic Worlds On Film</i>. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Among
the venues you’ll be dashing between are two of Sid Grauman’s classic palaces,
The Chinese Theatre – now an IMAX – and The Egyptian Theatre, as well as The
Chinese 6 Multiplex, poolside at The Hollywood Roosevelt Hotel, and the newest
addition, the beautifully restored Legion Theatre at Post 43, in Hollywood’s
American Legion Post.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The
list of films to be featured is still growing, and at the moment there are no
Westerns on it, but they have never ignored our genre before, and I’d be shocked
if they did so now. The festival will open at The Chinese with a 35<sup>th</sup>
anniversary screening of <i>Back To The Future</i>, to be attended by stars
Michael J. Fox. Other events include presenting the 3<sup>rd</sup> Annual Robert
Osborne Award to film critic and historian Leonard Maltin. And the delightful
Lilly Tomlin will be immortalizing her hand- and foot-prints in cement at the
Chinese Theatre.<span style="mso-spacerun: yes;"> </span>Among the guests attending
the festival – with more to be added – are Bruce Dern, Piper Laurie, and
animator Floyd Norman.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Last
year’s Festival featured a varied line-up, the high points including a double-feature
of rarely seen Tom Mix Westerns, THE GREAT K&A TRAIN ROBBERY, and OUTLAWS
OF RED RIVER. As New York Museum of Modern Art Film Curator Anne Morra
explained, these films were ‘lost’ in the United States, until copies were
given to MoMA in the 1970s from the Czech Film Archive in Prague. They were presented with
a live musical score by famed Silent Film Organist Ben Model.<span style="mso-spacerun: yes;"> </span>At the premiere of the restoration of
WINCHESTER 73, author Jeremy Arnold revealed that director Anthony Mann, who
would go on to his greatest fame in collaboration with James Stewart, was a
last-minute replacement for Fritz Lang, and that Stewart only agreed to do the
film so that the studio would also make HARVEY. Paramount now owns the Republic
library, and Paramount Pictures Archivist Andrea Kalas presented a very
entertaining programs of cliffhanger chapters called WHAT’S NOT TO LOVE ABOUT
REPUBLIC SERIALS? Other screenings included BUTCH CASSIDY AND THE SUNDANCE KID
introduced by its Oscar-winning composer Burt Bacharach, Shirley Temple in THE
LITTLE COLONEL, SERGEANT YORK introduced two of the real Sgt. York’s sons, and
GONE WITH THE WIND on closing night. I particularly enjoyed seeing CITY
SLICKERS star Billy Crystal get his prints in cement in the Chinese Theatre
ceremony.<o:p></o:p></span></div>
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Billy Crystal at his footprint ceremony</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">While
this years’ Festival doesn’t list any Westerns <i>yet, </i>only 28 films have
been announced thus far, and I’ll be checking daily, and updating the
information in The Round-up. Among the non-Westerns of note on the list are
COMING HOME, with star Bruce Dern; DINNER AT EIGHT; HARVEY; THE HUSTLER, with
star Piper Laurie; JASON AND THE ARGONAUTS; LOST HORIZON; SOMEWHERE IN TIME;
and THE TIME MACHINE.<o:p></o:p></span><br />
<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">UPDATED 3-5-2020 </span><br />
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<span style="font-family: times new roman, serif;">The first Western has been added to the schedule, the 1954 Musical Western '7 BRIDES FOR 7 BROTHERS', directed by Stanley Donen. Stars Russ Tamblyn and Ruta Lee will attend!</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Festival
passes run the gamut from $349 to $2449, but happily there are individual movie
tickets available for $20 apiece for remaining seats, although the most popular
movies do fill up. Make sure you arrive <i>at least</i> a half-hour early.<span style="mso-spacerun: yes;"> </span>You can learn more at the official TCM
Festival website <a href="http://filmfestival.tcm.com/about/">HERE</a>.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>‘WESTERN PORTRAITS’ – A
TALK WITH ESSAYIST C. COURTNEY JOYNER</b><o:p></o:p></span></div>
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C. Courtney Joyner, photographed by Steve Carver</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">When novelist,
screenwriter and film director C. Courtney Joyner agreed to write an essay for
each portrait in Steve Carver’s <i>Western Portraits – The Unsung Heroes &
Villains of the Silver Screen</i>, it’s safe to say he didn’t know what he was
getting into: there would be more than eighty articles.<span style="mso-spacerun: yes;"> </span>But the author of <i>Nemo Rising</i> and the <i>Shotgun</i>
Western series was more than up to the task.<span style="mso-spacerun: yes;">
</span>And the book, a big Christmas-time seller, quickly sold out its 1<sup>st</sup>
printing. (You can read my interview with Steve Carver <a href="http://henryswesternroundup.blogspot.com/2019/11/western-portraits-celebration-at-autry.html">HERE</a></span><span style="font-family: "times new roman" , serif; font-size: 12pt;">) </span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I spoke with Courtney about <i>Unsung Heroes </i>a few months ago, so some of the future events he
mentions towards the end have already come to pass.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: How did you first
get involved with <i>Western Portraits: The Unsung Heroes and Villains of </i></span><span style="font-family: "times new roman" , serif; font-size: 12pt;"><i>the
Silver Screen</i>?</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY:<span style="mso-spacerun: yes;"> </span>Well, I've known Steve Carver since the 80s,
and L.Q. Jones is the one that introduced us. I wrote a screenplay Steve was
going to direct, Cynthia Rothrock was going to star in it with David Carradine,
Christopher Lee was going to be in it, and then the financing didn't come
through. Later I was asked to come in on a picture Steve was doing at Cannon,
to do some revisions on things. So, we’d had a long-standing relationship.<span style="mso-spacerun: yes;"> </span>And years ago when Steve had a studio in
Venice, he showed me portraits he'd taken of Brian Keith and a few others, and
they were wonderful. But the project really didn't have any form yet.<span style="mso-spacerun: yes;"> </span>And then a couple of years ago, out of the
blue, he called me because he'd been talking to (director) Mark L. Lester (<i>Commando,
Class of 1999</i>). Mark sends me a little note that Steve Carver is going to
call you about this book about Westerns that he wants to do. We got together,
we went over to House of Pies, and Steve was there with Indiana, his beautiful
Australian Shepherd. And he told me and how many people he'd photographed, and
that he really wanted to turn this into a book, but with accompanying essays.
So that was really the start of it. But he was pretty far along with the
photography and honestly Henry, I think one of the reasons that he wanted to
push forward on the book project was that a number of the people he
photographed had died, and these would be their last images. And they were
beautiful. He showed me that portrait of Denver Pyle and, you know, it still
haunts me. I mean, it's absolutely incredible. I think it was taken 10 days
before he died.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY : How long have you
been involved with Steve on this project ? <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY:<span style="mso-spacerun: yes;"> </span>Three and a half years.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: What appeals to
you about the project? What's special about the photography?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY:<span style="mso-spacerun: yes;"> </span>Well, he got very interested in photography
from the Old West, particularly Edward Curtis, who used to do the portraits of
all the tribal chiefs.<span style="mso-spacerun: yes;"> </span>Steve decided to
approach this the way those photographers approached their work, with the same
technical limitations. That was what was so interesting about this. Even when
it was digital photography, it was going to be printed in the old way. And the
exposure was going to be, you know, between 15 and 18 seconds; all these things
that were the truth in 1885. Obviously, technology and photography is much
different now. But that was his approach and it comes through, because here you
have people in period costume, and the process of taking the photograph itself
was also appropriate for the time period, as if your portrait of Bo Hopkins was
literally taken on the trail in the 1880s.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: And because the
exposures were so long you've just got a tremendous amount of detail that you
don't get now.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY: Yes. But it
also was a strain, because in older photographs you'll notice if it's not like
a candid, and sometimes there's blurring. That's because the person's moving
while the shutter is still open. Especially some of our older people, like (87
year old) Edward Faulkner, staying in those lights, keeping your eyes open for
that length of time, wow, that was difficult. <o:p></o:p></span></div>
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Edward Faulkner</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: You can't smile.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY: There are
absolutely no smiles. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: What were your
duties on this project besides the writing?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY:<span style="mso-spacerun: yes;"> </span>Steve asked me who among the actors I knew
might be interested in participating. We wanted people who had some sort of a
pedigree with westerns obviously. So I called Clu Gulager, I called Tim
Thomerson, folks that we knew and were friends with, and they came on board and
they're all represented very well in the book. And when people were
enthusiastic and wanted to do it, like Robert Forster for example was an old
friend of Steve's.<span style="mso-spacerun: yes;"> </span>Rob Word brought in
some folks like Bruce Boxleitner, and that was so great. I was not there for
every photography session; I was there probably for 10 or 15 of them. But there
are 85 subjects in the book.<span style="mso-spacerun: yes;"> </span>Steve
wanted more women represented, and we got some terrific ones: Jacqueline Scott,
Rosemary Forsyth, Stephanie Powers. That was really cool. Jackie Scott, she's
just a pistol. When I did my sit-down with her, she was so funny.<span style="mso-spacerun: yes;"> </span>She started talking about the fact that she
did all these westerns, and she cannot ride a horse. Every time they put her in
a Western, she said for God's sake don't put me on a horse! <o:p></o:p></span></div>
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Jacqueline Scott</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: In your essays you
talked to many of your subjects about favorite directors.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY: We have actors
who are associated with one particular director, like Bruce Davison talks all
about his experience with Robert Aldrich. Bo Hopkins, L.Q. (Jones) of course
they talk about Sam Peckinpah. L.Q. also talks about Raul Walsh. Jackie Scott
talks about Don Siegel, and Johnny Crawford talks about Howard Hawks. So, all
these iconic filmmakers are in there, and there are a couple of really big
behind-the-scene boys are included too, including Robert Evans.</span></div>
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Johnny Crawford</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY:<span style="mso-spacerun: yes;"> </span>Ah, <i>The Fiend Who Walked the West.</i><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY: (Producer) Gray
Frederickson is an old friend of Steve Carver's. I was not there when they did
his session, but I had to do the interview with him. And I told him, look, I am
going to burst into tears in the middle of this interview. And he's like, why?
I said, because you are responsible for three of the greatest films in the
history of American cinema: <i>The Godfather, The Godfather 2, </i>and <i>Apocalypse
Now</i>. Of course, he was the original producer of Unforgiven (1992) and he
was the unit manager on <i>The Good, The Bad, The Ugly</i>. He talked all about
that. Mark Richmond was discovered by William Wyler, so he talks about that.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: How many
interviews did you conduct?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY:<span style="mso-spacerun: yes;"> </span>Eighty, eighty-three. When I started, a lot
of the subjects were some were already deceased, but many people have
unfortunately passed away since we did the sessions. Like Dick Miller, for
example; Bob Forster. But I had already sat down with them, and I knew Bob, and
Dick. That was great. We got Dick really towards the end, and he had had the
autobiography come out the movie, and a very nice book about him, but he was
terrific. No one had talked to him about doing <i>Gunsmoke</i> and all that
stuff in probably 50 years because they all want to talk about <i>Little Shop
of Horrors</i>. All the Roger Corman films.<span style="mso-spacerun: yes;">
</span>And that was really great because he goes, “God, I’ve got to think; wait
a minute.” And then he just would reel off these terrific anecdotes and these
stories. And it was like finding this vein of gold when you were talking to
him, because again, this had been shuttled away in memory and nobody had
touched it for so long.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: It was not a
rehearsed story.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY: Exactly. And
that was also something that was consistent, even with folks who weren't
necessarily associated with Westerns. Like Fred Dryer for example doesn't
really have an association with Western movies, because he hadn't done anything
along those lines. But we got one of the best essays about Fred, because what
he wanted to talk about, and it was wonderful, was growing up in the era of
Hopalong Cassidy and Roy Rogers and Gene Autry. Growing up in California,
having access to horses. And it was the impact of these Western heroes/Cowboys
on his growing up. He attributes his wanting to excel in athletics because of
his interest in Jay Silverheels, and things like that. So that was where our
conversation took us. It was a different slant.<o:p></o:p></span></div>
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Fred Dryer</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: It's a link that
you would never have guessed was there.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY: Exactly. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: Which were your
favorite interviews?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY: George Hamilton
was probably my favorite interview. He was great, and just so interesting. He
loved doing westerns, and he was so entranced with the equestrian lifestyle and
being out on location. But he talked very frankly about why he is not in <i>How
the West Was Won</i> when he was under contract MGM, when that movie was being
made. So you'll have to buy the book to read that story. But, but he also
talked about being a young contract player at MGM, who at the time was engaged
to the daughter of the President of the United States (he was engaged to LBJ’s
daughter, Lynda Bird Johnson).<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: Pretty cool.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY:<span style="mso-spacerun: yes;"> </span>And he was considered just this fan magazine
boy by a lot of these old veterans. So guys like Richard Boone gave him a hard
time and he always felt like he had to prove themselves over and over again,
and it bugged him. But George said when he was just starting out, he was so
glad he did one of his very first movies with Robert Mitchum. Who was
fantastic, and said, “Kid, look, let me tell you how to handle this.” <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: If I remember
right, you really enjoyed interviewing Monte Markham.<o:p></o:p></span></div>
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Monte Markham</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY: Oh, Monte
Markham is just the greatest guy. He was terrific. First of all, his memory is
clear as a bell. There was no prompting. And because he went from being an
actor to being a very successful documentary producer, and branched out into
all of these other areas, he’s just a fascinating guy and also a very, very
nice man, too. And Ed Faulkner; who's nicer than Ed Faulkner? (Note: Ed
Faulkner has been in six movies with John Wayne) He's an old friend, so I was
so glad to have him involved. Oh my God, the portrait of R.G. Armstrong is
just, just incredible. And of course we did Morgan Woodward before Morgan
passed. (Note: Morgan Woodward was Gunsmoke’s most frequent guest star, almost
always as a villain).<span style="mso-spacerun: yes;"> </span>And he loved that
picture. Fortunately he got to see it and he just thought it was sensational. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: How do you write
83 articles about older character-actors and not have them seem too similar?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY: By taking a
different tack; like with Bill Smith (<i>Laredo</i>), and I’ve known Bill and
Joanne for years. But what I wanted to do was to build the essay around Bill's
poetry. So I did that, because I wanted just for my own creative mojo, to be
breaking patterns. I didn't want every single essay to read like the ones
immediately before. And fortunately, everybody's story is really different. We
have people who are strictly character actors. Some who were movie stars. And a
movie star perspective is going to be completely different than the perspective
of the producer.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY:<span style="mso-spacerun: yes;"> </span>What was your interview with Clu Gulager?<o:p></o:p></span></div>
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Clu Gulager</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY:<span style="mso-spacerun: yes;"> </span>Oh, Clu was terrific, of course. And what he
did, because he discussed the technique that Steve was going to use to take the
photographs and the costuming, and really adopt a character. So Clu really went
to the floor. He came in and John, his son, did this great makeup on Clu, and
he became this mule skinner. I mean, he approached this like he would have a
role in a movie. One thing too, one of the true unsung heroes of this thing is
Rob Word. Rob stepped up so many times to help, getting folks involved with the
book.<span style="mso-spacerun: yes;"> </span>He was terrific, and his
suggestions were always great. For example, Rosemary Forsyth was a one of his
suggestions. She was wonderful.<o:p></o:p></span></div>
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Rosemary Forsyth</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: Of the portraits,
which are your favorites? <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY: Again, I think
the Denver Pyle is just amazing. L. Q.’s is iconic. I love the R.G. Armstrong.
I really liked what we did with Bruce Davison because it is his character from <i>Ulzana's
Raid </i>brought forward to his current age. And that was just a neat visual.
Stephanie Powers, she's very much a cowgirl, very equestrian. I think she looks
just tremendous; she looks beautiful in her portrait. So there are a few.<span style="mso-spacerun: yes;"> </span>You know, on Facebook a lot of the production
shots had been posted a lot. Most of them, all of them. Steve's been posting
have been in color.<span style="mso-spacerun: yes;"> </span>And they're
terrific, but they are nothing compared to the black and white and sepia ones.
They just knock your socks off.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY:<span style="mso-spacerun: yes;"> </span>The cover with David Carradine is wonderful. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY : And that's the
thing, when you just see this stuff, and it's just like, my God, in some cases
this image sums up that entire career, certainly an entire screen image, which
is what Steve wanted to do. That was his intention and I think he sure achieved
it.<o:p></o:p></span></div>
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Robert Carradine</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY:<span style="mso-spacerun: yes;"> </span>What are your next projects?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY: The next things
that are coming out are more Blu-ray commentaries. <i>The Far Country</i> comes
out in the middle of November from Arrow. And we did a really nice documentary
about Anthony Mann's career at Universal. And we've got a lot of upcoming
commentaries for Mill Creek, on the Lon Chaney Jr. <i>Inner Sanctum</i> series
from Universal. And this is fun. Steve Carver, L.Q. Jones, Robert Beltran,
Yoren Ben-Ami and I did a commentary on the Blu-ray release of <i>Lone Wolf
McQuade.</i> And that should be out in December.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">HENRY: Is there anything
else I should have asked?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">COURTNEY: I would say the
one thing is that Steve built a great crew of people around him, and they did
just such a terrific job. And everybody came in to help with costumes and
makeup. As you said, it was really a labor of love. Everyone really wanted to
turn this project into something, and at the end of the day, you have to say,
well, they did.<o:p></o:p></span></div>
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<b style="font-family: "Times New Roman", serif; font-size: 16px;">JUST ONE MORE THING!</b></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">With today’s post, Henry’s
Western Round-up begins its 11<sup>th</sup> year of publication! I know quite a
few of you have been reading it since 2010, and I thank you, and all of my
readers, for your continued interest and support. And please post comments –
that’s how I know what’s working and what is not.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>…AND THAT’S A WRAP!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In the next Round-up I’ll
be reviewing INSP’s new Western, THE WARRANT, talking with TRAVELS WITH DARLEY
host Darley Newman, and filling you in on what I know about Martin Scorcese’s
new Western, KILLERS OF THE FLOWER MOON.<span style="mso-spacerun: yes;">
</span>And by the way, did I mention that THE CW is planning a reboot of KUNG
FU, but a female version?<span style="mso-spacerun: yes;"> </span>And please
check out the February/March True West, with my article, <i>33 American Indian
Movies That Get History Right</i>!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Happy Trails,<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">All Original Contents Copyright
February 2020 By Henry C. Parke – All Rights Reserved<o:p></o:p></span></div>
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<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-83537233457130933692019-11-18T00:28:00.000-08:002019-11-24T13:29:42.348-08:00‘WESTERN PORTRAITS’ CELEBRATION AT AUTRY TUES. 11/19, PLUS ‘IT ALL BEGINS WITH A SONG’ DOC, GETS DISTRIB., PLUS NOVEL ‘LEGENDS OF THE WEST’ REVIEWED!<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>WESTERN PORTRAITS – STEVE
CARVER’S 23-YEAR LABOR OF LOVE IS A TRIUMPH!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">At 11 a.m. on Tuesday,
November 19, 2019, lovers of Western film will converge at The Autry’s Wells
Fargo Theatre for Rob Word's A Word on Westerns, and an event more than two decades in the making, the publishing
of <i>Western Portraits – The Unsung Heroes & Villains of the Silver Screen</i>.
Twenty-three years ago, Steve Carver began shooting portraits of Western
character actors, beginning with the legendary R. G. Armstrong, veteran of
Peckinpah films and TV Westerns, and whom Steve had directed seven times. Next
was L.Q. Jones (four times), then David Carradine (four times). <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Steve Carver is, in fact,
much better known to the general public as a director of action films like <i>Capone</i>
(1975), <i>An Eye For An Eye</i> (1981), and <i>Lone Wolf McQuade</i> (1983), than
he is as a photographer.<span style="mso-spacerun: yes;"> </span>As a child, “Actually
I was more into art, and wanted to become a cartoonist. Then my father bought
for me my first camera when I was eight years old. It was a Brownie box camera.
It had two lenses, the top one you look down upon the viewfinder, and the
bottom lens was the shutter lens that actually took the picture. Cameras were
like magic.”<span style="mso-spacerun: yes;"> </span>He grew up in Williamsburg,
Brooklyn, and in the summers would attend camp, “And they had dark rooms. So, I
was able to actually process the film, and print the negatives that I shot.<span style="mso-spacerun: yes;"> </span>So, from age eight, 10, all the way up to 12
years old when I became a counselor, I was in a dark room and I was a
photographer.<o:p></o:p></span></div>
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Henry Silva</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">“My whole family encouraged
the arts, and encouraged me to go to The High School of Music and Art, which
was in Harlem, in the middle of CCNY (City College of New York). <span style="mso-spacerun: yes;"> </span>I had to travel an hour and a half on subway
to go to school every day, and an hour and a half back.” <span style="mso-spacerun: yes;"> </span>He traveled for his college education. “When I
went to graduate school at Washington University in St Louis, I was (studying with) all of the <i>Life</i> and <i>National Geographic</i> photographers that
were working in the Midwest. Clifton Edom, who was the father of
photojournalism, was teaching at the University of Missouri.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">His focus began to change,
“When I did my graduate thesis. I did a film that incorporated a lot of my
photography. I made the transition from still pictures that were telling
stories, to motion pictures that told a whole story. A story that allowed me to
not only earn my degree, but to put the story into perspective. And to have a
greater audience than one that would come and only see my artwork and my
photographs hanging on a wall. To actually enjoy a film, and to applaud, and
then get reviews and have people come back, and want to see the film again and
have reviewers write about it.”<o:p></o:p></span></div>
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Robert Forster</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">He applied for, and won,
a fellowship to The American Film Institute.<span style="mso-spacerun: yes;">
</span>“I had some great teachers: <span style="mso-spacerun: yes;"> </span>Frantisek
Daniel, and Tony Villani were my main teachers. I had four mentors that (A.F.I
Director) George Stevens, Jr. gave me, which I was very proud of: Gregory Peck,
and Charlton Heston. <span style="mso-spacerun: yes;"> </span>And my two director
mentors were George Stevens, Sr., and George Seaton. Those were the people that
I had their home phone numbers, and I could call them up anytime.” <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">He rubbed elbows with
other greats as well. “I found Alfred Hitchcock in the library at the American
Film Institute after his lecture. I cornered him and asked, ‘Can you tell me
how do you prepare a film?’ And he said, ‘Let me teach you. He sat down with me
at the table and took a piece of paper and showed me how to do a storyboard, drew
these little stick figures, and actually showed me the single, the two-shot,
say the master shot. I played dumb. I knew it already, but he was really great,
putting it down for me.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">At a screening of his
second AFI film, his adaptation of Poe’s <i>The Tell-Tale Heart</i>, starring
Sam Jaffe and Alex Cord, Roger Corman, no stranger to Poe, “Tapped me on the
shoulder and said, ‘How would you like to come and work for me?’” Carver cut
trailers for Corman, and got his chance to direct a feature when Corman assigned
him to direct a female gladiator movie, <i>The Arena</i>, in Rome. “Actually,
the first place he sent me was Israel, to (producer) Menahem Golan's house. I
started to do a storyboard. Menahem looked at me and said, ‘Who taught you
that?’ I said Alfred Hitchcock. He looked at me like, <i>what</i>?”<o:p></o:p></span></div>
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John Savage</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In Rome, making <i>The
Arena</i> at Cinecitta Studios, his neighbor at the next stage was Federico
Fellini. “I would watch him shoot <i>Amarcord</i>. <span style="mso-spacerun: yes;"> </span>And Federico would come and sit next to me,
watch the girls. He would speak in broken English, how he loved gladiators with
big tits.” <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Carver was so busy
directing that he hadn’t touched a still camera in twenty years, until he was
directing 1996’s <i>The Wolves</i>, in Russia.<span style="mso-spacerun: yes;">
</span>“I was in Red Square and a gypsy came up to me with a very rare camera that
photojournalists use. It was stolen, and he was trying to sell it to me for 50
bucks, American dollars. I wanted this camera, and my body guard, who was a KGB
agent, got this camera for me in a very unusual manner. He took the guy behind a
kiosk, knocked the guy out, took my money.”<span style="mso-spacerun: yes;">
</span>Carver returned to California and, ready for a break from filmmaking,
built a darkroom in Venice called, appropriately, The Darkroom.<span style="mso-spacerun: yes;"> </span>Calling on his years of experience in labs, his
knowledge skills and painstaking perfectionism – Carver often spends six hours
on a single print -- he became in-demand for collectors, museums and archives,
making new copies from 19<sup>th</sup> and early 20<sup>th</sup> century
negatives, shot by master photographers.<o:p></o:p></span></div>
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L.Q. Jones</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Fascinated by the work of
great photographers like Steichen, Weston, Stieglitz, and especially Edward
Sheriff Curtis, famous for his portraits of American Indians, “I decided to
make my own, and to create sets. I was using homeless people that were walking
by my lab at night. I would offer them food and money to sit and to mimic these
old pictures. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">“And I would create my
own negatives and my own photographs in order to learn how to do these. Well,
these people weren’t working out because they couldn't stay still. These are
all time-exposures, because in the old days, the film was real slow. So
everybody had to stay very still for several minutes, and they had metal
gadgets that held the person very still when they were taking a picture.”<span style="mso-spacerun: yes;"> </span>Carver’s next move was to ask actor friends
to pose, and the project was born. <span style="mso-spacerun: yes;"> </span>His pool-shooting
buddy R.G. Armstrong was his first to pose, and Armstrong encouraged Carver to
make it into a book.<span style="mso-spacerun: yes;"> </span>He even gave Carver
the book’s original title. “The first title was not <i>Unsung Heroes</i>. It
was called <i>The Dying Breed</i>. When I started to approach some of the
actors, <i>The Dying Breed</i> was a big turnoff.”<o:p></o:p></span></div>
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R.G. Armstrong</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">One of the odd things
that can happen with time-exposures is anomalies, or ‘ghosting’.<span style="mso-spacerun: yes;"> </span>Some are easy to explain, and some are not.
When Carver shot L.Q. Jones, “Bobby Zinner (project historian and wardrobe man)
brought an 1893 Winchester lever rifle that had killed 22.<span style="mso-spacerun: yes;"> </span>You know, and you touch the gun, and it has
that vibe, a killer vibe. So L.Q. sat in a chair, and the gun was against the
wall and we shot the picture. <span style="mso-spacerun: yes;"> </span>Bobby took
the gun back.” On another day, “We shot Buddy Hackett. <span style="mso-spacerun: yes;"> </span>We used the same set, just redressed it, and
we shot Buddy’s picture. In the background, off to the left, there’s a ghost
image of the same rifle. <span style="mso-spacerun: yes;"> </span>We didn't <i>have</i>
that rifle.”<o:p></o:p></span></div>
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Buddy Hackett </div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The first session with
Denver Pyle was even more strange. “The first shooting, Denver was in horrible
shape. <span style="mso-spacerun: yes;"> </span>We dressed him up, and he had a
tank of oxygen behind him and tubes running out of him. He was on chemo and we
just propped him up and I shot him with 36 exposures, and he just barely got
through the session. When I processed the film, his face was purely white. No
eyes, no mouth, no nose. Just white. He was a ghost. I was horrified. I didn't
have a shot of Denver. I called his wife Tippi and I said, Tippi, is it any way
possible that I can get Denver to come back? I need to shoot him again. She
said, I'll ask Denver. Denver calls me back and says, I'll be back. No problem.
He comes the next day, spitting vinegar. He comes back with his tank,
everything. We dress him up again, put the badge on him. I shoot him again. He’s
totally different. I mean, lots of energy. The pictures are great. His face is
there. His energy is all there.” Denver Pyle died a couple of weeks later.<span style="mso-spacerun: yes;"> </span>It’s one of the best portraits in the book,
and that is saying a lot.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">With this two-decade
project finished, Carver is eager to leave the darkroom, and return to
directing.<span style="mso-spacerun: yes;"> </span>“What I dread is that the
publisher will want a volume two. I have a lot of actors like Robert Fuller
writing me and saying, when are you gonna call us?<span style="mso-spacerun: yes;"> </span>I have a couple of film projects in mind. We’ll
see. I’ve got to get out of here first. I’ve got to get another dog.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The book begins with a
forward by Roger Corman, a preface by Kim Weston, and an introduction by Steve
Carver. There are eighty-two photographic subjects in the book, many of whom
you’ve seen a hundred times, and each accompanied by an illuminating essay and/or
interview by C. Courtney Joyner.<span style="mso-spacerun: yes;"> </span>Joyner
also wrote the closing essay, <i>Carved on Film: Western Movies and the Faces
that Made Them</i>. <span style="mso-spacerun: yes;"> </span>The book ends with
detailed filmographies of all of the participants, and acknowledgements. <span style="mso-spacerun: yes;"> </span><i>Western Portraits</i> is published by
Edition Olms Zurich.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The list price is $50. It
can be purchased at Dark Delicacies, the Autry Gift Shop, and of course, Barnes
& Noble and Amazon.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>‘IT
ALL BEGINS WITH A SONG’ RECEIVES WORLD DISTRIBUTION & U.S. JAN 2020 RELEASE
DATE </b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0nZMlDtQOaOXVuYiUf_h_rP3zW9m0ObOy2DJwKUY5zggw7XGFwNxZap-eFOfFg_BhkFmfyfxXhyECFO3MW85yp0cI-NcEcaABRnitRzZO9gDrfHgIGYP_ZTl5_n2SuawXAsmDSZt845gi/s1600/it-all-begins-with-a-song.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="710" data-original-width="531" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0nZMlDtQOaOXVuYiUf_h_rP3zW9m0ObOy2DJwKUY5zggw7XGFwNxZap-eFOfFg_BhkFmfyfxXhyECFO3MW85yp0cI-NcEcaABRnitRzZO9gDrfHgIGYP_ZTl5_n2SuawXAsmDSZt845gi/s320/it-all-begins-with-a-song.png" width="239" /></a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The
documentary, which celebrates the unsung heroes of Nashville, its songwriters. Directed
by Chusy Haney-Jardine, the 82-minute film will be handled throughout the world
by Tri-Coast.<span style="mso-spacerun: yes;"> </span>Among the songwriters
interviewed are Rodney Crowell, Bill Anderson, Bob DiPiero, Shane McAnally,
Brett James, Caitlyn Smith, Brandy Clark, busbee, Desmond Child, and Jeffrey
Steele.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/354301186" width="640"></iframe><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><a href="https://vimeo.com/354301186">It All Begins With A
Song_Trailer</a> from <a href="https://vimeo.com/tricoast">TriCoast Studios</a> on
<a href="https://vimeo.com/">Vimeo</a>.<br />
<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>LEGENDS OF THE WEST – A
DEPUTY MARSHAL BASS REEVES WESTERN</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRc2uWefi3KdegTND75xstzG-ZjLuvhDpG_clK7fmshEm2CwRRh3J4Z94xYWzCq6rDMj5o1WgILqOMasEBRLy4OyYMfIqmCLiqfO_PNSeiX4tsXx3KS73MUGCywdyaK-RU8q1KY6_ZA5u3/s1600/legends+of+the+west.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="499" data-original-width="324" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRc2uWefi3KdegTND75xstzG-ZjLuvhDpG_clK7fmshEm2CwRRh3J4Z94xYWzCq6rDMj5o1WgILqOMasEBRLy4OyYMfIqmCLiqfO_PNSeiX4tsXx3KS73MUGCywdyaK-RU8q1KY6_ZA5u3/s320/legends+of+the+west.jpg" width="207" /></a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">By Michael A. Black<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Published by Five Star –
Hardcover, $25.95<span style="mso-spacerun: yes;"> </span>238 pages<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In 1879, in The Indian
Territory which will one day be Arkansas, and pieces of a few other states,
Bass Reeves, legendary former slave turned Deputy Marshall for Judge Parker’s
court at Fort Smith, has a direct assignment from the Hanging Judge: investigate
the activities of a band called The Cherokeos. He agrees, and with his trusty
companion, a Lighthorse Indian Policeman known David Walks as Bear, they are on
the trails of one Donavan, an Irish immigrant turned criminal mastermind who
has left a long and bloody string of crimes in his wake, and has an even more
ambitious misdeed in mind. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Michael A. Black, a
retired policeman who has written thirty novels in various genres, keeps the
telling lively as he cuts back and forth between hunter and quarry, peppered
with humor, some of it pretty raunchy. He even provides an alternate
story-teller, a character named Stutley, fresh from the east and hoping to be
the next Ned Buntline, who is bullied into turning the despicable Donavan into
The Rob Roy of The West.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">While author Black does
not endorse the currently popular theory that The Lone Ranger was based on Bass
Reeves, but turned Caucasian, he runs with the idea in this year, the 70<sup>th</sup>
anniversary of the Clayton Moore and Jay Silverheels TV series. There are masks,
and five ambushed Texas Rangers, and even a faithful Indian companion who keeps
calling Bass “Gimoozabie.”<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>‘LONE RANGER AND THE LOST
CITY OF GOLD’ SCREENS SAT. 11/23 AT THE AUTRY!</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoevhdpqMgRPUpOrqbO_lERT0lOAtoQaaC9bMyHPuyYBFe5V6doBSxNRKA-ESahA1_Zs6G9cSpRLFYjSa2yrs8Ths6CTu4gDNrk6pl1U7lsEqNm7I0SMD7FLwecGuucuARKStzbVhDWHAz/s1600/lone+ranger+lost+city.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1472" height="217" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjoevhdpqMgRPUpOrqbO_lERT0lOAtoQaaC9bMyHPuyYBFe5V6doBSxNRKA-ESahA1_Zs6G9cSpRLFYjSa2yrs8Ths6CTu4gDNrk6pl1U7lsEqNm7I0SMD7FLwecGuucuARKStzbVhDWHAz/s320/lone+ranger+lost+city.jpg" width="320" /></a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Celebrating the 70<sup>th</sup>
anniversary of the Lone Ranger TV series, the second Lone Ranger theatrical
feature, starring Clayton Moore and Jay Silverheels, will screen at the Wells
Fargo Theatre.<span style="mso-spacerun: yes;"> </span>The film will be
introduced by Native actor & writer Jason Grasl (Blackfeet).<span style="mso-spacerun: yes;"> </span>It will be followed with an interview with
Clayton Moore’s daughter, Dawn Moore, conducted by Leonard Maltin.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">AND THAT’S A WRAP!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Happy Trails,<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">All Original Material
Copyright November 2019 by Henry C. Parke – All Rights Reserved<o:p></o:p></span></div>
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<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-16831405151673475372019-10-10T03:19:00.000-07:002019-10-10T11:48:41.917-07:00‘ULTIMATE COWBOY SHOWDOWN’ PREMIERE, INTERVIEW WITH TRACE ADKINS, PLUS ‘SILVER SPURS’ RED CARPET, LONE PINE FILM FESTIVAL!<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><span style="font-size: 12pt; line-height: 107%;"><b>‘ULTIMATE COWBOY SHOWDOWN’ PREMIERE</b></span></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Pull your hat down tight next
Monday, October 14, and keep it there all week!<span style="mso-spacerun: yes;">
</span>The Ultimate Cowboy Showdown, a competition like none before it (that
I’ve seen, anyway), begins on INSP, and runs for six days. A dozen professional
cowboys will be going head-to-head in a series of challenges to test their
overall cowboying skills, while Trace Adkins and his experts whittle down the
field. There’s no show Saturday, but on Sunday night, the last cowpoke standing
will win a shiny new belt-buckle – <i>and</i> a fifty-thousand-dollar herd of
cattle, not coincidentally, the herd they’ve been working with all week.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The competitors come from
all over the country – three from Texas, two from California, and one each from
Florida, Utah, Oklahoma, Tennessee, North Dakota, Iowa, and even Washington
D.C. – that last fellow describes himself as an <i>urban</i> cowboy. Some are
rodeo cowboys, one is a movie stuntman, more are ranchers, more than one wants
to win in order to save the family ranch. While the movies have mostly
portrayed cowboying as a white man’s activity, the first cowboys were Mexican <i>vaqueros,
</i>and after the Civil War there were many black cowboys, and both groups are
represented here, as are women. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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Contestant J. Storme</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Some challenges are
group, and some are individual. <span style="mso-spacerun: yes;"> </span>Some are
typical, like calf roping, and some are not, like a relay race: the first
person saddles and rides a horse, and passes the baton to the next, who has to
load 21 bales of hay into a hayloft as fast as he can. The baton passes to the
next, who has to change a flat tire on a trailer. The next person has to open
the trailer, let out a horse and a calf, climb on the horse, and rope the calf.
The final cowboy has to pick up that 200-pound calf and put it back in the
trailer!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Although he’s grateful
for the various experts’ input, the ultimate judge is three-time CMA Award-winning
singer and actor Trace Adkins. I had the opportunity to talk to Trace about the
show, and about his Western movies, when he took a brief break from his judging
duties.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><span style="font-size: 12pt; line-height: 107%;"><b>INTERVIEW WITH TRACE ADKINS</b></span></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>I'm very happy to finally meet you, because
I'd been on three of your Western sets -- <i>Hickock</i>, <i>Wyatt Earp’s
Revenge</i>, and <i>Traded --</i> but never on days where you were working.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span>Well, let's see. Two of those I got killed in.
That director, Timothy Woodward, I worked with on <i>Hickok</i> and <i>Traded</i>,
and I just finished doing another western with him too, <i>The Outsider</i>. He
kills me in every movie that he puts me in.<span style="mso-spacerun: yes;">
</span>(laugh) I don't know what the deal is.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke: Well, he
must like you though. He kills you, but he keeps bringing you back. What kind
of character do you play in it?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span><u>W</u>ell, I <i>was</i> a bad guy, but now
I'm seeking redemption and trying to finish my life, doing hopefully something
that'll get me into heaven. But my son is a lost cause. (My character’s) seed
is bad, and there's just nothing he can to do about it. It's a really
interesting role. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Well, with the <i>Ultimate Cowboy Showdown</i>,
I hear you’re just coming back from an immunity challenge. What's been the most
interesting of the challenges that they’ve done so far?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span>I think the team challenges. The immunity
challenges are individual things. I tend to like the ones where they team up,
and they have to work together and strategize. It's a little more nuanced, as
opposed to just the <i>mano a mano</i> of roping or running a horse or
something.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>How did you get involved with the <i>Ultimate
Cowboy Showdown</i>?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins: I've known (Producer)
Andrew Glassman for a few years, and we talked years ago about trying to do
something together. Andrew told me about this project and I just jumped right
on it. It just sounded like it'd be something fun to do. I am at that beautiful
place in my life and my career where I can make decisions on what I want to do
based on the answer to the question, would that be something I would enjoy
doing? I was involved from the very beginning, talking about who were the
experts he was going to bring in to work with.<span style="mso-spacerun: yes;">
</span>It's been a really, really interesting process and a lot of fun.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>What experts has he brought in that you've
enjoyed working with?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span>There’s a guy named Buddy Shnaufer, who owns a
huge cattle company. It was interesting to hang out with Buddy and hear his
insights on the cattle business. Fred Whitfield came, seven-time World Champion
Calf Roper. He's a legend, and I got to spend a day riding next to Fred. I just
had a blast, probably my favorite day so far. And then Chuck Tice, who’s former
president of the Alabama Cattlemen's Association. I've learned from every
expert that’s been on the show so far.<o:p></o:p></span></div>
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Contestant Hadley Hunting</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>And you're a rancher yourself?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span>No, I'm not a rancher. I mean, I grew up with
horses, and I live on an old farm south of Nashville. I'm just never home; I feel
guilty enough leaving my dogs. So, I'm looking forward to that day when I start
to slow it down and not travel as much, and get back into having some livestock;
right now, I don't have any.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Did you develop many cowboy skills when you
were growing up?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span>You know, somebody asked me how I thought I
would do in this competition. I said well, if you'd have caught me 35 years
ago, maybe I'd have given you a run for your money, but at 57, no. <span style="mso-spacerun: yes;"> </span>I'm in the perfect spot, standing on the
sideline, cheering them on and judging. My participating days are over.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>What do you think are the qualities and
characteristics that add up to being the ultimate cowboy?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span>You know, every one of these contestants are
experts at something. But this competition requires them to have some level of
proficiency in a lot of different areas. It's the cowboy or cowgirl that has
the most experience overall, a cowboying capacity, that's going to win this
thing. Because they're being asked to do all kinds of different stuff, so they
can't just rely on whatever their forte may be.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-spacerun: yes;"> </span>In your autobiography, TRACE ADKINS: A
PERSONAL STAND, you talk about your roughneck work in the petroleum industry. How
does that kind of work compare with cowboying?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span>I think the mentality was probably pretty
similar. You're going to work 12 hours a day, and you're going to reach and get
it all day long. And that's how these cowboys have to work. When it's time to
work, you've got to work until the job's done. There's no calling time out, and
taking a break. Just going to get it done. That's the way it was working oil
fields, you know, we had a saying: it never rains, it never gets hot. And there
are no holidays.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>It's funny, I was just talking to my wife's
two brothers who, like you, worked on oil rigs for Global Marine.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span>Oh wow!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>And they told me that there were three things
all successful men in that field have: a diamond pinky ring, a Rolex, and
divorce papers. Is that true?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span>Well, I've got a pinky that I got cut off
working on the drilling rig. That accounts for the pinky ring. I don't hardly
ever wear a watch, but I have a couple of nice ones. And I've got three sets of
divorce papers. So I guess I got that going for me.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Ever since the days of the singing cowboys
like Gene Autry and Roy Rogers, there's been a connection between country music
and Western movies. Do you feel a personal connection with Western film?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span>Well, I never would have even allowed myself to
dream that I would ever be in a Western. And now I've had the opportunity to
live that dream. I absolutely love it. As a kid I watched those movies and just
idolized those people. Gary Cooper, John Wayne, the list goes on and on, and I
thought, wow, that's the best job in the world. To get paid to pretend to be a
cowboy and ride a horse all day. That must be fun. And now I've found out it is,
it absolutely is. It's just like stealing money. It's just too much fun to get
paid for doing it.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Which is your favorite of the movies you've
done so far?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span> My favorite was not a western. <i>The Lincoln
Lawyer</i>, the movie than I did with Matthew McConaughey. But I was a biker,
which is just a cowboy on two wheels.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>I liked your work in <i>The Virginian</i>
very much.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins: Thank you.
I enjoyed that. That was my first lead. The very first day I was on set, I made
the announcement to the entire crew that the director had no idea what he was
doing because he hired me as the lead in the movie, which unsettled everybody
just a little bit.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Besides Matthew McConaughey, any other actors
you're particularly pleased to work with?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span>Well, the biggest ones that I've had a chance
to work with, Mark Wahlberg and Dennis Quaid, a few others. Without exception,
they've been so gracious and kind and giving, and willing to rehearse when they
don't have to. Those guys have been really, really kind. And Kris
Kristofferson. I did <i>Hickok</i> with him, and what a treat that was.<span style="mso-spacerun: yes;"> </span>I'd done a couple of shows with Kris, but
I've never had a chance to do a movie with him until then.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>So I take it you watched a lot of westerns
growing up?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span>Oh yeah, my daddy, that's all he loved. <i>Gunsmok</i>e
was appointment TV. Whatever we were doing, we can't do that then: <i>Gunsmoke</i>
is going to be on. <i>Gunsmoke, Bonanza</i>, all those Westerns we watched
growing up, and all those movies. He had prints of John Wayne on the wall. My
daddy rodeoed when I was kid. He steer-wrestled. He was a big, tough cowboy.
When my second brother came along, my Momma made him quit. But he loved horses
and he was a good rider. Good hand. He was good man. I think I really got my
love of all things Western from him.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Did you go to Rodeos as a kid?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span>Yeah, we always went to the Rodeo. We had that
hometown rodeo in Springhill, Louisiana every year. Then we'd go to Shreveport,
to the Hirsch Memorial Coliseum when they'd have a big Rodeo during the State
Fair. And we a couple of times we went to Houston to the Houston Livestock Show
and Rodeo. So yeah, we traveled to go to the rodeo.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Does doing <i>The Ultimate Cowboy Showdown</i> bring back memories?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Trace Adkins:<span style="mso-tab-count: 1;"> </span>Absolutely. It just reminds me of so many of my
friends back home, too. People that do team roping and cutting. It just feels
very familiar to me to be hanging out with these guys and these ladies. Good
people, and always a good day spending the day with them. It's been a great
experience so far.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>LONE PINE FILM FESTIVAL
THURSDAY THROUGH SUNDAY!</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNoXfp3LXjSqq5471xlzNuAV7ztDG7Zw-XWcjSE27SxKD3N7qPB3XavMcrGXl4kZR6YvnFR6KnCH-0wioviZfCFJ8hozr7Y-PHxTe6PwiW3EiheWblDrgu4uPzNdyj_BXG-GjFTCmayWwQ/s1600/lone+pine+2019.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1143" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNoXfp3LXjSqq5471xlzNuAV7ztDG7Zw-XWcjSE27SxKD3N7qPB3XavMcrGXl4kZR6YvnFR6KnCH-0wioviZfCFJ8hozr7Y-PHxTe6PwiW3EiheWblDrgu4uPzNdyj_BXG-GjFTCmayWwQ/s320/lone+pine+2019.jpg" width="228" /></a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The 30<sup>th</sup>
Annual Lone Pine Film Festival will be held from Thursday, October 10 through
Sunday, October 13, headquartered at the Museum of Western Film History. About
800 movies have been filmed in the general area, 400 in the Alabama Hills just
outside of Lone Pine. For three decades, folks who love the look of the area,
and love movies, and Westerns in particular, have gathered around Columbus Day
to celebrate the place’s unique history in filmmaking. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">There are many tours and
talks over the three days, highlighting topics such as the films that Randolph
Scott and William “Hopalong Cassidy” Boyd made there. The locations of many
shoots can be visited, including not just Westerns, but the biggest-budget film
for its time shot there, <i>Gunga Din</i>. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Many films and TV shows that
were filmed there will be screened, featuring stars like Tex Ritter, Roy Rogers,
Sunset Carson, Allan “Rocky” Lane, Gene Autry, Bob Steele, Tim Holt, John
Wayne, Joel McCrea, and Randolph Scott. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Western Historian Rob
Word will be moderating a number of panel discussions, and guests taking part, and
introducing films, will include Bill Wellman Jr.; Wyatt McCrea, grandson of
Joel McCrea and Frances Dee; Jay Dee Whitney, son of Western director William
Whitney; Patrick Wayne, actor and son of John Wayne; and Cheryl Rogers,
daughter of Roy Rogers and Dale Evans. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Of particular interest, <i>The
Cowboys</i>, the classic 1972 John Wayne film, will be presented with a Q&A
featuring one of the picture’s stars, Robert Carradine, as well as Patrick
Wayne and Richard Farnsworth’s son, Diamond Farnsworth. <span style="mso-spacerun: yes;"> </span>Robert Carradine and Darby Hinton will do a
Q&A with the brand-spanking-new Western that they co-star in, <i>Bill
Tilghman and The Outlaws</i>. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Follow the link below to
find out details and buy tickets. And don’t dawdle – many events are already
sold out!<o:p></o:p></span></div>
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<a href="https://www.museumofwesternfilmhistory.org/"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">https://www.museumofwesternfilmhistory.org/</span></a><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>‘BILL TILGHMAN & THE
OUTLAWS’ WINS SEVEN AWARDS AT WILD BUNCH FILM FESTIVAL!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The Wild Bunch Film
Festival has just wrapped up, and director Wayne Shipley and screenwriter Dan
Searles are still doing their victory dance, and with good reason. I heard from
one of the film’s stars, Darby Hinton, that they won seven awards: Best 1st
Time Screen Writer – Dan Searles, Best Stunts – Ken Arnold, Best Child Actor - Noah
Deavers, Best Ensemble Cast, <span style="mso-spacerun: yes;"> </span>The Wild
Bunch Award (for Best Screenplay That Exemplifies The Spirt Of The West) - Dan
Searles, Best Western Songwriting Competition – Dan Searles and his mother, and
Best Supporting Actor – Darby Hinton.<span style="mso-spacerun: yes;">
</span>Dan Searles tells me the film is now available to rent from Amazon
Prime.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>ON THE RED CARPET AT THE ‘SILVER
SPUR’ AWARDS!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">On Friday, September 20<sup>th</sup>,
the Reel Cowboys held their 22<sup>nd</sup> annual Silver Spur Awards. For a
change, it was held not at the Sportmen’s Lodge, which was recently levelled,
but the Equestrian Center in Burbank, which has an appropriately Western
atmosphere. Julie Anne Ream once again ran the event with Reel Cowboys President
Robert Lanthier, this year in part as a benefit for The Gary Sinise Foundation.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I spoke to a number of attendees
on the red carpet. I’m working with a new, tiny digital recorder, which works
very well but, with a fuzzy wind-cover over the mic, startled some of my
subjects.<o:p></o:p></span></div>
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Julia Rogers Pomilia took this picture</div>
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of me with my fuzzy recorder</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>JULIA ROGERS POMILIA</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Granddaughter of Roy
Rogers and Dale Evans<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Julie Rogers: <span style="mso-spacerun: yes;"> </span>Oh, I thought you were holding a hamster. What
is that?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>It’s my strange digital recorder. Well now,
you're one of how many grandchildren of Roy and Dale?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Julie Rogers:<span style="mso-tab-count: 1;"> </span>They had 16 and one passed away suddenly
years ago. So we have 15. Lots of grandchildren and great grandchildren and
great, greats.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>What was Roy Rogers like as a grandfather?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Julie Rogers:<span style="mso-tab-count: 1;"> </span>He was just so sweet and he loved kids. He
would put us on Trigger. He would play with us in the pool. We'd play chicken
and get up on his back. We'd watched <i>The Roy Rogers Show</i> with him on
Saturday morning, and be crawling all over his back, and wrestling around on
the floor, and he'd stop and say, "Go, Roy, go!" And we'd say,
"Yeah, go get him!" And as far as I knew, every kid had a grandpa
that had a TV show. I just thought that was normal because that's what was
normal to me, you know? They were just so accessible and so loving. They never
missed a birthday or a school play, even though they were so busy. They could be
at the White House one night, and then at our house playing old maid with me on
the floor the next night. They were wonderful.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-spacerun: yes;"> </span>And was Dale's personality really pretty much
like the character she played?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Julie Rogers:<span style="mso-tab-count: 1;"> </span>Oh my, you know, neither one of them were
acting. When I see them on their shows, I don't mean this to sound negative,
but I don't think they're very good actors, because they're just being themselves.
So I don't ever see them act. And she was a hoot. She was so outgoing, she
could never just fly under the radar when she came a room, and she didn't mean
to. She just was. And grandpa was very quiet, just totally the opposite. So they
were a cute couple.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Now, you said that he would put you on
Trigger. Was this visiting on a set?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Julie Rogers:<span style="mso-tab-count: 1;"> </span>No, no, no. After they were done with the
show, he kept Trigger at the ranch where they lived in Chatsworth. So when we'd
come over, we'd sometimes go down to the barn and pet him or feed him or sit on
him and he'd ride us around. It was good memories.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>How about Bullet?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Julie Rogers:<span style="mso-tab-count: 1;"> </span>Bullet was one of their house dogs. They had six
dogs, and they'd all come running out to greet us when we drove up. It was just
magical. I didn't appreciate it as much growing up, until I look back on it and
go, wow! I mean, I knew it was fun, but I really appreciate it now so much
more.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Was Pat Brady around? Was he a friend?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Julie Rogers:<span style="mso-tab-count: 1;"> </span>Yeah, he was around, but I was one of the
last ones born, so he wasn't around a lot when I was. (Note: Pat Brady died in
1972) I didn't know him, but my sisters did. They said he was a really
wonderful man. Funny, and just a really good friend of Grandpa's and Grandma's.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Now when you say that Roy and Dale weren't
that great actors, or rather, that they didn’t get much of a chance to act, did
you ever see Roy in <i>Mackintosh and TJ </i>(1975)? I thought he was wonderful
in that.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Julie Rogers:<span style="mso-tab-count: 1;"> </span>You know what? I need to see that. Somebody
just sent me a copy of it, because you can't find it very easily, and I have
never seen it, so I should look. But I mean back then, back in the 40s and 50s,
he was just being himself and I bet that would be a whole different take on
him.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Oh, it really is. It's a wonderful
performance.<span style="mso-spacerun: yes;"> </span>When I saw it I said, wow,
I wish he'd been given more challenging roles more often. He really does so
well.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Julie Rogers:<span style="mso-tab-count: 1;"> </span>And he never aspired to be an actor. That was
the last thing he probably thought he was going to be. But he was one of those
that just sort of fell into it. Whereas grandma, she was born wanting to be an
actress, and she would dance in front of the mirror, and think someday she was
gonna marry Tom Mix and be an actress. And she did it.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>She sure did. And she learned to ride very
well. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Julie Rogers:<span style="mso-tab-count: 1;"> </span>Yes, yes. Roy said that the first time she
rode, he'd never seen so much sky between a woman's rear-end and a horse in his
life. So she kind of bluffed her way in there and said she knew how to ride
when she didn't. So she basically learned from him, on-set. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>I think it's remarkable how accessible <i>The
Roy Rogers Show</i> is now. It's on TV three times a day.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Julie Rogers:<span style="mso-spacerun: yes;"> </span>I know. That's kind of fun.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Do you know if are younger people are
watching it? <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Julie Rogers:<span style="mso-tab-count: 1;"> </span>No, that's a tough one, because with all of that
computerized stuff and all the electronics and the special effects, there's not
a whole lot of interest in those old westerns anymore. We're working on a
musical (about Roy and Dale) coming out next year, opening in Atlanta. We're
gonna see how that goes, and we're hoping to get his name out there a little
bit more to the next generation.<span style="mso-spacerun: yes;"> </span>Because
kids don't like watching black and white. My kids were the same way. They
didn't even want to watch their great grandpa because it’s black and white.<span style="mso-spacerun: yes;"> </span>I teach kindergarten in Castaic.<span style="mso-spacerun: yes;"> </span>I've talked about my grandparents to all my
classes and show them little clips. It helps a little bit. Every little bit
helps.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>JOHN SCHNEIDER</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Best remembered as Bo Duke on <i>The Dukes of Hazzard</i>, in1986, John Schneider co-starred in a remake of 1939’s <i>Stagecoach</i>, as the coach driver, co-starring with Johnny Cash, Willie Nelson, and Kris Kristofferson.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzluUH0jd31S3QrvSaLApxbJfxwwJYuMHD-fCPRJPAklYahgLiaPffdW-OcdI5cGwP9DMg_5KLo2W5VFiG9NXA2AJ3XyBCRv3XcyOsrB2u3tLKk5OeMYB-Uyz3LfSDAb_T_fxyTWqVNTcR/s1600/Spurs+19+John+Schneider.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1200" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzluUH0jd31S3QrvSaLApxbJfxwwJYuMHD-fCPRJPAklYahgLiaPffdW-OcdI5cGwP9DMg_5KLo2W5VFiG9NXA2AJ3XyBCRv3XcyOsrB2u3tLKk5OeMYB-Uyz3LfSDAb_T_fxyTWqVNTcR/s320/Spurs+19+John+Schneider.jpg" width="240" /></a></div>
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Demonstrating how he held the reins</div>
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driving a six-up in <i>Stagecoach</i></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">John Schneider:<span style="mso-spacerun: yes;"> </span>Hi. What a nice dog.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Thank you for petting him. I've got to say,
of all the men who played the stagecoach driver in the films of <i>Stagecoach</i>,
you could not be less like Andy Devine or Slim Pickens.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">John Schneider: (a screech-perfect
imitation of Devine) <i>"Not like Andy Devine?" </i>Well you know, it
was a great honor to be in that movie, especially considering Johnny (Cash) and
I became best friends after that. I lived with John and June after we did <i>Stagecoach</i>
because at that time, I had the number one album in the country. People don't
necessarily remember that. My beard, they remember. That <i>was</i> my beard.
But I so enjoyed <i>Stagecoach</i>, and working out there in Mescal (the
Western movie town), and Old Tucson, before it burned down.<span style="mso-spacerun: yes;"> </span>I've been there since. It's beautiful. It's
actually, I think, much better for having burned down. Not the Hollywood way, where
the Laramie Street burns down, so they build a parking lot. I'm glad that Old
Tucson's back and thriving and beautiful. That was a great time for me and I
actually drove the six-up. (Note: a stagecoach pulled by a team of six horses)<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Really?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">John Schneider:<span style="mso-spacerun: yes;"> </span>Yeah. And I'm told that Ben Johnson and I
were the only ones (who could). Ben was an amazing actor, but Ben was a cowboy.
So I may be the only non-professional cowboy actor to actually drive a six-up
on camera and I'm pretty damn proud of that.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-spacerun: yes;"> </span>Did you already know how to do that?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">John Schneider:<span style="mso-spacerun: yes;"> </span>I did not. I was taught.<span style="mso-spacerun: yes;"> </span>There was a guy named Red, a red-haired
cowboy that worked at Old Tucson. <span style="mso-spacerun: yes;"> </span>I
drove the stagecoach tours in Old Tucson for two days. It was a four-up. And
then he would take me out after, and add the other team. You would have the
lead team, and the wheel team. The swing team, the team in the middle, you
would add. <span style="mso-spacerun: yes;"> </span>Whenever I talk about <i>Stagecoach</i>,
I do this – (he holds his hands up, separating his fingers) – because that's
what you had to do. I mean, three sets of leather reins in your hands, with
horses that would much rather run abreast. So, I loved it. I loved <i>Dr. Quinn
– Medicine Woman</i>. I loved <i>Guns of Paradise</i>.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>That's right. You've done all of the better TV
westerns of the period.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">John Schneider:<span style="mso-spacerun: yes;"> </span>Thank you. And you know, in my heart and soul,
I'm a seven-year-old who's watching the <i>Sons of Katie Elder</i> and <i>McClintock</i>
and <i>Cahill</i> and wanting to be John Wayne. So one of these days, I guess by
the time I get to be John Wayne, maybe I'll be playing him and that's okay.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>That would be fine.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">John Schneider:<span style="mso-spacerun: yes;"> </span>I would love it. We share a name.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Now with <i>Stagecoach</i>, I was told that
was originally going to be a full musical. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">John Schneider:<span style="mso-spacerun: yes;"> </span>I heard that too. I don't think that's true. What
we were going to do is all of us had written songs. And the only one they wound
up using was the "stagecoach, stagecoach, rolling on to glory, stagecoach,"
which was Willie's song. But they were going to put that music in there, and
the music that we had written was going to be our individual themes. We weren't
actually going to break out in "trouble in River City."<span style="mso-spacerun: yes;"> </span>It wasn't going to be <i>Paint Your Wagon</i>,
but there was gonna be a lot of music from all of us in it. Somehow that turned
into just Willie's song. Well, I wrote this song, I don't remember what the
song was, but I wrote, cause we all wrote. We had a lot of time there and we
wrote.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>KATHY GARVER</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Kathy Garver is best
remembered as Cissy, the oldest child being raised by Uncle Bill (Brian Keith)
on </span><i style="font-family: "Times New Roman", serif; font-size: 12pt;">Family Affair</i><span style="font-family: "times new roman" , serif; font-size: 12pt;">.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBz-Ri5J3WkpeqZFEEIDuXALScAogLuFOl9CqCVj_bOsKDxQXjx6GHs8vsiVHj1DVxlr2Q3_o0s2HwxWcETZ-RdINoXwOV-GCww1VoRLB_l8nC1g_Ur1bm6TNAbgfJCSXRwbY1c3M3Zrep/s1600/spurs+19+new+Kathy+Garver.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBz-Ri5J3WkpeqZFEEIDuXALScAogLuFOl9CqCVj_bOsKDxQXjx6GHs8vsiVHj1DVxlr2Q3_o0s2HwxWcETZ-RdINoXwOV-GCww1VoRLB_l8nC1g_Ur1bm6TNAbgfJCSXRwbY1c3M3Zrep/s320/spurs+19+new+Kathy+Garver.jpg" width="320" /></a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>I was surprised when I checked IMDB to
realize how many westerns you've done.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Kathy Garver:<span style="mso-tab-count: 1;"> </span> I started out doing Westerns. One of my first
roles was in <i>Sheriff of Cochise</i>, and then (slipping into a French
accent) in <i>The Adventures of Jim Bowie</i>, I played a little French girl.
Merci. It's interesting to look back at some of the DVDs that some fans have
sent me and see. Oh my gosh, I was so little!<span style="mso-spacerun: yes;">
</span>But I just did a presentation yesterday of <i>Ex Child Stars on the
Western Frontiers</i>. It's about a 45 minute presentation I do with
PowerPoint. So I have profiled Johnny Crawford, and Jimmy Hawkins from <i>Annie
Oakley</i> and there was Lee Aaker from <i>Rin Tin Tin</i>, and Darby Hinton
from <i>Daniel Boone.</i> So they're all my friends and I worked with them when
I was little. And you know what, I'm still doing Westerns.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-spacerun: yes;"> </span>I’d love to see your presentation.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Kathy Garver:<span style="mso-tab-count: 1;"> </span>I'm doing it in Oklahoma if you want to go out
there. But I was thinking it would be good to do with the Gene Autry Museum. I
think that would be a wonderful place to present this. I have a retirement home
where I'm going to present it.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke: This morning
I was watching your former co-star, Johnny Whitaker on an episode of <i>Lancer</i>.
I didn't remember that he had done Westerns.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Kathy Garver:<span style="mso-tab-count: 1;"> </span> I didn't either. And I'm doing two adult
westerns. One is <i>Grace</i>, which is a lovely Western, and the other one's <i>Eli
Elder</i>. So we're getting those together. And here's a bit of news. I just
finished filming my new series called <i>Aunt Sissy</i>, and that's kind of a
wink and a nod to <i>Family Affair.</i> It's not a sequel.<span style="mso-spacerun: yes;"> </span>It's a standalone kind of sitcom. So that
went very, very well.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>WYATT MCCREA</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Producer Wyatt McCrea is
the grandson of Joel McCrea and Frances Dee, and the son of Jody McCrea. He
lives on the ranch that his grandparents built.<span style="mso-spacerun: yes;">
</span>The Johnny Crawford that we discuss starred in the series <i>The
Rifleman</i> as Chuck Connor’s son, Mark McCain.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>I hear that you just had a wonderful event at
your ranch for Johnny Crawford.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Wyatt McCrea:<span style="mso-spacerun: yes;"> </span>We did. It was a lot of fun. We were trying
to do what we could to help Johnny out. We screened the last movie he was in, <i>Bill
Tilghman and The Outlaws</i>. We had a good crowd and hopefully we raised a little
money for him.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-spacerun: yes;"> </span>That's terrific. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Wyatt McCrea:<span style="mso-spacerun: yes;"> </span>Well, Johnny's a great guy, and he's done a
lot for a lot of people over the course of his lifetime, so it was the least we
can do to pay him back a little bit.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>That's great. Tell me, are you getting an award
or presenting one tonight?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Wyatt McCrea:<span style="mso-spacerun: yes;"> </span>I'm presenting to Mariette Hartley, which
will be a lot of fun. Her first movie was with my grandfather. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Of course, <i>Ride the High Country</i>.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Wyatt McCrea:<span style="mso-spacerun: yes;"> </span>Yeah. So it was fitting that I was allowed to
do it, and I’m so happy to do it. She's a great lady.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Yes, she is. I recently interviewed her for a
<i>True West</i> article, and she was talking all about the good advice that
your granddad gave her.<span style="mso-spacerun: yes;"> </span>He said before
he does a scene, he always read --<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Wyatt McCrea:<span style="mso-spacerun: yes;"> </span>-- read the scene before.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Exactly, which I thought was extremely smart,
and should be obvious, but I've never heard anyone else say it.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Wyatt McCrea:<span style="mso-spacerun: yes;"> </span>No, it's true. It should be obvious, but there
are people that don't do it, you know. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>As you can tell when you see their films. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>AND THAT’S A WRAP!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif;">In the next week or two I'll have a new Round-up, and look at the 70th birthday celebration of the <i>Lone Ranger</i> TV series, the travel series <i>Travels with Darly, </i>the new Western <i>Soldiers' Heart</i>, and much more. </span></div>
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<span style="font-family: "times new roman" , serif;">Happy Trails,</span></div>
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<span style="font-family: "times new roman" , serif;">Henry</span></div>
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<span style="font-family: "times new roman" , serif;">All Original Content Copyright October 2019 by Parke -- All Rights Reserved</span></div>
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<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-33835404367566781122019-08-20T21:53:00.000-07:002019-08-20T21:53:06.200-07:00‘TURQUOISE FEVER’ PREMIERE, PLUS ‘MORRICONE IN HIS OWN WORDS’, LONE RANGER 75TH ANNI., NEW FOX WESTERN SERIES, ‘OLD TOWN ROAD’, AND MORE!<br />
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TURQUOISE FEVER premiered
on the INSP network this past Wednesday. The weekly reality series follows the
fortunes and follies of the Nevada-based turquoise-mining Otteson clan. The
first show was about trying to satisfy the blue-stone needs of a big-time buyer
and jewelry designer from Japan, who is very influential in the jewelry markets
throughout Asia.<span style="mso-spacerun: yes;"> </span>If you missed this one,
don’t worry, because there will be other chances. Besides, in a way, episode 2,
which airs this Wednesday night, August 21<sup>st</sup>, is just as good a
place to start, as it really focuses on the family, and how the Ottesons became
a ‘Blue Gold’ powerhouse.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">It all started in 1958,
when the family moved en masse from Colorado to Nevada, and patriarch Lynn
Otteson staked his first claim. His sons Dean, Danny and Tommy worked with him,
and soon there were wives and sons and in-laws in the mix.<span style="mso-spacerun: yes;"> </span>Dean would become the patriarch, and during
this show’s six-year gestation period, he would pass away, pledging his
brothers not only to continue mining, but to take care of his widow, and family
matriarch, Donna.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Last week I had the opportunity
to discuss the show with one of the younger members of the Otteson
turquoise-mining family, Danny’s 22-year-old son, and already a veteran miner,
Tristan. He’s both the historian and scientist of the family, and he started
out by giving me a verbal sketch of the history of turquoise mining, and the
Otteson’s involvement with it.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tristan: Turquoise in the
southwestern United States has been mined since way before any white people got
here. The Native American mines in the New Mexico region of Cerrillos are some of
the oldest turquoise mines in the entire world. But as for the Ottesons, we got
into the mining business about three generations before me. Grandpa Lynn's
father, Christian Vern Otteson, had worked a little bit at the Lick Skillet
Mine in, Manassa, Colorado in the very early 20th Century. He fought in World
War I, and passed away when my grandpa was only three years old. With their
father gone, my grandpa would work all sorts of jobs to support his family. His
uncle Pete King owned Lick Skillet Mine and (Lynn), worked there. Then, when he
was about 18, Pete told him to come out and mine one of his claims in Nevada, the
Cloverdale, Nevada Blue Gem Mine; it's now called the Easter Blue Mine, and we
mine it still. This was around the mid-1940s, and he really started to fall in
love with turquoise. <span style="mso-spacerun: yes;"> </span>So he moved his
very young family from Colorado straight out to Nevada. I think it was 1958
that they moved out to Nevada permanently. They lived in Haybag Johnson's
chicken coop, and from there my grandpa was able to work various mines around
Cloverdale. Finally my grandpa was able to put a four-year lease on Lone
Mountain Turquoise Mine, which is one of the most famous turquoise mines in the
entire world today.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">They barely scraped up
enough money to get a little tiny mixer, that he would haul all the way out to
that mine. They’d bring water in big metal milk containers, and they had this
little tub that was about three-foot-wide, that the family would bathe in, and
they’d run the dumps that the other miners had mined out. And when they could
fill the bottom of that tub full of turquoise nuggets, they’d load everybody
up, drive down to New Mexico to sell it to the Zunis. And not only for money.
They would trade it for clothes, groceries, saddles, guns, blankets, anything
they could get of value. My grandma would always tell my grandpa, “You can't
eat a saddle. Come back with money or food.’ Sometimes they were able to sell a
whole bunch of nuggets, and put $3000 or $4,000 in their pocket.<span style="mso-spacerun: yes;"> </span>Sometimes they only came back with a saddle
or two or a blanket.” <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">From there, my grandpa
was able to build up his own operation. He got in with a whole lot of different
people over the years where they would front equipment, and he had the mining
knowledge. It never seemed like my grandpa got a fair shake out of those deals,
but eventually he traded a silver claim he had in eastern Nevada for the Pilot
Mountain Turquoise Mines.<o:p></o:p></span></div>
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Tristan Otteson</div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry:<span style="mso-tab-count: 1;"> </span> Have you ever considered a profession other
than turquoise mining?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tristan:<span style="mso-spacerun: yes;"> </span>Personally? I really haven't. In high school,
we all dream of being a different thing. But when it came down to it, I had
gone out to the turquoise mines with my dad, my older brothers, since I was
real little and I couldn't really imagine doing anything else.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry:<span style="mso-tab-count: 1;"> </span></span>E<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">xcept for the DeBeers
diamond family in South Africa, I can't think of another family that has so
dominated the mining of a single mineral. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tristan:<span style="mso-spacerun: yes;"> </span>You can see them literally everywhere. The Royston
Turquoise, that's one of the world-famous mines that we mined. Just recently there
was a story on Jason Mamoa, Aquaman. He came out with a big Indian squash necklace,
and said he felt like the native American, Mr. T. That was Royston Turquoise in
that squash.<o:p></o:p></span></div>
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Fire in the hole!</div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry:<span style="mso-tab-count: 1;"> </span></span> <span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">I know there're many
different grades and types of turquoise. <span style="mso-spacerun: yes;"> </span>Can you give me a sense of the range of value?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tristan:<span style="mso-spacerun: yes;"> </span>We generally sell our turquoise by carat
weight.<span style="mso-spacerun: yes;"> </span>To put it in perspective, gold's
at $1400 per ounce, right around eight or $9 a carat. Our turquoise ranges
anywhere from one to $2 a carat for the not as rare stuff, all the way up to $80
to $100 per carat for really special stuff. So turquoise it can be worth 10
times its weight in gold.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry:<span style="mso-tab-count: 1;"> </span></span> D<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">o you ever have trouble
with claim jumpers?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tristan:<span style="mso-spacerun: yes;"> </span>Yuh. Over the years, there's been a lot of
times when people come out on our claims, and try to scoop up the vein you're
digging on. And with the way the turquoise is, if you don't know how to get it
out of the ground, if you see a vein sticking out of the wall and try to go at
it with a hammer, you're just going to destroy it. We've had it where you show
up to work the next day and your vein is just a whole bunch of chips on the
ground. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry:<span style="mso-tab-count: 1;"> </span></span> <span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Of course, it's not like
gold; you can't reform it. It's just gone.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tristan:<span style="mso-spacerun: yes;"> </span>Exactly it. They could have just destroyed a
$40,000 pocket of Turquoise and not even know it. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry:<span style="mso-spacerun: yes;"> </span>I was fascinated to learn how popular
turquoise is in Asia. How much of the turquoise business is outside of the U.S.,
and what other countries are involved?<o:p></o:p></span></div>
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Donna shows a buyer from Japan their best stones.</div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tristan:<span style="mso-spacerun: yes;"> </span>In the United States, they want the unique
stone. But in other countries, that hasn't caught on except for Japan, that
romanticizes Native American jewelry. In other countries, straight blue stones
is what they look for. So there's huge turquoise mines in China, over in Egypt,
and in Iran. It's kind of a pattern; the high desert places around the world
all have turquoise mines. They call it Persian turquoise and Egyptian turquoise;
it's really beautiful stuff, along with the Chinese. And they more or less
dominate the markets outside of the United States, except for those like the
Japanese market that focuses on Native American jewelry.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry:<span style="mso-tab-count: 1;"> </span></span> W<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">hen you're prospecting
for gold, you look for quartz because they're found together. What sort of
indicators do you have when you're looking for Turquoise?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tristan:<span style="mso-spacerun: yes;"> </span>There's two different kinds of formations. What
you’re looking for is mineralized ground with iron outcroppings or a black chert
(note: chert is a hard, fine-grained sedimentary rock composed of quartz crystals).<span style="mso-spacerun: yes;"> </span>And there’s a kind of a tan rock, dominated
mostly by quartz, but not the kind of crystal quartz that you think of. My dad
has walked literally thousands of miles, prospecting for turquoise, and tried
to teach me and Lane how to read the differences in the minerals.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry:<span style="mso-tab-count: 1;"> </span></span> <span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">What is the process that
makes turquoise form?<o:p></o:p></span></div>
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Lonely out there!</div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tristan:<span style="mso-spacerun: yes;"> </span>Well, this is still largely up for debate. Pretty
much the only thing people can really agree on is it's an aluminum copper
phosphate. Water goes through the ground, through the cracks, and where the
right kind of phosphates are. There's debate on whether the water was going
down through the rocks or up through the rocks. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry:<span style="mso-tab-count: 1;"> </span></span> D<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">o we know how long it
takes for turquoise to form?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tristan:<span style="mso-spacerun: yes;"> </span>They tested some turquoise down in Arizona
and dated it to over 10 million years old. And other people have theories that
puts it clear back to the Mesozoic era. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry:<span style="mso-tab-count: 1;"> </span></span> <span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">I get the impression that
turquoise is getting harder to find. Do you have any sense of when turquoise
will be mined out?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tristan:<span style="mso-spacerun: yes;"> </span>That's speculation, but the huge producing
mines don't exist anymore. I would put a shelf life on the southwest and
American turquoise to maybe 150, 200 years until it could literally be all dug
up. Turquoise forms in two different ways; <span style="mso-spacerun: yes;"> </span>it's either in veins, through the rocks, or it
can get into a clay and actually make nuggets of turquoise where it formed and
bubbled up. <o:p></o:p></span></div>
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Don't drop it!</div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry:<span style="mso-tab-count: 1;"> </span> I know your son is just a baby, but when he
grows up, would you want your son to follow in your footsteps in the turquoise
mining business?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tristan:<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>If he
wants to mine turquoise, he should. The thing is, it's hard. It's not easy if
you weren't brought up in mining turquoise. Honestly, the biggest future in our
business are the children that we have that come out to the mines with us, that
are constantly learning from us. So I would kind of expect them to mine
turquoise. But if they don't want to, that's cool too.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry:<span style="mso-tab-count: 1;"> </span></span> <span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">What is the most
important thing to know about turquoise mining?<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tristan: The most important
thing about a turquoise mining is appreciating the stones that you're digging
up, and appreciating the ground that they come from, and having a good reason
to dig them up, which is for your family. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>A BOOK REVIEW:<o:p></o:p></b></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>ENNIO MORRICONE IN HIS
OWN WORDS – IN CONVERSATION WITH ALESSANDRO DE ROSA, Translated from the Italian
by MAURIZIO CORBELLA</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Oxford University Press –
Hardcover -- $34.95<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><br /></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">First let me go on record
as saying that I am <i>not</i> a musician, and I have three years of guitar
lessons to prove it.<span style="mso-spacerun: yes;"> </span>But I love music,
and I love movie soundtracks. The first soundtrack I ever owned was Monty
Norman’s score to DR. NO. I was eight years old, and I begged for it, not
because of the music, but because there was a photo of a nearly nude Ursula
Andress on the back of the cover. But I listened to the music while I stared at
the picture, and I became fascinated. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">At NYU Film School I got
turned on to Ennio Morricone by fellow student and later screenwriter, the late
Ric Menello (TWO LOVERS, THE IMMIGRANT). He made me buy an Italian import
album, I, WESTERN, a collection of music from a fistful of Morricone Westerns,
and I was hooked.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">So, I love film music, I
know a fair bit about it, but like the guy who doesn’t want the magic trick
ruined by being told how it was done, I am an audience member, not an
insider.<span style="mso-spacerun: yes;"> </span>All of this is my roundabout
way of saying that I absolutely loved reading ENNIO MORRICONE IN HIS OWN WORDS,
and I probably understood about 10% of it. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The book represents a
year of discussions between fellow-composers De Rosa and Morricone, and De
Rosa’s encyclopedic knowledge of the maestro’s work makes him a perfect
interviewer. If you aren’t signed up for Spotify yet, you’ll want to be,
because there is an official cut list, and there are frequent music cues
throughout the book, to give voice to the music they are discussing.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">You’ll learn about the
start of Morricone’s musical career, as a trumpet sideman filling in for his
father during World War II.<span style="mso-spacerun: yes;"> </span>You’ll learn
about his classical education, ‘paying his dues’ in radio, and his early
scores, including a pair of Spaghetti Westerns he scored <i>before</i> being
approached by Sergio Leone for THE MAGNIFICENT STRANGER (later FISTFUL OF
DOLLARS).<span style="mso-spacerun: yes;"> </span>Much space is appropriately
devoted to the Morricone/Leone collaborations, and Morricone describes both the
inspirations and the frustrations – as when Leone used a piece from Dimitri
Tiomkin’s RIO BRAVO score on a temporary music track, then fell in love with it
and didn’t want to part with it. He did eventually – he had to part with the
recording, or with Ennio. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">His other Euro-Western
collaborations are not dealt with in similar depth – directors Sergio Sollima
(three Westerns together) and Sergio Corbucci (seven Westerns together), each
receive just a single reference, but as Corbucci’s was in a list of directors
who did not get involved with the scoring, that may be why.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Morricone has much more
to say about his work with Brian De Palma, Dario Argento, Bernardo Bertolucci,
John Carpenter, Terence Malick, and many others. As an audience member, I was
thrilled at the insights, and surprised at how much I learned. I can only
imagine how much more I would have learned, had I been a musician. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>‘LONE RANGER’ 70<sup>TH</sup>
ANNIVERSARY CELEBRATION SEPT. 17 – WORD ON WESTERNS AT THE AUTRY!</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">It was on September 15<sup>th</sup>,
1949, that Clayton Moore first tied on the black mask, mounted the great horse
Silver, and thundered into TV history as THE LONE RANGER! <span style="mso-spacerun: yes;"> </span>On Tuesday, September 17<sup>th</sup>, join us
at 11 a.m. at the Wells Fargo Theatre at The Autry to celebrate the 70<sup>th</sup>
anniversary of television’s first Western series, and one of the most
beloved.<span style="mso-spacerun: yes;"> </span>It’s too early to post a guest attendee
list just yet, but Clayton’s daughter, Dawn Moore, is taking part, and Rob Word
always gets wonderful guests for his events.<span style="mso-spacerun: yes;">
</span>I’ll have more details as the event gets closer.<span style="mso-spacerun: yes;"> </span>In the meantime, here’s a link to my
interview with Dawn Moore: <a href="http://henryswesternroundup.blogspot.com/2014/09/daughter-remembers-clayton-lone-ranger.html">http://henryswesternroundup.blogspot.com/2014/09/daughter-remembers-clayton-lone-ranger.html</a><o:p></o:p></span></div>
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Dawn and Clayton Moore</div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>FOX BUYS ‘GO WEST’ FROM
‘WESTWORLD’ PRODUCER BRIDGET CARPENTER</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">GO WEST, a pre-Civil War
Western that follows the trek of a diverse group of adventurers heading to
California for gold and freedom, has been given a script commitment, as a
co-production of Fox Entertainment and CBS.<span style="mso-spacerun: yes;">
</span>Writer/Producer Bridget Carpenter shared an Emmy nomination for her work
on FRIDAY NIGHT LIGHTS, as well as WGA nominations for her work on LIGHTS, and
for season one of WESTWORLD. She was also Exec Producer on 2014’s dark contempo
American Indian series RED ROAD.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>ACTOR/SCREENWRITER/DIRECTOR PETER
FONDA DIES AT 79</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">“Westerns are our way of
exploring our own mythology.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-tab-count: 7;"> </span>Peter
Fonda<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The movies’
counter-culture Captain America has died of lung cancer at age 79.<span style="mso-spacerun: yes;"> </span>Nominated for an Oscar for ULEE’S GOLD, the
son of Oscar-winning screen legend Henry Fonda, and kid brother of double
Oscar-winner Jane Fonda, Peter charted his own path. Not always pleased with
his mainstream Hollywood films – in a Playboy interview he referred to his 1963
film TAMMY AND THE DOCTOR as TAMMY AND THE SHMUCKFACE – he starred for edgier
independent filmmakers like Roger Corman in films like THE WILD ANGELS. Working
both in front of and behind the camera, he not only co-starred in 1969’s
earth-shaking EASY RIDER, he also wrote and produced it. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Although he didn’t star
in a lot of Westerns – his earliest appearances include a WAGON TRAIN and an
unsold HIGH NOON pilot where he played Will Kane Jr. – two of the three films
he directed were Westerns. <span style="mso-spacerun: yes;"> </span>In 1971’s
poetic tragedy, THE HIRED HAND, Fonda and frequent collaborator Warren Oates
play cowboy drifters who split up when Fonda goes back to abandoned wife Verna
Bloom. But obligations force them back together. With strong performances, a
wise script by Alan Sharp, stunning photography by Vilmos Zsigmond, and very
creative visuals, editing and score, HIRED HAND was an artistic triumph for
Fonda. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">In his second, 1979’s
much more light-hearted WANDA NEVADA, Fonda is a modern-day gold prospector who
wins 13-year-old Brooke Shields in a poker game. <span style="mso-spacerun: yes;"> </span>For Fonda, who described his relationship with
his father as, “fraught,” one of the great thrills of that production was the
chance to direct Henry Fonda, and to afterwards receive a letter from him about
the experience. “It was a five-page letter. And at the end, ‘In my
forty-one years of making motion pictures, I have never seen a crew so devoted
to the director. You are a very good director. And please remember
me for your company.’ Now a company is a word we normally use in stage.
But in John Ford’s time, he carried a (stock) company of actors with him
from one film to the next. Ward Bond was one of them. John
Carradine was another. Great characters that he would have as his
company. And the fact that my dad wanted to be part of <i>my</i> company…
How cool is that?” <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Fonda’s later acting
career would get a considerable boost after his strong supporting role in
2007’s 3:10 TO YUMA. Fred Olen Ray, who was making AMERICAN BANDITS: FRANK AND
JESSE JAMES, told me, “He was somebody we were really looking forward to
having, because he’s very iconic. We had made the deal, I had spoken to him in
France, and coming back on the plane, he fell on the jet-way. He busted his jaw
open, and he had to have stitches. And (his people) were saying, he can’t be
there on this day, and he could probably be ready in a week.</span></div>
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And that’s a week after the movie shoot had ended. So we thought, let’s not get
ourselves caught in a tough spot here. Let’s go ahead and film these scenes
anyway with a different actor. And a few days later, after the movie had
wrapped, we heard, ‘Okay, Peter Fonda’s ready!’ So we shot the scenes over
again with (Peter Fonda), and those are what we used in the movie.” <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Ron Maxwell enjoyed
directing Fonda in the Civil War home-front drama COPPERHEAD. “</span><span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%; mso-fareast-font-family: "Times New Roman";">Oh, he’s a lot of fun; he’s an
icon. There’s one scene where he meets Abner, and they speak about
the issues that are dividing the town. And that first shot, when you
first see him, is an exact replica, to every detail, to his father playing
YOUNG MISTER LINCOLN in John Ford’s 1939 film. The only
difference is that film was in black and white, and ours is
color. After we finished filming that scene, Peter looked up in the
sky and said, ‘Dad, I hope you’re proud of me.’”<span style="mso-spacerun: yes;"> </span>There is little doubt about that. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>OLD TOWN ROAD BOOSTS
WRANGLER JEANS SALES!</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">When, in the
song-of-the-summer, OLD TOWN ROAD, Lil Nas X intoned that timeless lyric,
“Wrangler on my booty,” the sales of the long-time denim favorite sky-rocketed.
It’s kind of the reverse of when the 1934 equivalent of Lil Nas X, Clark Gable,
in IT HAPPENED ONE NIGHT, removed his shirt to reveal no undershirt: sales of
the undergarment plummeted. Scott Baxter, honcho of Wrangler’s parent company,
Kontoor Brands, says they didn’t see it coming.<span style="mso-spacerun: yes;">
</span>"We knew nothing about it, and then it just took off.<span style="mso-spacerun: yes;"> </span>It's introduced Wrangler to a more diverse
group of folks, and that's where we want to be as a brand." Which is why
Wrangler is partnering with Lil Nas X on a line of t-shirts (apparently not
learning the Clark Gable lesson). <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">I don’t quite get the popularity
of OLD TOWN ROAD myself. I have nothing against it – I love the opening western
stuff, I love Chris Rock in anything, and the contemporary stuff is at worst
innocuous, and sometimes amusing, but the song just seems repetitive; it
doesn’t grow after the first few bars, and just peters out.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Actually, the big fashion-effect
I was expecting this summer is related to ONCE UPON A TIME IN HOLLYWOOD, and
the swoon heard ‘round the world when Brad Pitt took off his shirt. If only
they could sell <i>that</i> like they can sell a pair of Wranglers. But then,
they couldn’t figure out how to sell it in Gable’s day either.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>AND THAT’S A WRAP!</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Please check out the
September TRUE WEST MAGAZINE, on newsstands now, featuring my article,
STAGECOACH – THE LEGEND AT 80!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Speaking of which, I was
amazed recently to look at Henry’s Western Round-up – I write it, but I don’t
read it that often – and realize that I hadn’t put up links to any of my True
West articles in about a year! There are about twenty new ones now, and I’ll
update the links to my movie reviews very soon.<span style="mso-spacerun: yes;">
</span>I don’t understand why the size of the type on these links keeps
changing – the Rifleman one is huge, and others are tiny – but at least they
work!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Happy Trails,<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">All Original Content
Copyright August 2019 by Henry C. Parke – All Rights Reserved<o:p></o:p></span></div>
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<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-81734457828203360182019-08-06T01:08:00.000-07:002019-08-20T21:54:26.116-07:00‘THE OUTSIDER’ – THE NEW TRACE ADKINS WESTERN, REVIEW AND INTERVIEW WITH DIRECTOR, PLUS 3 JOHN FORDS YOU’VE NEVER SEEN, UPCOMING SILVER SPUR AWARDS, AND MORE!<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>THE OUTSIDER – A MOVIE
REVIEW</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">By Henry C. Parke<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">With the Marshal out of
town on business, a Deputy (Mitchell Johnson) jails Chinese railroad worker Jing
(John Foo) so friend James (Kaiwai Lyman) can assault Jing’s wife (Nellie Tsay).
Marshal Walker (Trace Adkins) returns to town to find Jing has slaughtered many
of James’ friends, and won’t stop until James is dead. The Marshal sympathizes,
but knows he must bring Jing in. He knows James is an unrepentant swine; but
James is also his son. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">THE OUTSIDER is a dark,
grim, but involving revenge Western that avoids the trap of the endless clones
of THE OUTLAW JOSEY WALES by focusing more on the Marshal and company, and
their motives and motivations, than on Jing, who we already understand.
Relationships change in unexpected ways, and characters who seemed incidental
don’t always stay that way. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The direction and
performances are consistently strong, and Trace Adkins demonstrates again, as
he did in both THE VIRGINIAN and STAGECOACH: THE TEXAS JACK STORY, that he can
carry a Western, although here he has ample assistance. This is a physically
dark movie: three quarters of it happens at night, half of it in the rain -- it’s
the wettest movie I’ve seen since the original DJANGO. But cinematographer
Pablo Diez’s gift for color and composition finds beauty throughout, working in
perfect visual harmony with production designer Markos Keyto. <span style="mso-spacerun: yes;"> </span>This third Western from director Timothy
Woodward Jr. is his strongest yet. <o:p></o:p></span></div>
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<span style="line-height: 200%;"><o:p><span style="font-family: "times new roman" , serif;"><iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/3ixlDnuxolA" width="560"></iframe></span></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>‘OUTSIDER’ DIRECTOR
TIMOTHY WOODWARD JR.</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Off the top of my head, I
can think of only four living directors who have made three Westerns: Kevin
Costner, Walter Hill, Simon Wincer (LONESOME DOVE, etc.) and Timothy Woodward Jr. Woodward
is 36, or will be soon, and has already directed sixteen features, from Horror
to Sci-fi to Crime Drama to Westerns. His first, TRADED, was a very impressive
entrance into the genre, and his newest, THE OUTSIDER, is even better. “I love
the genre. I grew up watching Westerns; my grandfather would have them on all
the time after school. There's something magical about their kind of moral,
where all the branches of government are on your hip. It was a simpler time in
certain ways and more difficult in other ways. Just the complexity of it, the
scenery -- I love all of it.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In 2016’s TRADED, a
father (Michael Pare) must find his daughter, who’s been lured with the
opportunity of becoming a Harvey Girl, then sold into prostitution. It also
stars Kris Kristofferson, Trace Adkins and Tom Sizemore. In 2018’s HICKOK, Luke
Hemsworth plays Wild Bill at a time early in his career, when he becomes a
lawman. It also features Kris Kristofferson and Trace Adkins, as well as Bruce
Dern. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In 2019’s THE OUTSIDER,
Trace Adkins moves from villain to lead. I was in Alabama recently, speaking to
Adkins on the set of THE ULTIMATE COWBOY SHOWDOWN, which he hosts, and which
premieres on INSP October 14<sup>th</sup>.<span style="mso-spacerun: yes;">
</span>He was very excited about THE OUTSIDER, and told me, “It's a really
interesting character to play because, well, I <i>was</i> a bad guy, but now
I've kind of seeking redemption. But his seed is bad and there's just nothing
to do about it. My son is a lost cause. It's a really interesting role.”<o:p></o:p></span></div>
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Trace in the rain</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">THE OUTSIDER arrives on Blu-Ray
and DVD on Tuesday, August 6<sup>th</sup>. It’s already available digitally.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span> You said you watched Westerns with your
grandfather. What were you watching?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward:<span style="mso-spacerun: yes;"> </span>He used to watch GUNSMOKE all the time. And
then, I loved TOMBSTONE, BUTCH CASSIDY.<span style="mso-spacerun: yes;">
</span>We used to watch everything. He was a huge John Wayne fan, from
STAGECOACH to THE SEARCHERS, but he would watch whatever was on TV, and there
was always a lot of stuff on Saturdays.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span></span>D<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">id the script for THE
OUTSIDER come to you or did you develop it?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward:</span> <span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"> </span>My distributor was saying, we really would
like for you to do another Western; here's a couple of ideas. So the idea was
that, at this time period, the Chinese were coming through, building the
railroad, and we just started doing some research.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>This is your fourth film with screenwriter
Sean Ryan. You two most to have a really exceptional rapport.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward:<span style="mso-spacerun: yes;"> </span>I like Sean a lot; some of my earlier films
are with him. I hadn't worked with him in a couple of years and I thought he'd
be a great for this because his detail for action and his detail for character,
he can create conflict. Sometimes it's not the word spoken, but the word
unspoken that means a lot. So we kind of bounce off each other. And there's
ideas that come to me, on-set, and Sean has no, no problem with that. Being
able to allow me to adjust these things by saying, what if this character
resists this way or that? We work really well together.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span></span>R<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">evenge stories are
familiar and popular, especially in Westerns, but the structure of yours is
very unusual. Characters that seem to be minor become major; characters that
traditionally would be there until the end, die. And revelations about
characters change how you feel about them. So your story does not play it safe
and predictable. Did the fact that you were not going on a traditional straight
line for a Western concern you?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward:<span style="mso-spacerun: yes;"> </span>It didn't, because I'd done two before, and my
goal is always to challenge myself to do something different. TRADED was a very
classical story, a nice throwback to some of the 1940s, 1950s westerns that I
loved. Then with HICKOK we wanted a different approach. More of the myth, the
way the comic books used to play Hickok, instead of the traditional, exact
history of how he looked at things.<span style="mso-spacerun: yes;"> </span>With
THE OUTSIDER, this is a dark time for the Chinese. Let's take these characters
and let's put them in a very bad situation, bad for everyone involved. Where
the bad guy's not necessarily <i>the</i> bad guy, or at least he believes what
he's doing, and everyone is affected by this. Our central protagonist, he's
affected, but all these other characters, they're just as much in the mix and
they have just as much conflict. Telling that kind of story was interesting and
I think you hit it on the head: there's so many times where you know exactly what's
coming. And I really just wanted to try something new where we just mixed it up
a little bit and we said, okay, let's keep you engaged, but let's throw you off
a little bit, not let you know the next step of what's happening, and let's bring
certain character flaws to light later in their traits.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>I was talking to Trace Adkins a couple of
months ago, and he was telling me how much he enjoys working with you. Trace has
been in all your westerns, and now he's moved up from villain to protagonist. What
does he bring to your films in particular?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward:<span style="mso-spacerun: yes;"> </span>Trace Adkins is a star. I mean, he has such a
big presence. In person, he's the nicest guy you'll meet. But when he gets on
camera, I don't even think Trace realizes how good he is. He really is his
toughest critic, but he has just an aura about him. He draws people in. I mean,
it's the voice, the height, it's the intensity that he can bring. He's just got
it, you know? Whatever character he is playing, he comes in and he just
manhandles it. Without going too detailed in the story, he has a lot of inner
conflict going on, <span style="mso-spacerun: yes;"> </span>he's very conflicted,
and I think he did a great job; I was super happy with his performance.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>In addition to Trace, you work with certain
actors a lot: Kris Kristofferson, Danny Trejo, Kaiwi Lyman, John Foo. Are you
trying to do the John Ford thing and create your own stock company?<o:p></o:p></span></div>
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Jon Foo and Sean Patrick Flanery</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward: (laughs) A
little bit. You know, I like working with people that I trust. It’s such a
collaborative effort. If I get along with them and I can see the picture with
them, I continue to work with them. Michael Pare is another person that I've
worked with a lot, and Johnny Messner. There's certain roles and certain films
that I feel like soon as I read them, this would work great for them and I know
they can bring performance. Kaiwai Lyman's a guy that's on the rise, he's a
star in the making. And John Foo’s got something special about him too. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke: Pablo Diaz has
shot nine films for you. I'm just struck by the beauty of his work. What’s
special about his work, and your working relationship, that you'd have done so
many pictures together?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward:<span style="mso-spacerun: yes;"> </span>Well, we have a friendship, we have a trust in
each other. We have a bond. When I say hey, here's this western, and I want to
shoot it where 75% of it's night, and I want 50% of it to be pouring rain. First
thing is Pablo is like, “Uh, okay. Here's what we should do. Here's how we can
make it look beautiful.”<span style="mso-spacerun: yes;"> </span>And Pablo is
also just extremely gifted in the fact that he doesn't like to settle. Neither
one of us do. So we will sit there and we will try as hard as we can with the
resources we have available to make something that we both feel like has a
chance of being special to everyone else -- it's already special to us. We
really push ourselves hard. I know it's gonna be cold nights and 30 degree
weather, but I'm here with you. Pablo has been there for me on that journey and
he's helped me grow as a director, and I've watched him grow as a DP. I hope I
do 20 more 30 more films with Pablo. Cause I love being on set all the time,
and I love working with him.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Speaking of how dark and how wet the film is,
it's always more expensive shooting at night. And rain effects are tricky, and
run up expenses. Why, when you're doing a film that you have to be able to deliver
on a budget, were those choices so important to you?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward:<span style="mso-spacerun: yes;"> </span>Because for me, it <i>was</i> the movie. This
tragic event happens and it's dark. The future is uncertain. The rain blocks
what we can see. So besides trying to do something completely different than
what I'd done before, it's just not something you think about when we imagine
cowboys and horses. The first thing that pops in your head, small town, the
brown dirt. <span style="mso-spacerun: yes;"> </span>We don't think about mud and
a horse riding through the rain. <span style="mso-spacerun: yes;"> </span>Visually,
I think it's striking, but I also think when you had those components to it, it
adds an element of, like “trappedness”. <span style="mso-spacerun: yes;"> </span>I
wanted you to feel the character's emotions, feel this darkness. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span></span>D<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">o you storyboard a lot? <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward:<span style="mso-spacerun: yes;"> </span>I don't storyboard. I like to get on set. I
want to breathe it in, I want to look at it, I want to feel around it. I want
to communicate with my DP and my actors. And then figure out a way of making it
look as good as we can with the environments we have. <span style="mso-spacerun: yes;"> </span>I've tried to story board before and found
that it traps me on smaller budget film because I get this stuck in my head, maybe
it takes two hours to do the shot. I'm trying to build it from the ground up.
We have this amazing landscape here already, that works great for the
character. Now let's figure out within that world, how do we make this look
amazing and work for the story.<o:p></o:p></span></div>
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Trace Adkins and Kaiwi Lyman</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke: <span style="mso-spacerun: yes;"> </span>Do you have a sense of how many pages a day
you do, or how many setups a day on an average?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward:<span style="mso-spacerun: yes;"> </span>It really depends on what type of scene it
is. I've done scenes where I've only done three pages a day because it's calls
for tons of extras. And I've done some where we've been at seven to eight pages
a day. It just really depends on what we're doing and how smart we're blocking
it off. Usually in these types of budgets, we'll shoot all of our town
exteriors over the course of a couple of days, where we've got 50 extras. What we
don't have is a ton of time; we're talking three, four-week shoots for these westerns,
and when you have live animals and action, all this stuff, it's definitely
tough to do. But it's also really rewarding.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>The majority of your audience will not be
seeing it on a big screen, but at home. Does that change the way you shoot and
compose your shots?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward:<span style="mso-spacerun: yes;"> </span>Not as much, just because you really<i> hope </i>they're
going to see it on a big screen. But it does make you a little more conscious
of the close-ups just because with streaming especially things can get
compressed. <span style="mso-spacerun: yes;"> </span>Someone on a big screen, in
a medium shot, standing tall, you can see him really well. Then you get to the
small screen and it's a little bit harder to see. So sometimes we go a little
bit tighter in certain conversations for that, but I just feel like content is
content now. People are watching it every which way. So we just try to make it
the best we can.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke: You shot at
Big Sky Ranch, Caravan West, and were you the last film at Paramount Ranch
before it burned?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward:<span style="mso-spacerun: yes;"> </span>Yes, we were. We’d taken a few days to shoot
at Big Sky, and were scheduled to go back to Paramount Ranch the next Friday,
and the fire struck. <span style="mso-spacerun: yes;"> </span>I had to recreate certain
buildings. Jon Foo in the prison cell; we had to recreate that prison set. We
were able to use the wide shot from an earlier scene that established the two
characters, a little bit of manipulation and split screening and then do the
closeup somewhere else.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>What was the biggest challenge to making THE
OUTSIDER?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward:<span style="mso-spacerun: yes;"> </span>The wind, the rain effects and the fire
going at one time. The mountains were blazing while we were filming at Big Sky.
We had the fire department down below, I'd come out from being under these rain
machines, the wind was going about 40 to 50 miles an hour -- so it would blow the
rain any which way. We had to have a rain-tower set up 30 feet, behind the
actors, then one in another direction, one in another direction, just in case,
whichever way the wind blew. But you would come out from this rain and then all
of a sudden the mountain would be on fire and you're just looking at it in awe.
So that was challenging for sure. And I did a lot of “one-takers” in this movie,
where we were on one character -- there's a six minute one, a one take scene.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span></span>D<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">o you know what your next
Western's going to be?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward:<span style="mso-spacerun: yes;"> </span>I'm looking at a few things. I've got a story
of John Wesley Harden that I really like a lot, and we may incorporate some of
the guys from HICKOK in that. Someone has brought up, but the idea of a sequel
for TRADED, and then I've got a story about Belle Starr as well. I can say with
certainty that I'm going to do another western for sure.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Anything else I should know?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Tim Woodward: I just want
to say that the cast did a great job. I think it's on screen. Sean Patrick
Flannery, this is my first time working with him, but I was so impressed by him.
Nellie NeeYa, who played John Foo's wife, she needs a tremendous amount of
credit for what she gave to the story. And again, we're not on a soundstage
shooting this where it's a nice environment. We have 40 mile-an-hour winds,
we've got rain flying everywhere. We've got dirt, dust. We've got a very tough
environment. I think everybody did really well in my crew. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>THREE JOHN FORDS YOU HAVEN’T
SEEN!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Alpha Video never ceases
to amaze me! Month after month they come out with the oddest and most
intriguing films, and they all list price for under $10! Here are three new
releases, all directed by John Ford.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>JUST PALS</b> – a 1920 silent
starring the formidable but endearing Buck Jones was the first film Ford
directed when he switched studios from Universal to Fox. Jones plays Bim, an
aimless layabout who wants to reform when he befriends 10 year old Bill
(Georgie Stone). Bim sends Bill to school, to become something better than Bim
himself has, an honorable act not unnoticed by teacher Mary (Helen Ferguson).
It’s well-made and charming, and if the plot sounds similar to that of Chaplin’s
THE KID, which made a star of Jackie Coogan, keep in mind that JUST PALS was
made a year earlier.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho-_MdwfHg4zgsX1VXyOF1IWOw_ysdMDpzBR2C6iBVv4TI2klnscdHVl5PSPSDhWRRwDa1xwigtMys5CZg60jfrYx-RJgqgd5vLFRMzpvT-jFjmG9PmBruRy01Z-BLvKq-FVEJnf6rngtn/s1600/Sex+Education+Films.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="488" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEho-_MdwfHg4zgsX1VXyOF1IWOw_ysdMDpzBR2C6iBVv4TI2klnscdHVl5PSPSDhWRRwDa1xwigtMys5CZg60jfrYx-RJgqgd5vLFRMzpvT-jFjmG9PmBruRy01Z-BLvKq-FVEJnf6rngtn/s320/Sex+Education+Films.jpg" width="222" /></a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>SEX HYGIENE</b> – In the
collection SEX EDUCATION FILMS FROM WORLD WAR II is John Ford’s SEX HYGIENE,
which is about – you guessed it – what <i>not</i> to do if you’re a soldier or
sailor who doesn’t want to catch something awful. Ford directed the
non-clinical scenes, mostly of military types shooting pool and discussing
whether or not to go out and have a good time. The players include George
Reeves, later TV’s Superman, and Robert Lowery, later the Columbia serial’s
Batman. The clinical footage is done by Otto Brower, a talented Western
director who helmed FIGHTING CARAVANS (1931) starring Gary Cooper, and many
others. BUT BE WARNED, THE MEDICAL SECTIONS ARE NOT FOR THE YOUNG AND/OR
IMPRESSIONABLE! You will see more diseased penises in ten minutes than a
brothel-worker sees in a lifetime.<span style="mso-spacerun: yes;"> </span>Also
included in the set, directed by Oscar-winner Lewis Milestone is KNOW FOR SURE,
featuring John Ford regulars Ward Bond, Tim Holt, and J, Carrol Naish. And TO
THE PEOPLE OF THE UNITED STATES stars Jean Hersholt, of DR. CHRISTIAN fame,
Robert Mitchum, Noah Beery Jr., and is directed by Arthur Lubin, of PHANTOM OF
THE OPERA and FRANCIS THE TALKING MULE fame. Ford’s is the only one of the three
you need to cover your eyes for.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDUGZzwNHk7CbwuEJj85W27FM6Rml6YAekyQW97FH42MhhrlKvJOKLgTmc-7ZWBr4AZnxGquk5pIJcKRAnOM906rEubXWSzO1Jx2HrOI2BgoCahiD7d1qxtmi27Hzy4FfO1RoU4JwU7lz4/s1600/This+Is+Korea.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="489" data-original-width="340" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDUGZzwNHk7CbwuEJj85W27FM6Rml6YAekyQW97FH42MhhrlKvJOKLgTmc-7ZWBr4AZnxGquk5pIJcKRAnOM906rEubXWSzO1Jx2HrOI2BgoCahiD7d1qxtmi27Hzy4FfO1RoU4JwU7lz4/s320/This+Is+Korea.jpg" width="222" /></a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>THIS IS KOREA </b>– John Ford
had made a number of fine <i>gung ho</i> documentaries for the War Effort
during Word War II (besides SEX HYGIENE), including THE BATTLE OF MIDWAY and
DECEMBER 7<sup>TH</sup>, and in 1951 went to Korea to do it again. At first it
seems like his WWII films, only in color, but it is a much more grim film as it
progresses. Ford didn’t like anything he saw about how the war was handled. The
conditions of the citizenry are awful, and those of our military were not much
better. Some of the commentary on the action is jarring – a soldier fires a
flame-thrower into a cave while the narrator says, “Fry ‘em out! Burn ‘em out!
Cook ‘em! We found ‘em dug in ten feet deep!” Later the camera shows a large cemetery
of American soldiers, as a narrator whispers, “Remember us…Remember us…”<span style="mso-spacerun: yes;"> </span>The government wouldn’t release it, but
finally Republic Pictures did. Not fun, but fascinating.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">All Alpha Video's can be found here: </span><a href="https://www.oldies.com/collection-view/Alpha-Video-DVDs.html">https://www.oldies.com/collection-view/Alpha-Video-DVDs.html</a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>SILVER SPURS IN
SEPTEMBER!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">On Friday, September 20<sup>th</sup>,
the Reel Cowboys will host the 22<sup>nd</sup> Annual Silver Spur Awards, which
will celebrate three TV series marking their 60<sup>th</sup> anniversaries:
BONANZA, LARAMIE, and RAWHIDE. After many years at The Sportsman’s Lodge, the
event is moving to Burbank, and the Calamigos Equestrian Center. Honorees will
be Bobby Crawford of LARAMIE, Clint Eastwood (hope he comes!), Darby Hinton of
DANIEL BOONE, Margaret O’Brien of BAD BASCOMB (and MEET ME IN ST. LOUIS),
stuntman Jack Gill, and RIDE THE HIGH-COUNTRY star Mariette Hartley. Others
planning to attend include Morgan Brittney, Dawn Wells, Johnny Crawford, L.Q.
Jones, Pat Boone, Cathy Garver, Rosey Grier, and Robert Carradine.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">There’s always a
delicious dinner, a silent auction, lively entertainment.<span style="mso-spacerun: yes;"> </span>This year the event will be benefiting The
Gary Sinise Foundation. Tickets are $200 for general, $250 for premium. You can
learn more, and buy tickets, by calling 818-395-5020, or going to
SilverSpurAwards.com.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>AND THAT’S A WRAP!<o:p></o:p></b></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>HAPPY TRAILS,<o:p></o:p></b></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>HENRY<o:p></o:p></b></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>ALL ORIGINAL CONTENT
COPYRIGHT AUGUST 2019 BY HENRY C. PARKE – ALL RIGHTS RESERVED</b><o:p></o:p></span></div>
<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-18347376324862604092019-06-09T03:52:00.001-07:002019-06-11T19:15:30.557-07:00‘LEGEND OF 5 MILE CAVE’ PREMIERES ON INSP TONIGHT! READ MY ON-THE-SET JOURNAL! PLUS ROY ROGERS DVD REVIEW, AND MORE!!<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>LEGEND
OF 5 MILE CAVE<o:p></o:p></b></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>SHOOTING
INSP’S NEW WESTERN AT OLD TUCSON</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">By
Henry C. Parke<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The INSP network has long
been a home to quality Western films and television, beginning with their
Saddle-Up Saturday, which expanded to include Sunday, and then chunks of the
weekdays as well. They’ve been making original movies for a few years, and
Western-adjacent programming, most notably the hit reality series <i>The Cowboy
Way</i>, for some time. So it was inevitable that someday they would bite the
bullet and make their own Western movies. Now they’ve made their first,
hopefully the first of many, with <i>The Legend of 5 Mile Cave</i>. I was
absolutely delighted when INSP invited me to come to Old Tucson for a couple of
days, and watch the fireworks.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">There is no other place
in the world quite like the Old Tucson Movie Studio, just outside of Tucson,
Arizona. It was first used as a filming location in 1939 for the <i style="mso-bidi-font-style: normal;">Columbia Pictures</i> Western <i style="mso-bidi-font-style: normal;">Arizona</i>. The epic tale of the 1860s
settling of Tucson, which required the construction of fifty buildings, starred
William Holden and Jean Arthur, and was produced at a then-staggering cost of
$2 million. Actual ancient adobe walls were incorporated into the new Western
streets, and they’re still visible today. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Over 400 movies and TV
shows have been filmed there since then, including recent favorites like <i style="mso-bidi-font-style: normal;">Tombstone</i> and <i style="mso-bidi-font-style: normal;">The Quick and the Dead</i>, and classics like <i style="mso-bidi-font-style: normal;">Winchester ’73</i> and <i style="mso-bidi-font-style: normal;">Broken
Arrow</i>. John Wayne starred in four films there: <i style="mso-bidi-font-style: normal;">Rio Bravo, McClintock!,</i> <i style="mso-bidi-font-style: normal;">El
Dorado</i> and <i style="mso-bidi-font-style: normal;">Rio Lobo</i>. <span style="mso-spacerun: yes;"> </span>In addition to the dozens of Western TV series
that visited there, it was home base for <i style="mso-bidi-font-style: normal;">The
High Chaparral</i>, whose ranch house still stands.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">To keep things going when
the popularity of Westerns seemed to have crested, parts of the studio were
turned into a Western-themed amusement park; coincidentally, that’s what was also
done to Sergio Leone’s film locales in Spain, for the same reasons, and both
are again very busy production locations.<o:p></o:p></span></div>
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Jeremy Sumpter, as Shooter Green, takes aim</div>
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<i style="mso-bidi-font-style: normal;"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The
Legend of 5 Mile Cave</span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"> is a story set in two time-periods. The
1880s story is about Shooter Green (Jeremy Sumpter), a dazzling marksman who
takes on a dangerous job so he can afford to marry the woman he loves, banker’s
daughter Josie Hayes (Alexandria DeBerry). The 1920s story centers on a young
boy named Tommy (Jet Jurgensmeyer), whose dime-novel-fueled obsession with
Shooter Green is enhanced by ranch-hand Sam Barnes (Adam Baldwin), who in his
youth knew Shooter. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I arrived at Old Tucson
at 8 a.m., two hours before the park opened to the public. There is always
something magical about Western movie sets and streets, whether deserted, or in
the midst of production. I made my way along the Rio Bravo Street, skirted a
remaining piece of the O.K. Corral, to Town Hall, the base camp for the film.</span></div>
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Adam Baldwin as Sam Barnes</div>
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As I entered the rotunda, the pharmacy set to my left had been converted to the
make-up department. To my right, the bank interior set – scene of countless hold-ups
– had been commandeered by wardrobe. Straight ahead was town hall, or a
courtroom, depending on how the set was dressed.<span style="mso-spacerun: yes;"> </span>The man on the judge’s bench directed me to
the assistant director, who introduced me to a tall young man who was one of
the film’s producers, Jason White. We hopped into his RV, along with his
assistant, and headed out to location. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The route into the
Sonoran Desert was a baffling series of random-seeming switchbacks, hills and
valleys dominated by countless saguaro cactus, mesquite plants, and creosote
bushes covered with tiny yellow flowers and tiny cotton-like puffs. In a
moment, all signs of civilization were gone. En route, Jason and I talked about
movies in general, and <i>5 Mile Cave</i> in particular, and producer Gary
Wheeler gave me more details when we met up on location. <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>GARY
WHEELER & JASON WHITE - Producers</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>How did <i>5 Mile Cave</i> come about?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Gary Wheeler:<span style="mso-spacerun: yes;"> </span>I did a movie with Nancy Stafford called <i>Heritage
Falls</i> a couple of years ago and she said, you have to meet this actor/writer
named William Shockley. I live in Charlotte, and William was scouting Charlotte
for a movie, and I said sure, how can I not? I knew William’s work from <i>Dr. Quinn</i>.
We met at a little restaurant, and he started talking about all the scripts
that he'd written with his partner, Dustin Rikert, that he wanted to get made, everything
from a modern-day love story to an action movie, and kind of buried in the
middle of them was, “and we wrote this one family Western about <i>Legend of 5
Mile Cave</i>.” And then he kept going, and I said, let's go back to that
little one you mentioned in the middle. He vowed to send me all the scripts,
and he sent a bunch, but the one I kept looking for was <i>5 Mile Cave, </i>and
I even said, hey, send me <i>that</i> one. And I read it, liked it, my executive
producers liked it. We put a deal together quickly, and we're in production
less than a year later.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke: Wow -- that
is fast!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Gary Wheeler:<span style="mso-spacerun: yes;"> </span>You know, I've done movies where it's taken
years to develop, and then I've done movies where it comes together very
quickly, and usually when that happens, it turns out well.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-spacerun: yes;"> </span>How long have you been working together?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Jason White: Just about
two years. Not too long, but we've done about five movies so far together,
ranging from romcoms to action movies to family dramas. So, yeah, it's been
fun. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Could you explain for a layman what a
producer does?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Jason White:<span style="mso-tab-count: 1;"> </span>It’s kind of like you’re building a house,
and I'm a general contractor. It takes a lot of people to build a house; takes
a lot of people to make a movie. We assemble a team, and I try to get out of
their way, and let them do what they do best. We work together great; we always
have good crews. This time in particular we're blending a crew. We shoot a lot
of our movies out east, in Georgia, so about half our crew is from the east
coast, and half our crew is from here, and they've just melded together great.
Which, you know, doesn't always happen. It's kind of nice. It's kind of like a
family.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>How much of this film was shot in Georgia?<o:p></o:p></span></div>
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Tommy reads about Shooter Green</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Jason White:<span style="mso-tab-count: 1;"> </span>About two thirds. <i>Legend of 5 Mile Cave</i>
is a retelling, from an older gentleman to a younger kid, who’s gotten a pulp
novel, and thinks he knows the real story. But this older gentleman says, no,
I'll tell you what <i>really</i> happened to Shooter Green. We have a lot of
flashbacks, and that's what we're shooting here in Arizona.<span style="mso-spacerun: yes;"> </span>Georgia is present day, which is 1920s, so
not <i>really</i> present day, but within our movie it's present day. And it
was fun, too. We had a lot of 1920s Model A Fords, a lot of period 1920s
costumes. Amazingly, we found a 1920s house in Georgia totally redone inside,
like the 1920s, which is hard to find because once electricity came in, houses
changed. This one had electricity, but we worked around that. And it looks
great. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke: How did you
go about casting the film?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Gary Wheeler:<span style="mso-spacerun: yes;"> </span>Beverly Holloway is our casting director. We
had several people in mind. You make your lists like any movie, and you find
cornerstone people.<span style="mso-spacerun: yes;"> </span>We had worked with Jill
Wagner before, and I texted Jill, hey, we got a Western. She's in the Georgia
portion. And Jet Jurgensmeyer plays her son, and he's a kind of a cowboy kid
anyway, so he loved it. We called William (Shockley) and I said, how about
playing this character? You wrote him. He was like, I'm in! And then we got Adam
Baldwin, and I've always been a big fan of Adam’s dating back to <i>My
Bodyguard</i> – that was a sentinel eighties movie for me. Then I have always
been a Jeremy Sumpter fan, I liked him from Friday Night Lights. I knew he was
a cowboy, and I saw footage of him cutting cattle, and I thought he would be a
great Shooter Green.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Henry Parke:</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"> </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">How many horses do you have in this picture?</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Jason White:<span style="mso-tab-count: 1;"> </span>We have six on the stage-coach, and probably
another five or six, so like 12 or 13. Jesse Bell has bred and trained all
these horses. He's from Tombstone originally and he runs the stables here at Old
Tucson.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>What are the biggest challenges you found
doing a period film with two periods?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Jason White:<span style="mso-tab-count: 1;"> </span>That you can't show <i>anything</i> modern: can't
show a power line, can't show a car, can't show a Coke can. When you shoot a
non-period piece, if you happen to see a bicycle or a Ford Focus or something,
it's not a big deal because you know those things exist. But we're in a time
when there’s no electricity, no telephone. It's easier to make a movie if it
happened World War II or after, because a lot of things existed from then on,
that didn't exist before that. 1920s, not everyone had indoor plumbing. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>So you've got two time periods that are both
challenges.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Jason White:<span style="mso-tab-count: 1;"> </span>Yes. As far as getting the period stuff
right, the one in the West was actually the less challenging because at Old
Tucson they've really preserved it. It's here on county park land where no one
has built behind them. So it's very easy to imagine what the 1880s looked like,
easy to get lost in that.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>What are your favorite Westerns?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Jason White:<span style="mso-spacerun: yes;"> </span>I love Glenn Ford; I love John Wayne. Lately I've
been watching <i>Rio Bravo</i> and <i>El Dorado</i> a lot, and I know they get
a lot of flak for being similar, but I kind of like that, because you get to
see what (Director Howard) Hawks was thinking. <span style="mso-spacerun: yes;"> </span>I always liked Westerns, but when I got older,
the good versus the bad, that became stronger imagery to me. I just fell more
in love with them, especially Clint Eastwood movies. My stepfather was a very
John Wayne-esque type person. In fact, at his eulogy, my wife referenced John
Wayne in comparison to him.<span style="mso-spacerun: yes;"> </span>So John
Wayne has a special place in my heart because it reminds me of him.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke: What's your
favorite movie that got shot here?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Gary Wheeler:<span style="mso-tab-count: 1;"> </span> I really loved<i> El Dorado </i>. I just
rewatched it, and there's a scene where John Wayne has to come and tell the
family that their boy is dead. He tells him and then he takes his horse and he
backs up, covering the family with his rifle. He's such a large man on this
horse and the way he backs that horse up is amazing. Other than that, I would
say <i>Tombstone</i>. And then after I scouted here I went back and rewatched <i>The
Three Amigos</i> and I loved itYou could tell that they had studied.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-spacerun: yes;"> </span>How do you like working at Old Tucson?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Jason White:<span style="mso-spacerun: yes;"> </span>I love it. People here are great. I mean,
this is where Westerns were made, and we're standing on what we call ‘film
sacred ground’, where iconic American Westerns were born, where we have the
idea of what a Western is and what a cowboy is. It's not just an American thing:
people all over the world identify with the Western, and that idea was born
here, created here. From 1939, from <i>Arizona</i> to <i>Rio Bravo</i> to TV
shows like <i>High Chaparral</i>, those were made here, so people's idea of the
what the west looks like <i>is</i> Old Tucson. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke: Are you
planning to make more Westerns?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Jason White:<span style="mso-tab-count: 1;"> </span>I'm hoping to. We really love the Western,
and I think audiences really love the Western, and kind of miss it. And I think
it's making a comeback. I hope we're part of that comeback and I hope we make
more,<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Do you think kids relate to westerns today? <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Jason White:<span style="mso-tab-count: 1;"> </span>Oh yeah. There's always that adventure that
comes from a western. Kids like horses, they like challenges they have to
overcome. I think kids will always be drawn to those types of stories.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">We crested a hill and
were suddenly in the location’s parking area. “Always park by the
porta-potties,” Jason advised me. “You can be sure your car won’t be in the
shot.” Sound advice. A short, steep, winding desert path brought us to the
black tent that shaded the pair of video monitors for the two cameras that covered
the action.<span style="mso-spacerun: yes;"> </span>Brent Christy was watching a
scene replay. Brent is both the cinematographer and the director of <i>5 Mile
Cave</i>, a very rare combination. Satisfied with what he saw, he left the tent
and returned to the action.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">They were shooting a
series of gallop-bys – Shooter Green rides by camera, pursued by a posse of
more than half a dozen riders.<span style="mso-spacerun: yes;"> </span>It was
exciting stuff, with lots of pounding hoofs and dust and riding around
saguaros. They did several takes. <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVlRdGSEw69fL7fUOgyHcTTyYmNc5N67GEy0G5c42bea5qZXkX5EADXHkZUJSix-NtySUzv-QtY0boezEd3Wg08Fj3kqN7mwt8jE3QB3wxJv7xFj9_lKi8bPl3e0RJk5pH3aQLXWBgaqwh/s1600/5+Mile+Cave+026.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVlRdGSEw69fL7fUOgyHcTTyYmNc5N67GEy0G5c42bea5qZXkX5EADXHkZUJSix-NtySUzv-QtY0boezEd3Wg08Fj3kqN7mwt8jE3QB3wxJv7xFj9_lKi8bPl3e0RJk5pH3aQLXWBgaqwh/s320/5+Mile+Cave+026.jpg" width="320" /></a></div>
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Tom Proctor fires straight at camera</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The next set-up featured
the head of the posse – Virgil Earp no less – taking a shot at the fleeing
Shooter Green. Tom Proctor, an experienced stunt-man and stunt coordinator as
well as an actor, was playing Earp, and he was to fire the shot directly into
camera. It was a blank, of course, but at point-blank range, a person or a
camera can certainly be hurt by a blank. A sheet of thick, clear plastic was
mounted on a stand between gun and camera, and it was the plastic that took the
impact. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I got a lift to the next
location from a man I’d met before, but didn’t recognize. William Shockley,
co-author of <i>5 Mile Cave</i>, has had a long and impressive acting career, starting
with <i>Robocop</i>, and is best remembered from <i>Dr. Quinn – Medicine Woman</i>,
where he played Hank Lawson, the long-haired, tough, cynical saloon and
brothel-owner, who often surprised people with his basic decency. <span style="mso-spacerun: yes;"> </span>In the last several years, he and writing
partner Dustin Rikert have had quite a few movies made, including the Westerns <i>The
Gundown</i>, <i>Ambush at Dark Canyon</i>, and <i>Hot Bath an’ a Stiff Drink. </i>Without
his long, scraggily hair from Dr. Quinn, he was unrecognizable. He looks much more
respectable, and much younger, without it. “I had to lose it for the part. That
kind of hair wouldn’t go for a 1920s lawman.” In addition to co-writing the
movie, he plays the antagonist of the 1920s storyline.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>WILLIAM
SHOCKLEY – Writer and Actor</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>What is it like, as a writer and actor,
delivering lines that you wrote?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Wm Shockley:<span style="mso-tab-count: 1;"> </span> Well, I've had the privilege to be cast in
many of the films that I've written with Dustin Rikert. This one, they cast me
in the brilliant role of Sheriff Small, who's the bad guy ultimately. To be
able to watch other actors, as a hired actor along with them, participate and
see it come to life, it gives you goosebumps. I mean, it's a beautiful feeling.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>When did you start specializing in Westerns?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Wm Shockley:<span style="mso-spacerun: yes;"> </span>I was talking to the executive producer
yesterday and he said, not every actor is correct for a western. So I think the
western found me. <span style="mso-spacerun: yes;"> </span>I think there's a
sensibility that an actor and an actress have to have, and the look, to
participate in the truth and authenticity of the old west. So I think they
found me. I fell in love with Hank Lawsen on <i>Dr. Quinn</i>, clearly. And
then, when I started working with Dustin, there's just such a beautiful truth
about the old west that I can really relate to.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-spacerun: yes;"> </span>How do you like shooting at Old Tucson?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Wm Shockley:<span style="mso-tab-count: 1;"> </span> Well, this is the seventh time I've filmed
here, and I love it. Honestly, I feel like a little kid the first day whenever
I'm back. It's just awe-inspiring. Tucson's almost like my home away from home.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Where is your actual home?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Wm Shockley:<span style="mso-tab-count: 1;"> </span> Los Angeles. I've been there my whole life,
since I left Texas. I claim Austin (as my hometown) because it's such a
fabulous city. I went to school there and had a restaurant there.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>It's seems that Westerns are going through a
revival, and a lot of the really good stuff is on television rather than
theatrical.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Wm Shockley:<span style="mso-tab-count: 1;"> </span> What's the golden age of television? You know,
with the shrinking economy of DVDs, it's harder to monetize an independent
film. And with the advent of Netflix and Hulu and Amazon and all the great
opportunities in television, there's exposure for everything, including Westerns.
In the perilous times that we live in, this unusual moment in history, I think
the world feels great about watching something that feels authentic and good,
like a western. There's such pure honesty in the old west, you know? Steal a
man's cattle, you get killed. Straight up truth. And one man can make a difference.
There were bad guys, (and that) creates drama. I think people enjoy looking
back to a time with no cell phones, and no computers and no Facebook: none of the
clutter.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The next morning, I
caught up with Jeremy Sumpter, who stars as Shooter Green. <span style="mso-spacerun: yes;"> </span>He first made a splash in 2003, starring in
the title role in the live-action blockbuster <i>Peter Pan</i>, so I was
startled that he had no English accent.<span style="mso-spacerun: yes;">
</span>It turns out he’s all-American.<span style="mso-spacerun: yes;">
</span>He gave me a bit of a walking tour of the main street, excitedly pointing
out the sights.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>JEREMY
SUMPTER – Shooter Green</b><o:p></o:p></span></div>
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Jeremy Sumpter and Alexandria DeBerry</div>
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between takes</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>I understand that you were a fan of Westerns long
before you starred in this one.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Jeremy Sumpter:<span style="mso-spacerun: yes;"> </span>Absolutely. It's been a dream of mine to do a
Western, and to finally have that dream come true, I mean, I couldn't be
happier. And being a part of this, in Old Tucson, where they made, <i>Rio Bravo</i>
-- like right over here is where Dean Martin went into the horse-trough. And
you see some of these foundations, that's where the old original sets were,
when they built the place in '39 and shot <i>Arizona</i>. Seeing it all here
and being part of that, and making my stamp in the history of the place, it's
pretty spectacular.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-spacerun: yes;"> </span>Did you grow up western?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12pt;">Jeremy Sumpter:</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"> </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">Yeah, I did.</span><span style="font-family: "times new roman" , serif; font-size: 12pt;">
</span><span style="font-family: "times new roman" , serif; font-size: 12pt;">I grew up in Kentucky, but I really grew up in L.A.</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"> </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">Been out there for 19 years, so 10 years in
Kentucky first, riding thoroughbreds.</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"> </span><span style="font-family: "times new roman" , serif; font-size: 12pt;">And
then I went to Texas, and did a lot of horse cutting, and using what I've
learned over the years. I'm a modern-day cowboy in the sense of my whole
mentality, so to take that into my character (Shooter Green), the period seemed
pretty easy for me.</span></div>
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Shooter and Josie</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>What are your favorite Western films?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Jeremy Sumpter:<span style="mso-spacerun: yes;"> </span><i>The Shootist</i> is great. <i>The Outlaw
Josey Wales</i>. But my favorite is <i>Unforgiven</i>. Clint, he's one of my
favorite directors too. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Later that morning, I
would be acting in a scene with Jeremy. It was Shooter and Josie’s wedding, and
I would have to be costumed for it. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Meeting Jenna Miller on-set, you would probably assume that she
was an actress rather than the costume designer. Despite growing up with a
mother who was a seamstress, she took a very circuitous route to costume
design. “She tried to teach me how to sew when I was a kid, but I was out with
the horses too much.” Jenna was a wrangler first, and eventually got interested
in sewing her own period costumes at the ranch where she worked. She assisted
another costumer designer for some time. <i>5 Mile Cave</i> is Jenna’s second
film as head designer. “I grew up here in Arizona, born and raised an Arizona
cowgirl. I was immersed in the old west history growing up and it's always
fascinated me. I've done a lot of research and learned a lot about the west,
and I just really like doing this particular era.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>JENNA
MILLER – Costume Designer</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>What are your biggest challenges in doing
costumes on a Western?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Jenna Miller:<span style="mso-tab-count: 1;"> </span>Making sure that we keep it as historically
accurate as possible, and make the accuracy work with how we're filming it, to make
it play into the scenes and work with the camera angles, as far as hats and
things like that are concerned.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Which is a more demanding, the women's
clothes or the men’s?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Jenna Miller: It depends
on the scene. The men, like right now they're out riding and, in the dust and
dirt. There's the challenge of making sure that their clothing’s aged enough,
with the right amount of dust and the right amount of dirt. So it looks like
they've actually been out there all day riding. The women's clothes are pretty
simple and easy to do, unless we get into some of the more upscale scenes where
they're wearing clothing with extra layers, the bustle skirts and fancier stuff.
It gets a little more complicated.<span style="mso-spacerun: yes;"> </span>I'm a
specialist in women's clothing of that era. It was really important to me for
female lead, Josie, to have period correctness all the way through the costume
from every single layer. So I was painstakingly making sure that even her
undergarments, that you don't ever see on film were historically accurate,
because there's a certain silhouette that the women had to have in their
clothing back then, that Victorian era silhouette. It's really important that
the corsets and things that she's wearing underneath make the right silhouette
for the outside of the clothing.<o:p></o:p></span></div>
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Alexandria and Jeremy - note she's standing on</div>
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an apple box to bring her up closer to him</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The wedding scene was
shot in the church set, a small, perhaps secret wedding attended only by the
couple, the minister and his wife, and two seated witnesses seen from behind, a
bald-headed man and a striking blonde. I am not the striking blonde.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Outside of the church,
they shot the scene with Shooter leaving his bride to do that dangerous job
that would give them financial security. After that I had a chance to talk with
Director Brent Christy, and experienced cinematographer directing his second feature.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>BRENT
CHRISTY – Director and Cinematographer</b><o:p></o:p></span></div>
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Alexandria DeBerry and Brent Christy</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Quite a few screenwriters and some editors
have segued into directing, but it’s unusual for a cinematographer to do so. How
do your camera skills help you as a director?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Brent Christy:<span style="mso-tab-count: 1;"> </span> I think what has worked for me is having a
vision for where the light's coming from, and what I want to see from a camera
move. That has helped give me confidence when it comes to the things that I'm
still learning, which is having a relationship with the actors, and making sure
that every little bit is as good as it can be.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-spacerun: yes;"> </span>This is your second film as a director?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Brent Christy:<span style="mso-tab-count: 1;"> </span>That's correct. The first one's called <i>Legal
Action.</i><span style="mso-spacerun: yes;"> </span>It’s a courtroom drama that
also has a little bit of detective work in it.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke: How do you
like doing a western?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Brent Christy:<span style="mso-tab-count: 1;"> </span>It's been a great experience, coming out to
Tucson specifically. And doing my first western project really on any level, it's
the scenery: it's hard not to make it look Western. And when it comes to a
place like Old Tucson Studios, it's really built in. The same can be said for a
lot of the set design, the costumes; it's all really here and the people here
are great.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Growing up, were Westerns a favorite genre?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><br /></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Brent Christy:<span style="mso-tab-count: 1;"> </span>No, Western fandom has come later in life. It's
only been the last three years that I dove into Westerns, and really saw the
potential in film history of good guy versus bad guy. A lot of it is entrenched
in the things that John Ford and Howard Hawks did.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>I think you’re pretty near to wrapping this
film. What have been the biggest challenges?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Brent Christy:<span style="mso-tab-count: 1;"> </span>I'd say dealing with the elements. We've had
some high winds, some high heat, and working out in the sun, making sure
everybody stays hydrated, stays cool. And staying on time with the job ahead
has been a difficult balancing act.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>What particular challenges have you found in
doing a period story rather than a contemporary one, and two different time
periods at that?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Brent Christy:<span style="mso-tab-count: 1;"> </span>You know, regardless of the facility,
everything is basically outfitted for electric these days. So we have a lot of
help with our VFX (Visual Effects) department when it comes to light switches
and light sockets and things like that. It's hard to make sure every one of
those is disappeared. But overall, we've been very fortunate with the locations
that we've had.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span></span>E<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">xcept for Old Tucson, you’ve
been shooting in Georgia?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Brent Christy:<span style="mso-tab-count: 1;"> </span>That's correct. They were all on location,
preexisting buildings. So we had to adapt them to our needs, but thankfully the
structures that we chose were all 1900 buildings, and we were very fortunate to
be working with location owners that were excited to have us recreate something
from that era.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke: It's an
unusual story in that you've got the same group of characters in two very
different times in their lives. Did that pose any particular challenges?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Brent Christy:<span style="mso-tab-count: 1;"> </span></span>C<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">asting is very important
when you're doing a story where a character is decades older in one scene, and
decades younger in the next. We've been very fortunate that the cast (members
playing the same characters) wanted to collaborate with each other and find the
little idiosyncrasies that make them who they are, and try to infuse a little
bit of those into each other's roles.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>How do you like working with horses?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Brent Christy:<span style="mso-tab-count: 1;"> </span>It's been a great experience working with
horses, in really being able to respect an animal that you can tame. But at the
same time, we have to respect their needs as well. It's been a good experience
and a great challenge at the same time.<o:p></o:p></span></div>
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Stagecoach shootout</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The last sequence I
watched being filmed was a stagecoach chase and robbery.<span style="mso-spacerun: yes;"> </span>I’d known that popular Western filming
locations often had a “chase-road”, a long, straight path without obstructions,
where running horses could get up a good speed, and an insert-car could drive
beside them, filming, but I’d never seen a chase-road before. This one was a large
perfect circle, meaning that a camera in the center could pan around, and
always maintain the same distance from the coach – even if the coach drove
endlessly. There was a shoot-out at the end of the chase, with a paint-ball gun
providing convincing bullet-hits. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">All too soon, that last
day of filming was over, and everyone was packing up and heading out. The
Legend of 5 Mile Cave is completed now, and will have it’s world television
premiere on Sunday night, June 9<sup>th</sup>, 2019, on INSP. Check your local
listings to see when it’s on in your area.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>LEGEND OF 5 MILE CAVE – A
Movie Review by Henry C. Parke</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In Kentucky, in 1929, it’s
a few months before the Stock-market Crash, but the Great Depression is already
here for recently widowed Susan Tilwicky (Jill Wagner) and her son Tommy (Jet
Jurgensmeyer). Without her husband to
work the ranch and break the horses to sell, the mother and son seem destined
to lose their homestead. Things are already bad enough that Susan is looking to
take in boarders. Tommy escapes these worries by immersing himself in dime
novels about the adventures of a fabled cowboy sharpshooter named Shooter Green.
There’s a ray of hope for the Tilwickys when an older roaming cowboy named Sam
Barnes (Adam Baldwin) agrees to break the horses in trade for room and board.
Better still, Sam claims to have known Shooter Green in his youth, and happily
gives Tommy the real story about his idol.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Interwoven with the 1929
story is the 1896 Tucson-set story of Shooter Green (Jeremy Sumpter), a young
man who makes a living by demonstrating his shooting prowess to audiences for a
price. He’s more than a little cocky, and would come off as arrogant except that
he’s every bit as good as he claims to be. Shooter becomes smitten with lovely –
and equally gun-skilled – Josie Hayes (Alexandria DeBerry), the daughter of the
town banker. To earn the money to be able to marry Josie, Shooter tales on a
dangerous job, which leads betrayal, disgrace, and loot from a robbery that’s
still being sought in 1929.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Writers Dustin Rikert and
William Shockley, and director Brent Christy have fashioned a Depression Western
that is anything but depressing. It’s full of adventure and action and heart, engaging
performances, with plenty of surprises along the way. Best of all, at a time
when all the good recent Westerns contain little that would interest kids, or
even be appropriate for them to see, <i>Legend of 5 Mile Cave </i>is a Western
with an elegant balance of adult interest and kid interest, action and romance,
so that the whole family can watch it, and enjoy it, together, not because it’s
been rendered harmless, but because it’s good entertainment. The bond that grows between young Tommy and
Sam is particularly genuine.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Shot in the two beautiful,
but very different, locales of small-town Georgia and Old Tucson, Arizona, the
movie is handsomely lensed by Brent Christy, Cinematographer as well as Director,
and shows off Arizona’s Sonoran Desert, at times using a drone to reveal that
familiar landscape from a completely new perspective. The grand score by Tom
Gire is in the tradition of great, stirring Westerns scores of Elmer Bernstein
and Alfred Newman and Dimitri Tiomkin, without being derivative of any. <o:p></o:p></span></div>
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<i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The Legend of 5 Mile Cave
</span></i><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">makes
its television premiere on Sunday night, June 9<sup>th</sup>, on INSP. It’s
also available on DVD, as well as Amazon Prime and Fandango. <o:p></o:p></span><br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>THE ROY ROGERS ‘HAPPY
TRAILS’ COLLECTION – DVD Review</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">If you’re a fan of the
King of the Cowboys and the Queen of the West, this twenty-film collection for
about a dollar a movie from <i>Mill Creek Entertainment</i> is an unbeatable
deal, and it’s authorized by <i>The Roy Rogers Estate</i>, compiled with the
help of Roy’s son, Roy “Dusty” Rogers Jr. and Jeffrey Kramer. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">While the movies
themselves, almost all directed by <i>Republic Pictures </i>action wizard
William Whitney, many guest-starring Gabby Hayes, would appear to be the main
attraction, if you love Roy and Dale, the even greater appeal of this set is
its source: the 1980s <i>Nashville Network</i> series, <i>Happy Trails Theatre,
</i>which they hosted. The introductions
are heartwarming, and full of insights into the making of the films. Better
still, the introductions usually feature guests, including Dusty, co-stars like
Iron Eyes Cody, Penny Edwards, Ruth Terry, and Roy’s friend and rival Gene
Autry with sidekick Pat Buttram. There are several good documentaries as well.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">On four DVDs, and also
featuring a digital copy, the shows have all been digitally remastered. But
while I strongly recommend this set, I want to make a couple of clarifications.
While all the movies I’ve viewed so far are perfectly watchable, these versions
of the movies are the ones that were originally included in the TV series, and
I know that in some cases there are higher quality versions now available. And at least some of the movies are cut. Originally,
B-westerns ran about 60 to 65 minutes. But when they were first sold them to
television in the 1950s, they were cut to 53 minutes, to fit into a TV hour,
with seven minutes for commercials. In some cases, the missing footage is simply
lost. I don’t know if there is a more complete version of 1944’s delightful <i>Along
The Navajo Trail</i>, but it was released at 66 minutes, and this version is
53, with at least one musical number obviously missing.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">But it’s a wonderful
deal, and even if I already had all of the movies complete, I’d buy the set for
the intros. Disk one features <i>Sons of the Pioneers</i> (1942) and <i>Trigger
Jr</i>. (1950) in color, and <i>Pals of the Golden West</i> (1951), <i>Young
Bill Hickok</i> (1940), and <i>Don’t Fence Me In</i> (1945) – the only Roy
Rogers Western with a Cole Porter theme – in black & white. You can see the entire list of films, and
order the set, here: <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><a href="https://www.millcreekent.com/roy-rogers-the-happy-trails-collection-dvd-digital.html">https://www.millcreekent.com/roy-rogers-the-happy-trails-collection-dvd-digital.html</a><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>JONAH BLUE - by Jim
Christina – a Book Review</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman", serif; font-size: 12pt;">Tuscany Bay Books – 280 pages</span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">With <i>Jonah Blue</i>,
author Jim Christina takes a break from his popular <i>The Hunter</i> Western
novel series to tell a story that begins with 10-year-old Jonah Bleu, growing
up in 1830s Ohio. One of three children, their father is so cruel to the family
that his wife can take it no more, and hangs herself. Jonah finds his mother’s body.
When his father shows no remorse, seeing it as an excuse to whup the boy, Jonah
grabs his few belongings in a kerchief and takes off for the Rocky Mountains. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The bulk of the adventure
tells how Jonah, with the help of a succession of Mountain Man mentors,
starting with Rensfeld Dogget, learns to be a Mountain Man, to live off the
land, to be self-reliant, to protect himself from enemies both White and Indian. He must also, inevitably, deal with the fates
of the brother and sister whom he left behind. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">In his autobiographical appendix,
Jim Christina notes, “If you are looking for Louis L’amour, you won’t find him
here.” This is absolutely true. Eschewing pastoral passages and detailed
descriptions, Christina’s prose cuts to the bone. There are no taboo subjects
here. Heroes are not always heroic, language is coarse, and the details of
action are unflinching: nobody is simply “stabbed in the gut.” You will learn
precisely what happened to the victim’s entrails. With a hero every bit as compelling as The
Hunter, one must suspect that there will be many more Jonah Blue novels to look
forward to.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">JONAH BLUE is available
from Amazon, in Kindle and paperback, here: <a href="https://www.amazon.com/dp/B073NP2VP2">https://www.amazon.com/dp/B073NP2VP2</a><o:p></o:p></span></div>
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<b style="font-family: "times new roman", serif; font-size: 16px;">One More Thing...</b><br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I wanted to make sure I posted my article and review about The Legend of 5 Mile Cave before the show actually aired, and I'm down to the wire to do it. As I type these words, it's 2:42 a.m. , Sunday morning, and I still have to choose the pictures to go with the articles. In the next day or two I'll be updating this post with a book review (now included), a video review (now included), and some upcoming events. Please check back in during the week!</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Much obliged,</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">All Original Contents Copyright June 2019 by Henry C. Parke - All Rights Reserved</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><o:p><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"> </span><span style="font-size: 12pt;"> </span> </o:p></span></div>
<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-83751817191930296252019-04-09T22:59:00.002-07:002019-04-09T22:59:57.883-07:00THE WESTERN FAN’S GUIDE TO THE TCM FEST, PLUS SANTA CLARITA COWBOY FEST, ALL-STAR WORD-ON-WESTERNS, MEMBERS NIGHT AND ‘UNION PACIFIC’ AT THE AUTRY!<b><br /></b>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>THE WESTERN FAN’S GUIDE
TO THE TCM CLASSIC FILM FESTIVAL!</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The 10<sup>th</sup>
Annual TCM Classic Film Festival arrives in Hollywood this Thursday, April 11<sup>th</sup>,
for four days and nights of wonderful movies seen as they should be, on big
screens, introduced by knowledgeable and often famous guests, and attended by
folks who love movies - and know as much about them - as you and I do.<span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>This
year’s theme is <i style="mso-bidi-font-style: normal;">Follow Your Heart – Love At
The Movies</i>, and there are films for all interests. <span style="mso-spacerun: yes;"> </span>I’ll have a link below to connect you to the
entire schedule, but for this report I’m focusing on Westerns and attendees of
Western interest.<span style="mso-spacerun: yes;"> </span>You can’t see
everything, because so many films are screened simultaneously, so it’s wise to
plan ahead, and make sure you give yourself enough time to get from theatre to
theatre. Rather than skip movies to eat meals, I often carry a briefcase full
of Smuckers Uncrustables.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">TICKETS: The various
festival passes, which run from $2,149 down to a paltry $299, are all sold out.
<i style="mso-bidi-font-style: normal;">But,</i> individual passes are available
for most movies on a first-come, first-served basis, for twenty buck a pop,
with the Sunday evening screening of <i style="mso-bidi-font-style: normal;">Gone
With The Wind</i> for $30. <span style="mso-spacerun: yes;"> </span>Lots of
movies do fill up, so your advised to get to movies at least a half-hour early.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">VENUES: The vast majority
of films are screened at the Chinese complex, either the historic Chinese
Theatre IMAX or the Chinese 6 Theatres Multiplex, on Hollywood Blvd., near
Highland. Some films are shown a few blocks East on Hollywood Blvd., at the equally
historic Egyptian Theatre. You may need to drive to films at Arclight Cinema’s
Cinerama Dome on Sunset Blvd. A few movies are screened poolside at the
Hollywood Roosevelt Hotel, across the street from the Chinese Theatres.<span style="mso-spacerun: yes;"> </span>A new venue added this year is the American
Legion Theatre at Post 43, chartered in 1919 by World War I film-industry
veterans, and now with a stunningly renovated theatre. It’s about a fifteen-minute
walk from the Hollywood Roosevelt, and click <a href="http://filmfestival.tcm.com/venues/legion-theater-at-post-43/">HERE</a> to get more details.<o:p></o:p></span></div>
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with an invitation-only, Chinese IMAX Theatre 6:30 pm premiere, of a
restoration of WHEN HARRY MET SALLY (not a Western), whic director Rob Reiner
and stars Meg Ryan and Billy Crystal (of CITY SLICKERS) will attend. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">At 7:30 pm, Poolside at
the Hollywood Roosevelt, the original OCEAN’S 11 will screen, preceded by a
discussion with lovely Angie Dickinson (RIO BRAVO, among others).<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">At 8 pm at the Legion Theatre
at Post 43, SERGEANT YORK will be presented, with a discussion beforehand with
two of Sgt. York’s sons!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">FRIDAY MORNING at 10:30
am, in the forecourt of the fabled Chinese Theatre, Billy Crystal will follow
the long Hollywood tradition of placing his handprints and footprints in
cement!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">At 12 noon at the Legion
Theatre at Post 43, there’s WHAT’S NOT TO LOVE ABOUT REPUBLIC SERIALS? It’s a
program of shorts hosted by Andrea Kalas, Paramount Pictures Archivist –
Paramount now owns the Republic library.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">At 9:30 pm, in Chinese
Multiplex #1, WINCHESTER ’73! The premiere of a new restoration, done with the
input of Martin Scorcese and Steven Speilberg, the brilliantly dark Anthony
Mann Western starring James Stewart will be introduced by author Jeremy Arnold.<o:p></o:p></span></div>
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Do it Jimmy! Dan Duryea's got it coming to him!</div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">SATURDAY MORNING, at 9:45
am, THE LITTLE COLONEL, starring Shirley Temple, Bill ‘Bojangles’ Robinson, and Lionel Barrymore, plays at the Legion Theatre at Post 43, introduced by film critic Tara
McNamara.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">At 2:45 pm at the Legion
Theatre at Post 43, a double-feature of rarely seen Tom Mix Westerns, THE GREAT
K&A TRAIN ROBBERY, and OUTLAWS OF RED RIVER, will be introduced by N.Y.
Museum of Modern Art Film Curator Anne Morra. The films will be presented <span style="mso-spacerun: yes;"> </span>with a live musical score by famed Silent Film
Organist Ben Model.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">At 6:30 pm at the Chinese
Theatre IMAX, BUTCH CASSIDY AND THE SUNDANCE KID will be introduced by composer
Burt Bacharach, who won Oscars for both the Original Score, and Best Song, “Raindrops
Keep Falling On My Head.”<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">At 9:45 pm at the Chinese
Multiplex #1, Director John Carpenter and star Kurt Russell will present ESCAPE
FROM NEW YORK.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">SUNDAY morning, April 14<sup>th</sup>,
at 11:30 am at the Legion Theatre at Post 43, the Henry Fonda and Lucille Ball
comedy YOURS, MINE AND OURS will be presented with stars Tracy Nelson, frequent
TV Western guest star Kevin Burkett, BONANZA’s Jamie Cartwright, Mitch Vogel,
and film historian Leonard Maltin.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">At 2:30 pm at the Chinese
Multiplex #1, Don Seigal’s and Ernest Hemingway’s THE KILLERS will screen. Star
Angie Dickinson will speak before the film, which co-stars Western stalwarts
Lee Marvin, Clu Gulager, John Cassavetes and, in his final screen role before
moving on to another demanding job, Academy Award Winner Ronald Reagan.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Finally, at 4:30 pm at
the Chinese Theatre IMAX, there’s GONE WITH THE WIND.<span style="mso-spacerun: yes;"> </span>Hope to see you there! You can get details on
all of the films programs, and all of the guests <a href="http://filmfestival.tcm.com/about/">HERE</a>.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>THE SANTA CLARITA COWBOY
FESTIVAL SAT & SUN, APRIL 13<sup>TH</sup> & 14<sup>TH</sup>!</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Held at silent-movie
cowboy legend William S. Hart’s own ranch in Newhall, now the William S. Hart
Park, this annual FREE event gives real and wanna-be cowpokes an opportunity to
immerse themselves in a world of western fun and entertainment. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">While most of the action
occurs on the weekend, there are activities leading up, and on Thursday, April
11<sup>th</sup>, <span style="mso-spacerun: yes;"> </span>at 5 pm, on Main Street
in Old Town Newhall, three new inductees will be added to the Western Walk of
Stars: TV’s THE VIRGINIAN, James Drury; LARAMIE and WAGON TRAIN star Robert Fuller;
and posthumously, Western character actor – generally a villain – Dan White.<span style="mso-spacerun: yes;"> </span>Everyone is welcome!<o:p></o:p></span></div>
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Me and Bobbi Jean Bell</div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">At Hart Park, on Saturday
from 10 am to 7 pm, Sunday from 10 am to 6 pm, visitors can roam the park and
hear 22 different Western music acts perform throughout both days, including Krystyn
Harris, John Bergstrom, Almeda Bradshaw, Shannon Rae and 100 Proof, The Hanson
Family, and Sourdough Slim. Also, be dazzled by gun-spinning virtuoso Joey
Dillon and rope twirling maestro Dave Thornbury!<o:p></o:p></span></div>
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Joey Dillon double-spinning!</div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">You can also visit the
Buckaroo Book Shop and meet your favorite Western authors, visit a Native
American lodge, and shop for Western clothing and accessories. You can tour the
Hart Mansion, and test your skills at archery, tomahawk throwing, mechanical
bull-riding, gold panning and more. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">And when it comes to food
many fans come year after year just for the Cowboy Peach Cobbler, but there’s
also barbecue, soul food, Thai food, sausage – you name it! There’s a special
parking area, and shuttle buses to take you to the venue. For details, click
<a href="http://cowboyfestival.org/">HERE</a>.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>STARS TO PACK ‘WORD ON
WESTERNS’ LOOK AT OVERLOOKED WESTERNS! </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">On Tuesday, April 16<sup>th</sup>,
Western historian and raconteur Rob Word will present his free bi-monthly Western
film program at The Autry’s Wells Fargo Theatre. The program is dedicated to
the late, great character actor Morgan Woodward. The topic is Overlooked
Westerns, and the stars who plan to discuss their movies are Keith Carradine,
Tim Matheson, Donna Mills and Dennis Quaid. Rob always does well with his
guests, but I can’t remember when he had so much firepower in one program. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Doors open at 10:30 am,
and the program is from 11 am to 1 pm, after which most folks mosey across the
courtyard for lunch at the Autry’s Crossroads West Café.<span style="mso-spacerun: yes;"> </span>Don’t miss it!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>‘UNION PACIFIC’ SATURDAY APRIL
13<sup>TH</sup> AT THE AUTRY</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">A beautiful 35mm print of
Cecil B. DeMille’s UNION PACIFIC will screen at the Autry’s Wells Fargo Theatre
at 1:30 pm, as part of their long-running <i style="mso-bidi-font-style: normal;">What
is a Western?</i> series. <span style="mso-spacerun: yes;"> </span>The film, from
a novel by STAGECOACH author Ernest Haycox, stars Joel McCrea, Barbara Stanwyck,
Robert Preston and Akim Tamiroff. It will be introduced by James D’Arc,
film historian and author of <i>When Hollywood Came to Town: The History
of Movie Making in Utah</i>. Admission is free with Museum admission.<o:p></o:p></span></div>
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AUTRY – SATURDAY, APRIL 20<sup>th</sup>! </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Autry celebrates its
loyal members (and up to four guests) with a great evening of fun, starting at
5 pm with games on the plaza, and an in-gallery scavenger hunt. Dinner is available
for purchase from Crossroads West Cafe (member discount applies!) There will be
free popcorn, snacks, lemonade, and soft drinks, complimentary beer and wine.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">And at 6:30 pm, there
will be a special live performance by the delightful <a href="http://www.bobbakermarionettetheater.com/">Bob Baker MarionetteTheater,</a> </span><span style="font-family: "Times New Roman", serif; font-size: 12pt;">followed by a screening
of Gene Autry’s 1941 classic, BACK IN THE SADDLE!</span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>EXTENDED VERSION OF ‘MAJOR
DUNDEE’ APRIL 26 & 27 AT THE NEW BEVERLY!</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Friday and Saturday nights
at 7:30 pm, an extended version of Sam Peckinpah’s heavily re-edited classic,
MAJOR DUNDEE will be screened.<span style="mso-spacerun: yes;"> </span>It stars
Charlton Heston, Richard Harris, Jim Hutton and James Coburn.<o:p></o:p></span></div>
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Me and Morgan Woodward, who starred </div>
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in my first film, SPEEDTRAP!</div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Sorry the Round-up
appears so erratically; I’ve been up to my ears writing for True West Magazine!
The current issue features my interview with Kevin Costner (notice my name on
the cover for the first time!), and a look at the wonderful YouTube series THE
FORSAKEN WESTERNS.<span style="mso-spacerun: yes;"> </span>More good stuff
coming soon! Happy Easter and Passover!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">All Original Content
Copyright April 2019 by Henry C. Parke – All Rights Reserved<o:p></o:p></span></div>
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<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-43673914912164584232019-02-24T16:54:00.000-08:002019-02-24T21:28:14.871-08:00LA/ITALIA - FRANCO NERO TALKS NEW WESTERNS; GUNSMOKE’S MORGAN WOODWARD DIES<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>OSCAR NOMINEE DIANE
WARREN, MICHAEL IMPERIOLI, ANDY GARCIA, AND FRANCO NERO ON THE L.A./ITALIA FEST
RED CARPET!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Last Sunday, February 17<sup>th</sup>,
the Los Angeles Italia Festival began, as it has for fourteen years, a week
before the Oscars, in the same complex where the Academy Awards are held, at
Hollywood and Highland. The week-long celebration of Italian film and culture
opens with a red carpet outside the Chinese Theatre 6. Receiving special honors
that night would be Franco Nero and Andy Garcia. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I first spoke to Diane
Warren, the ten-times Oscar-nominated song-writer who might get her first win
tonight for <i style="mso-bidi-font-style: normal;">I’ll Fight</i>, the theme
from the documentary RBG, about Supreme Court Justice Ruth Bader Ginsburg.</span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>When you wrote <i style="mso-bidi-font-style: normal;">I'll Fight</i>, was the film completed, or was it based on knowing what
it was going to be about?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Diane Warren:<span style="mso-tab-count: 1;"> </span>Well, I saw a rough cut of it and I just got
really inspired, and it's such an honor to be associated with this, with RBG.
Here I am, and a week from today -- eek!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Who's going to be performing?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Diane Warren:<span style="mso-tab-count: 1;"> </span>Jennifer Hudson. She's going to be singing it,
and she's probably going to blow the roof off this place.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>I bet she will. Previously, what have been
your favorite songs you've written for movies?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Diane Warren:<span style="mso-tab-count: 1;"> </span>Last year was one of my favorites ever, was <i style="mso-bidi-font-style: normal;">Stand Up For Something</i> from MARSHALL.
That was Common and Andra Day, and they gave me an award for that as well. And
the Lady Gaga song, Til It Happens To You (from the documentary THE HUNTING
GROUND), that I wrote a few years ago. It was really proud of that. I'm proud
of all of them, you know. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I next spoke to Michael
Imperioli, who’s been nominated for Emmys five times for his portrayal of Christopher
on THE SOPRANOS. <span style="mso-spacerun: yes;"> </span>I interviewed him, and
then he interviewed me a little. In the 2018 prison-brake miniseries ESCAPE AT
DANNEMORA, directed by Ben Stiller, Michael played New York Governor Andrew
Cuomo.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>How did you like playing Governor Cuomo?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Michael Imperioli:<span style="mso-spacerun: yes;"> </span>Oh, I liked it a lot. I got to spend some
time with him and talk to him about what it was like during the prison break
that the movie is about. But it was a lot of fun. It was good to work with Ben
Stiller (who) is, I think a great director and really knows how to work with
actors. I had a good time on that.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Tell me, do people still call you
Christopher?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Michael Imperioli:<span style="mso-spacerun: yes;"> </span>Oh yeah. I think they'll call me that till
the end of my life probably. As long as they keep watching THE SOPRANOS.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>I don't think they'll ever stop. How do you
think THE SOPRANOS changed television?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Michael Imperioli:<span style="mso-spacerun: yes;"> </span>I think THE SOPRANOS brought a cinematic
quality to television that never really happened before. What people loved
about movies, THE SOPRANOS brought to their living rooms on a weekly basis. And
I think that was a seminal moment in television history.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>What's been your favorite roles since then?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Michael Imperioli:<span style="mso-spacerun: yes;"> </span>I did a movie in Portugal called CABARET
MAXINE, that has not been released yet, and I think that was my favorite role
since then. I play the owner of a burlesque house, who's trying to keep the
old, the old world of burlesque alive in the modern, gentrified big cities.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Terrific.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Michael Imperioli:<span style="mso-spacerun: yes;"> </span>Thank you. Who are you with?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Oh, I'm with <i style="mso-bidi-font-style: normal;">True West Magazine</i> and <i style="mso-bidi-font-style: normal;">Henry's
Western Roundup</i>. I mostly write about Westerns.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Michael Imperioli:<span style="mso-spacerun: yes;"> </span>Oh, really? Big Weston fan, huh? What's your
favorite western?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Currently THE GOOD, THE BAD AND THE UGLY, but
it changes from week to week. What's yours?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Michael Imperioli:<span style="mso-spacerun: yes;"> </span>Well, THE SEARCHERS, I never get tired of
that, but THE WILD<span style="mso-spacerun: yes;"> </span>BUNCH I think; I love
that one.. And also, THE COWBOYS. Good friend of mine who passed away was in
that: Roscoe Lee Brown. Oh, he's a great actor.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Wonderful actor, wonderful role in that, too.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Michael Imperioli:<span style="mso-spacerun: yes;"> </span>Wonderful role; that's a really good movie.
And Robert Carradine. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Next I talked briefly with
Andy Garcia, who was just in THE MULE with Clint Eastwood. Garcia is working to
make a film to be titled HEMINGWAY & FUENTES, about the friendship between
Ernest Hemingway and boat Captain Gregorio Fuentes, the inspiration behind THE
OLD MAN AND THE SEA.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>How did you like working with Clint Eastwood?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Andy Garcia:<span style="mso-tab-count: 1;"> </span>Oh, Clint is incredible. That was a sublime
experience.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>I understand you're filming HEMINGWAY &
FUENTES.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Andy Garcia:<span style="mso-tab-count: 1;"> </span>I would like to; I'm in the process.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>That sounds like a wonderful project.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Andy Garcia:<span style="mso-tab-count: 1;"> </span>It is. Just trying to get the financing
together.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Finally I spoke to the
original Django, Franco Nero<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>Franco, which are your favorite among your
westerns?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Franco Nero:<span style="mso-tab-count: 1;"> </span>Well... maybe DJANGO and maybe KEOMA. I think
KEOMA’s an interesting western, yes.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>And Enzo Castellari is a wonderful director.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Franco Nero:<span style="mso-tab-count: 1;"> </span>Yes. We are supposed to do a new one. Maybe;
we are planning to do a new Keoma. But also a new Django.<span style="mso-spacerun: yes;"> </span>But you know, we see. Maybe one or the other,
maybe one western will come out this year. Maybe both.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-spacerun: yes;"> </span>I heard John Sayles had written the script of
the new Django.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Franco Nero:<span style="mso-tab-count: 1;"> </span>Yes, John Sayles wrote the new Django, DJANGO
LIVES. That's the title. It takes place in the United States, at the border
with Mexico. New California.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Henry Parke:<span style="mso-tab-count: 1;"> </span>What other Westerns do you like, besides your
own?<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Franco Nero:<span style="mso-tab-count: 1;"> </span>I love the Sergio Leone Westerns. Then I love
DANCES WITH WOLVES.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><br /></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Then it was time to go
inside the auditorium for entertainment and awards. After a montage of Franco
Nero film clips, Mark Canton, who produced 2010’s LETTERS TO JULIET, which
stars Franco Nero and his real wife Vanessa Redgrave, introduced the actor, who
gratefully accepted his award. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">“You want me to say
something?” With a wry smile, he said, “This is an award for the work I've done
up until now. Then in a few year's time, you're going to give me another one.
When I retire, maybe in ten years' time. Anyway, I owe everything to the
cinema. Sometimes they ask me, 'What is cinema for you?' I say cinema, for me
it's like a big city where people of different colors, and different ethnic
groups have their home and their dreams. So cinema will continue to exist as
long as people will continue to dream. Cinema means freedom. Because in the
country where there is no freedom, there is no cinema. Cinema gave me the
possibility to travel the world. I've been everywhere, I've been to more than a
hundred countries around the world. It gave me the possibility to have dinner
with presidents, princes, princesses, governors, but also gave me the
possibility to have dinner with humble people. Like fishermen, like farmers.
And I have to tell you. I prefer to have dinner with the humble people. They
are wiser. They are much, much wiser. Thank you for this.”<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>MORGAN WOODWARD DIES AT
93</b><o:p></o:p></span></div>
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Henry and Morgan </div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Morgan Woodward, the
Texas-born actor who excelled at playing villains in Westerns, Sci-Fi, Crime
films, and just about every other genre, has died after a long, heroic struggle
with cancer. He guested more often on GUNSMOKE than any other actor, was the
third most frequent guest on WAGON TRAIN, and played Shotgun Gibbs to Hugh
O’Brian’s WYATT EARP in 81 episodes. Despite his cold visage in COOL HAND LUKE,
which created the craze of mirror sunglasses for lawmen, he was one of the
nicest, most cheerful men you could ever meet. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">I first met Morgan on the
set of the movie I wrote my last year in college, 1977’s SPEEDTRAP. (In it, Joe
Don Baker had to face down three great villains, Timothy Carey, Robert Loggia,
and Morgan Woodward, who are now, sadly, all gone.)<span style="mso-spacerun: yes;"> </span>I don’t think we ran into each other again
until 1993, when Nickodell’s, the legendary restaurant outside the Paramount
and former R.K.O. lots closed, and we were the last customers in the place.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Since then we’d run into
each other at least once a year at western events, and he was always full of
great stories about making movies, and friends like L.Q. Jones and Fess Parker.
I interviewed him a few times, most recently for True West Magazine, and the
article is in the current issue. I’m including the link. I’d received my copies
a week ago Friday, and put one in the mail to him on Saturday. Yesterday, I had
a phone message from his care-giver, telling me that Morgan had died, and that
he’d insisted she call me, to tell me how much he enjoyed the article. I’m so
glad I got it to him in time.<span style="mso-spacerun: yes;"> </span>Here’s a
link to the interview.<o:p></o:p></span></div>
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<span class="MsoHyperlink"><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><a href="https://truewestmagazine.com/morgan-woodward/">https://truewestmagazine.com/morgan-woodward/</a></span></span><span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Nearly a decade ago I did
a longer interview with Morgan here in the Round-up. Here it is.<o:p></o:p></span></div>
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I first met <strong>Morgan Woodward</strong> in 1978, in Phoenix, on the set of my first movie with a writing credit, <strong>SPEEDTRAP</strong>. The hero of the piece was <strong>Joe Don Baker</strong>, and the more <em>gravitas</em> the hero has, the stronger the villain needs to be. <strong>Morgan Woodward</strong>, as the corrupt Police Chief, was plenty strong, with a presence that grips the attention.</div>
<br />
Although I’ve enjoyed Morgan’s work since then, I hadn’t seen him in person for more than thirty years, when I ran into him at an autograph show in Burbank a few weeks ago. He kindly agreed to sit down and talk about his long screen career in the saddle. Not surprisingly, he’s a Texan by birth, born September 16th, 1925. “I was born in Fort Worth, only because we didn’t have a hospital in Arlington, fourteen miles away.” Naturally, I assumed he plays a cowboy so well because, being a Texan, he did so much riding as a kid. “Nope, I did not. I learned to ride when I came to California.” Well, at least I was right about his always liking western movies. “Oh sure – every kid likes westerns! <strong>Tom Mix, Hoot Gibson, Buck Jones</strong>.”<br />
<br />
Interestingly, his first love was not acting, but aviation. “We had an Army airfield six or seven miles from Arlington and my family would go out there on weekends, and watch the weekend warriors fly the airplanes, and I was just always interested in airplanes. Most kids my age were interested in planes, back in the 1930s.” He first flew a plane when he was sixteen, and continued to fly until just a few years ago.<br />
<br />
Graduating from High School in 1944, he enlisted in the Army Air Corps Training Program. “We went through basic training, ready to go to pre-flight. But they didn’t have room for us, so they sent us to CTD – College Training Detachment. I went to the University of Arkansas for about six months, and they still didn’t have room in preflight, so they sent us to Pampa Army Airfield, to do all the jobs the enlisted men wouldn’t do. (laughs) We saw the handwriting on the wall, because a lot of flyers were coming back from overseas, they had nothing more to do than chase pretty girls in West Texas. One morning we were told that the commanding General of the Flying Training Command said all flying training had stopped. The war was going too well, and they didn’t need any more pilots. That was the end of my hope for getting my wings in the Army Air Corps. I was sent to Scott Field, Illinois, to radio school, and I stayed until they decided we aviation cadets were just surplus, so they got rid of us just before Christmas of 1945.”<br />
<br />
After the war he entered Arlington State, majoring in music and drama, planning on a career in opera. “I gave it up because I had a sinus condition, still do, that would not allow me to be a consistent singer. So I traded Grand Opera for Horse Opera.” In 1948, he transferred to the University of Texas at Austin, a drama and music minor, majoring in business administration. Among his classmates were <strong>Fess Parker, Jayne Mansfield, Rip Torn, L.Q. Jones</strong>, and <strong>Pat Hingle</strong>. Not all of them seemed marked for greatness. “Jayne Mansfield certainly didn’t stand out at the time. L.Q. wasn’t in the drama department – L.Q. was the cheerleader. He didn’t get into movies until Fess Parker sneaked him in to see a director. L.Q. is so crazy; he convinced the director that he ought to be in the picture. Pat Hingle was a fine actor. Rip Torn was a good actor. Then he was Elmore Torn.”<br />
<br />
In 1951, just as he was entering law school, Morgan was recalled to active duty. He finally got overseas. “I was in the Military Transport Command; we were flying between Japan and Korea. I was happy to be up in the air, and we didn’t get shot at.” When he was back stateside, he decided against going back to law school. “World War II and the Korean War, I thought, Hell, although I was only about 26 years old, I’m getting too old to go to school. Fess Parker at that time was Davy Crockett. And Disney was getting ready to do <strong>THE GREAT LOCOMOTIVE CHASE</strong>. So Fess told Disney he knew this guy who would be just absolutely great as this wild-eyed Confederate Master Sergeant. So that’s how I got my ‘in’. I went to California to do a screen test for <strong>Walt Disney</strong>, and I was signed to a three-picture contract.”<br />
<br />
Henry: Did you meet Walt, himself?<br />
<br />
Morgan: Yes, as a matter of fact, the first day of shooting, when I went on the set, he came down to see this guy who had come out from Texas and was going to be in his first motion picture job. He was a great guy, great guy. Anybody’s a great guy who’ll sign me to a three-picture contract!<br />
<br />
H: The next one was <strong>WESTWARD HO, THE WAGONS!</strong><br />
<br />
M: Right, and then <strong>ALONG THE OREGON TRAIL</strong>, a short film.<br />
<br />
H: With WESTAWARD HO, you were with Fess Parker and <strong>Iron Eyes Cody</strong>.<br />
<br />
M: Oh yes, Iron Eyes was a great friend of mine, just a splendid guy. In the words of the Indians, a straight arrow.<br />
<br />
H: Your director, <strong>William Beaudine</strong>, used to be <strong>Mary Pickford’s </strong>personal director in silent movies.<br />
<br />
M: That’s right, Bill Beaudine was just great. No bullshit, and he was terrific.<br />
<br />
H: From 1958 through 1961 you had your first regular character, on <strong>WYATT EARP</strong>, as Shotgun Gibbs. How did you get that role?<br />
<br />
M: I did an episode of WYATT EARP the year before, as Captain Langley of the Texas Rangers. The producers loved the character, so they had <strong>Stuart Lake</strong> write in a character somewhat like this Ranger Captain, Shotgun Gibbs, and I was on that until 1961. He was a wonderful writer.<br />
(Note: Stuart N. Lake, a writer in the film business at least as far back as 1916, wrote the book <strong>WYATT EARP, FRONTIER MARSHAL</strong>, on which virtually all Wyatt Earp films, and the TV series, were based. He was nominated for a Best Story Oscar for <strong>THE WESTERNER</strong> (1940), about <strong>Judge Roy Bean</strong>.)<br />
<br />
H: How did you like playing a recurring role, as opposed to playing a different character each time?<br />
<br />
M: I loved it: I got a check every Friday.<br />
<br />
H: Obviously, you worked a lot with <strong>Hugh O’Brien</strong>. What was he like?<br />
<br />
M: He was a nice fellah. He was not the easiest fellah in the world to get along with, but he and I got along – we were together for over three years, got along fine.<br />
<br />
H: What sort of a shooting schedule would you have for an episode?<br />
<br />
M: We shot five days a week, Monday through Friday, usually shot three days on the set, at Desilu Studios, two days on location, out at Melody Ranch.<br />
<br />
H: There were a lot of interesting guest stars on WYATT EARP, like <strong>Andy Clyde</strong>, and semi-regulars like <strong>Lash LaRue</strong>.<br />
<br />
M: Well, Lash is a real character. And I working with Andy Clyde, because Andy Clyde was an icon. I also worked with <strong>Anna Mae Wong</strong> on WYATT EARP. I worked with <strong>Kermit Maynard</strong>, a lot of guys who weren’t stars anymore, and they were old, but it was quite something to work with them.<br />
<br />
H: What are your best memories of working on that show?<br />
<br />
M: It was the first time I had a regular series, and the producers of WYATT EARP were going to do a series on Sam Houston, called <strong>THE RAVEN</strong>, and they selected me to do Sam Houston. Unfortunately, the producer had a heart attack, and the show was put on hold for a while. Then he got better, we started to get into production, he had a another heart attack and died, and that was the end of that.<br />
<br />
H: In the late 1950s you were doing a lot of western TV episodes. <strong>ZANE GREY THEATRE, CHEYENNE, SUGARFOOT, BROKEN ARROW, RESTLESS GUN, BAT MASTERSON </strong>–<br />
<br />
M: That’s right, I think I did every western there was.<br />
<br />
H: Were any of them particularly memorable?<br />
<br />
M: They were all memorable because I got paid, I had a job. I remember all of them – I’ve never forgotten anything I ever did. Because actors never know when they’re going to work again.<br />
<br />
H: You did <strong>GUNSIGHT RIDGE</strong> with <strong>Joel McCrea, Mark Stevens</strong> and one of my favorites, <strong>L.Q. Jones</strong>.<br />
<br />
M: Mark Stevens – he had a fairly good career going at that time. Why is L.Q. Jones one of your favorites?<br />
<br />
H: Because he’s one of those actors that just grabs the eye and makes you follow him.<br />
<br />
M: Always playing crazy guys. (laughs) That’s what L.Q. does. We’ve been friends for over sixty years.<br />
<br />
H: How did you like working with Joel McCrea?<br />
<br />
M: He was terrific.<br />
<br />
H: You did a couple of films with <strong>Audie Murphy</strong> – <strong>RIDE A CROOKED TRAIL </strong>and <strong>GUNPOINT</strong>. GUNPOINT was directed by <strong>Earl Bellamy</strong>, who we both know from SPEEDTRAP. What was Audie Murphy like?<br />
<br />
M: Well, very distant. He was so distant it was hard to figure him out. He had a few very close friends, and that was it. I guess they were close. I remember GUNPOINT. In RIDE A CROOKED TRAIL I don’t think I had that great of a part. <strong>Walter Matthau </strong>was in it. He was very amenable. <strong>Henry Silva</strong> they brought from New York – it was popular at that time to bring New York actors out to California. Henry got his start on Broadway, you know. In <strong>‘A HATFUL OF RAIN’</strong>, he played a character called ‘Mother.’ He and I became good friends.<br />
<br />
H: You did about a dozen episodes of <strong>WAGON TRAIN</strong>. In the <strong>ALEXANDER PORTLASS STORY</strong>, you kidnap <strong>Robert Horton</strong> and help <strong>Peter Lorre</strong> search for Maximillian’s gold. And you got killed by Peter Lorre for your trouble. What was Lorre like by this time in his career?<br />
<br />
M: Well, I didn’t get to know Peter very well. When we were not working together, we weren’t social. (laughs) All I can tell you is he was kind of a strange little man.<br />
<br />
H: That’s what he played to perfection.<br />
<br />
M: Himself, I think.<br />
<br />
H: Because you were playing different characters in a dozen episodes of the same show, was there ever concern about your becoming too recognizable? Sometimes you had big scars, and sometimes you had an eye-patch. Was that to try and make you look different?<br />
<br />
M: Well, it concerned me. I certainly didn’t want people recognizing me, saying, ‘There’s that character again.’ I hope I got away with playing the different characters.<br />
<br />
H: You were usually a bad guy, but not always. In the <strong>JED POLK STORY</strong>, you’re a survivor of Andersonville Prison Camp. It was a very emotional part – very intense. Any particular memories of doing that episode?<br />
<br />
M: Not really. I have all my scripts – I’d have to go back and read the scripts.<br />
<br />
H: You did so many – which were your favorite WAGON TRAINs?<br />
<br />
M: Well, I got to work with <strong>Polly Bergen</strong>, and that was interesting. We got to know each other, and as a matter of fact saw each other socially a few times after that.<br />
<br />
H: What was <strong>Ward Bond</strong> like?<br />
<br />
M: Very rough, very gruff, very profane. But in a kind of a lovable, likable way.<br />
<br />
H: Kind of like his characters in <strong>John Ford</strong> westerns?<br />
<br />
M: That’s right – that was Ward Bond.<br />
<br />
H: Of course, in the middle of the series, he died, and was replaced by <strong>John McIntire</strong>. Did that change the show a lot?<br />
<br />
M: Yuh, because they were two different types. McIntire was a very different type than Ward Bond. So it changed the character of the wagon master, but I don’t know that it changed the show a lot.<br />
<br />
H: Over the years there were a lot of regulars who came and went. There was <strong>Robert Horton, Terry Wilson, Frank McGrath, Robert Fuller, Denny Miller.</strong><br />
<br />
M: Bob Fuller is one of my best friends. He’s bought a ranch in Texas, and he came out for that big autograph show two weeks ago. We were sitting side-by-side. <strong>Peter Brown</strong> was just down the row.<br />
<br />
H: I saw Peter Brown – maybe Robert Fuller was at lunch when I came by.<br />
<br />
M: He probably was in the bar (laughs). And Denny Miller was there. I was hoping Clint Walker would be there. I like to see those guys that are still alive. We’re all getting old.<br />
<br />
H: In the 60s you did a lot of western series, <strong>HAVE GUN WILL TRAVEL, BIG VALLEY, RAWHIDE, BRANDED, DEATH VALLEY DAYS, IRON HORSE, CIMMARON STRIP, VIRGINIAN, HIGH CHAPPARRAL</strong> – like you said, you did all the westerns.<br />
<br />
M: Yuh, I did.<br />
<br />
H: What were your favorites?<br />
<br />
M: Oh, <strong>GUNSMOKE</strong>, of course. I did more GUNSMOKES than any other actor in the world. I say in the world because they had people come over from Europe to do the show. I did nineteen. Plus the GUNSMOKE movie in ’91 or ’92. It seems like yesterday but, my God, it’s been twenty years!<br />
<br />
H: I was just watching <strong>MATT DILLON MUST DIE</strong>; that’s a terrific show.<br />
<br />
M: I enjoyed making that particular show. We shot that in Utah, in the mountains.<br />
<br />
H: The story is a variation on <strong>MOST DANGEROUS GAME</strong>. (SPOILER ALERT) And your wife’s death fills you with such overpowering rage that you’re murdering indiscriminately. Eventually your own sons. It’s a real heartbreaker of an episode, and you bring great humanity to a character that could have seemed very one-dimensional. How do you prepare to play a role like that?<br />
<br />
M: I just read the scripts and conjure the character in my mind. I read the script until I almost read the print right off the page. I spend hours and hours and hours, over and over and over reading the script, filming the show in my mind.<br />
<br />
H: I was just talking to <strong>Earl Holliman</strong> last week –<br />
<br />
M: He was at the autograph show. We spoke. I remember I worked with Earl several times, in the show with <strong>Angie Dickinson, POLICE WOMAN</strong>, and then GUNSMOKE.<br />
<br />
H: He said there was an episode that you two did on GUNSMOKE called <strong>HACKETT</strong>. He said that it was one of his favorite shows because you switched roles.<br />
<br />
M: Yeah, two or three days before we were to shoot the show, the producer called and said, “Look, you guys are gonna switch parts. I want Morgan the bad guy to play the coward, and I want Earl Holliman to play the bad guy.” That may have been one of the few times that Earl got to play a bad guy.<br />
<br />
H: Which episodes are your favorites?<br />
<br />
M: There was a segment called <strong>LOBO</strong>. I was watching it in my home, by myself, and all of a sudden I realized that I was watching me, and I didn’t know that I was watching myself. I was so engrossed in the show, then all of a sudden I snapped to, and I thought, “But that’s me!” So I figure, if I can fool myself, that I might be pretty good.<br />
<br />
H: Any other episodes?”<br />
<br />
M: Well, HACKETT, and then MATT DILLON MUST DIE.<br />
<br />
H: How’d you like working with <strong>Jim Arness</strong>?<br />
<br />
M: No better person to work with in the world than Jim Arness! He’s a good friend of mine, and I still call him about every week.<br />
<br />
H: I understand he had a wonderful deal on the show where they would shoot his scenes for several episodes back to back, and he’d go off surfing, and they’d shoot around him. Did you have to deal with that kind of a situation, or was he usually on the set?<br />
<br />
M: I never had to deal with that, and if it would inconvenience any other actor I don’t think Jim would allow that.<br />
<br />
H: How about the other actors? <strong>Amanda Blake, Milburn Stone</strong>.<br />
<br />
M: Oh, they were all great characters. GUNSMOKE was a dream to work on. The producers were great, the actors were great, they always had great cast members. They were all good scripts. Great show to work on – a happy show.<br />
<br />
H: How many times did Matt Dillon kill you?<br />
<br />
M: (Laughs) You know, I don’t remember. But I usually got shot. Or beat up.<br />
<br />
H: You also did eight episodes of <strong>BONANZA</strong>.<br />
<br />
M: Yes, I did. I liked it very much. <strong>David Dortort</strong> (the show’s creator and producer) was a favorite of mine. <strong>Dan Blocker</strong> was a good friend of mine – fellow Texan.<br />
<br />
H: Did you have a favorite episode?<br />
<br />
M: Oh, it may have been <strong>FOUR SISTERS FROM BOSTON</strong>, with <strong>Vera Miles</strong>.<br />
<br />
H: In 1966 you guested on <strong>THE LUCY SHOW</strong>, in the famous <strong>LUCY AND JOHN </strong><br />
<strong>WAYNE </strong>episode.<br />
<br />
M: That was great fun.<br />
<br />
H: Had you worked with <strong>John Wayne</strong> before?<br />
<br />
M: No, I had not. I liked working with him very much. I had an opportunity to work with him again, but I screwed that deal up because I didn’t like the part that they offered me, and I turned it down. And that was one of the few mistakes – because I almost never turn down a part. But I just didn’t like that part at all.<br />
<br />
H: What movie was that?<br />
<br />
M: I think it was <strong>TRUE GRIT</strong>.<br />
<br />
H: Well they’re doing that one again. I think they just wrapped shooting, with Jeff Bridges as Rooster Cogburn.<br />
<br />
M: Jeff’s a good actor, but I’m sorry they’re doing TRUE GRIT again.<br />
<br />
H: How did you like working with <strong>Lucille Ball</strong>?<br />
<br />
M: She was wonderful. Very professional, but at the same time, a great lady.<br />
<br />
H: Had you done much comedy at that point?<br />
<br />
M: No, but L.Q. Jones and I did a comedy on WAGON TRAIN. <strong>CHARLIE WOOSTER: OUTLAW</strong>. It’s the one where Charlie (Frank McGrath) gets kidnapped by this woman, and L.Q. and I play her two crazy sons.<br />
<br />
H: In 1968 you did <strong>FIRECREEK</strong> with <strong>Henry Fonda</strong> and <strong>Jimmy Stewart</strong>.<br />
<br />
M: Great cast, <strong>Jack Elam </strong>– just look at the cast list on that picture. God, it was just amazing to get all those people together.<br />
<br />
H: Often people with small parts, like <strong>Ed Begley, Inger Stevens</strong>. It’s dark movie, not a very happy one.<br />
<br />
M: No, it’s not. It is a dark film.<br />
<br />
H: You and the rest of the gang are together, and Henry Fonda is off with Inger Stevens.<br />
<br />
M: He was wounded, and Inger Stevens was taking care of him. You got the idea there was something going on between the two of them, or there could be. (SPOILER ALERT!) And then of course she winds up killing him.<br />
<br />
H: You and your friends kill the town simpleton, you kick his dog, you get shot by Jimmy Stewart and dragged to death by your horse.<br />
<br />
M: (laughs) I got my comeuppance!<br />
<br />
H: Did you do any of that drag yourself?<br />
<br />
M: No. Well, I started the drag, and then they cut to a stuntman.<br />
<br />
H: Now your director on that was <strong>Vincent McEevety</strong>, who had done a lot of westerns and, like you, a lot of sci-fi.<br />
<br />
M: I worked with Vince a lot on westerns – I can’t tell you which ones. I worked with him before and I worked with him afterwards. I did a <strong>STAR TREK</strong> with him, <strong>DAGGER OF THE MIND</strong>.<br />
<br />
H: In ‘69 you were with <strong>Richard Widmark</strong> and <strong>Lena Horne</strong> in <strong>DEATH OF A GUNFIGHTER</strong>. It’s quite a good film, which is a surprise considering the credited director is <strong>Alan Smithee</strong>, the<br />
pseudonym directors use on films they’re ashamed of.<br />
<br />
M: No. <strong>Robert Totten</strong> started directing it, and he didn’t like the fact that Lena Horne was the leading lady, and that here was a racial (element) to the story, and he kept griping. And finally <strong>Lew Wasserman</strong> fired him and <strong>Don Siegal</strong> took over. So they used the phony name Alan Smithee. Turned out pretty good.<br />
<br />
H: For several years you were in <strong>DALLAS</strong>, sort of a modern Western. That was an incredibly popular series.<br />
<br />
M: Yes it was.<br />
<br />
H: Did you have a good time on that?<br />
<br />
M: Oh, I certainly did. I was a regular on it for three years. So ’86, ’87, ‘88 I didn’t do very many (other) shows. As a matter of fact I was doing <strong>DAYS OF OUR LIVES</strong>, the daytime soap opera, at the same time.<br />
<br />
H: I understand that with soaps, you have to learn an incredible amount of dialog with every episode. Were the pressures of doing that kind of show very different from doing a regular show?<br />
<br />
M: I hated it. If I hadn’t have been dedicated – I simply wouldn’t walk off a show, or say I don’t want to do it anymore. But if I had to do it again I would. I didn’t like it at all. I just didn’t like daytime soap opera. I didn’t have time to prepare, I didn’t like the cue cards, I thought the dialog was asinine. But I must say I certainly met some good actors on soap opera. Some weren’t, but there were some really fine actors.<br />
<br />
H: You’ve done <strong>THE A TEAM</strong>, where you’ve done comic western episodes. Did you enjoy that show?<br />
<br />
M: Oh yes, oh yes. God, that was a lot of fun. <strong>George Peppard</strong> was a very nice fellow.<br />
<br />
H: The last western-ish thing you’ve done was play bounty hunter Sam Travis in <strong>THE BOUNTY HUNTER’S CONVENTION</strong> episode of <strong>THE ADVENTURES OF BRISCO COUNTY JR.</strong><br />
<br />
M: That was not a favorite of mine, and it was not a favorite because I didn’t do a good job on that show. I was off-center, and I don’t know why. The show, I guess, was alright, but I was not at all satisfied with my performance.<br />
<br />
H: I just watched it this week, and I found it very funny, and I found you very good in it.<br />
<br />
<br />
M: Thank you – I’m happy to hear you say that.<br />
<br />
H: In addition to Westerns, you’ve had an extensive career in science fiction. <strong>STAR TREK, PLANET OF THE APES, LOGAN’S RUN, BATTLE BEYOND THE STARS, X-FILES, MILLENIUM</strong>. What do you prefer – science fiction or westerns or something else?<br />
<br />
M: Well, it all depends on the script. If it’s a good show like the X-FILES, I love doing that, and I love doing westerns. It all depends on the script.<br />
<br />
H: You’ve been acting in television for over forty years. You started near the beginning of the industry. What sort of changes, good and bad, have you seen over the years?<br />
<br />
M: Well, I retired in 1997. My first professional job was with the Gulf Oil Theatre in Dallas, Texas. We had the first theatre-in-the-round in America. That was 1947, I was going to school in the morning, working in the afternoon and the evenings in the theatre. So in 1997 that was fifty years. And I thought, fifty years is enough, and I retired. And one of the reasons I retired is because I got tired of going in and interviewing with people who were very young, and were apparently young in the business, and they had not done their homework. And they’d say, “What have you done?” And I thought, for God’s sake, I’ve been in film for over forty years, and I have to go through the same routine all the time. It just became not that much fun, not that interesting. And some of the parts that were offered, even if I got them, they weren’t that interesting.<br />
<br />
H: Overall, which are your own favorite Western performances?<br />
<br />
M: Like I told you, the episode of GUNSMOKE, LOBO, when I was watching myself and didn’t realize it. And then, MATT DILLON MUST DIE, I liked that very much. I did a picture for Disney called <strong>THE WILD COUNTRY </strong>with <strong>Vera Miles </strong>and <strong>Steve Forrest</strong>.<br />
<br />
H: Is that the one with <strong>Ron Howard</strong> and <strong>Clint Howard</strong>?<br />
<br />
M: Yes, that was a favorite of mine. <strong>Robert Todd</strong> directed that.<br />
<br />
H: What are your favorite westerns of other people?<br />
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M: Well, remember the series that <strong>Sam Peckinpah</strong> wrote, was it called <strong>THE WESTERNER </strong>(1960)? It didn’t last very long. With <strong>Brian Keith</strong>. That was good. <strong>THE ROUNDERS, Max Evans</strong> wrote that, with Henry Fonda and <strong>Glenn Ford</strong>.<br />
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<b>ONE MORE THING...</b><br />
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<span style="font-size: 14.0pt; line-height: 200%;">A couple of weeks ago I attended an event called <i>Film Italy Los Angeles</i>, and waited two
hours on the red carpet to talk to Claudia Cardinale, of Once Upon A Time In
The West. And at the very moment when the red carpet guy says to her, "This is
Henry Parke from True West," Claudia’s daughter grabs her by the wrist, says “Mom,
we just have time for a cigarette before the awards”, and dragged her off. But at least I got a nice picture.<o:p></o:p></span></div>
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<span style="font-size: 14.0pt; line-height: 200%;">Enjoy the Oscars!</span></div>
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<span style="font-size: 14.0pt; line-height: 200%;">Happy Trails,</span></div>
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<span style="font-size: 14.0pt; line-height: 200%;">Henry</span></div>
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<span style="font-size: 14.0pt; line-height: 200%;">All Original Contents Copyright February 2019 by Henry C. Parke -- All Rights Reserved</span></div>
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<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-49361357501112816682019-01-14T21:51:00.000-08:002019-01-14T21:51:59.548-08:00NEW SPAGHETTI WESTERN – ‘BOUNTY KILLER’ – PLUS ‘HOW TV WEST IS WRITTEN’, AUTRY EVENTS, DVD REVIEWS AND MORE!<br />
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>THIS JUST IN! STARTING
TUESDAY, JANUARY 15<sup>TH</sup>, THE AUTRY WILL EXTEND FREE ADMISSION TO LAUSD
STUDENTS AND THEIR CHAPERONES DURING THE LAUSD TEACHERS’ STRIKE! </b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>‘BOUNTY KILLER’ OPENS
JAN. 25<sup>TH</sup> IN L.A.!</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">‘BOUNTY KILLER’, the new
Spaghetti Western from <i style="mso-bidi-font-style: normal;">Chip Baker Films</i>,
opens Friday, January 25<sup>th</sup>, at the <i style="mso-bidi-font-style: normal;">Arena Cinelounge</i>, 6464 Sunset Boulevard, Hollywood, CA 90028. When
a young woman, played by Naila Mansour, is abducted during her wedding, her
father, Eurowestern stalwart Antonio Mayans (MORE DOLLARS FOR THE MACGREGORS, A
TOWN CALLED HELL) hires bounty hunter Crispian Belfrage to rescue the woman,
and kill the men. Also in the cast are Aaron Stielstra (THE SCARLET WORM, 6
BULLETS TO HELL) and Lenore Andriel (YELLOW ROCK). Directed by Chip Baker,
written by Baker and Danny Garcia, Jose Villanueva and Nick Reynolds, many of
the folks who made the fine 6 BULLETS TO HELL are also part of BOUNTY KILLER. Cinematographer
of both films Olivier Merckx may be the first to use a drone in a Western, and
did so to striking effect. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">It’s filmed in classic
sets and locations in Tabernas, Almeria, and Andalucia, Spain, much of it on
the McBain Ranch from ONCE UPON A TIME IN THE WEST. The film will be playing
from Friday the 25 through Thursday the 31, and since the times vary from day
to day, visit the <i style="mso-bidi-font-style: normal;">Cinelounge</i> website
<a href="http://www.arenascreen.com/">HERE</a> for details.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>‘HOW TV WEST IS WRITTEN’
AND MORE EVENTS AT THE AUTRY<o:p></o:p></b></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>TUESDAY JAN. 15 – A WORD
ON WESTERNS SALUTES BURT LANCASTER</b><o:p></o:p></span></div>
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Detail from Thomas Hart Benton's 'The Kentuckian' poster </div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Tuesday, at 11 a.m., join
Western authority Rob Word and his merry band at the Wells Fargo Theatre for
another delightful ‘Word on Westerns’. The topic will be Burt Lancaster, whose
Westerns include GUNFIGHT AT THE O.K. CORRAL, VERA CRUZ, APACHE, and THE
KENTUCKIAN. Word notes, “Lancaster cared greatly about quality and, when he
directed and starred in THE KENTUCKIAN (1955), hired Bernard Herrmann for the
music and Thomas Hart Benton to do the movie poster!” Among the guests joining
Rob will be Burt’s stunt double from ULZANA’S RAID and POSSE, Billy Burton, and
from Burt’s last Western, CATTLE ANNIE AND LITTLE BRITCHES, producer Rupert
Hitzig and actors William Russ and Kenny Call. Did I mention this event is free
with your Autry admission?<span style="mso-spacerun: yes;"> </span>Doors open at
10:30.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>WEDNESDAY JAN. 16 – HOW
THE WEST IS WRITTEN: INSIDE MODERN TV WESTERNS</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">A must-attend for any
would-be Western screenwriters, Wednesday night at 7 p.m., writers and
producers from the latest crop of TV Westerns share insight into the creation
of their series, how they’re reimagining the genre, and why stories out of the
American West continue to inspire. Panelists include LONGMIRE writer and
exec producer Hunt Baldwin, THE SON writer and exec producer Kevin Murphy,
and HELL ON WHEELS and BRISCO COUNTY, JR. writer and exec producer John
Wirth. This one costs $20 for members & students, $25 for non-members, and
reservations are advised.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>SATURDAY JAN. 26 – SILENT
TREATMENT – ‘CLASH OF THE WOLVES’</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi72vQ9EkVvyY2idvDJIC7h4AC53-PTbIxHjzlk4YW1s6-ozTsBCHaEtBXeHKH-4W7Yb0hiEi43Ql0mih0puNWrYgSw_0OOiSJNHtx2A-wt10y7Iyx4SaqjY39nOO-0PDT1imxe4mg9XYpR/s1600/clash+of+the+wolves+lobby.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="343" data-original-width="450" height="243" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi72vQ9EkVvyY2idvDJIC7h4AC53-PTbIxHjzlk4YW1s6-ozTsBCHaEtBXeHKH-4W7Yb0hiEi43Ql0mih0puNWrYgSw_0OOiSJNHtx2A-wt10y7Iyx4SaqjY39nOO-0PDT1imxe4mg9XYpR/s320/clash+of+the+wolves+lobby.jpg" width="320" /></a></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The Silent Treatment is
the Autry’s new series of silent Westerns with live musical accompaniment. 1925’s
CLASH OF THE WOLVES stars Rin-Tin-Tin, his sweetheart Nanette, 7<sup>TH</sup>
HEAVEN star Charles Farrell, and original Keystone Kop Heinie Conklin, in a
tale of Borax miners and claim-jumpers. Presented at 2 p.m. in 35mm, with piano
by Cliff Retallick.<span style="mso-spacerun: yes;"> </span>It’s free with
admission.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>SUNDAY, JAN. 27<sup>TH</sup>
-- THE MUSIC OF ENNIO MORRICONE!</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg99IVtntGsdXOeby2V45BXrrk7Nus6JrKsHHWMGI5OB2_-IAM7MPmF36sFJvogmVZS-f_mIFsYZa9F5q86wjmzIIvyWm1Y0oSVMn47sTfMDGTyadlT0g2DfB3n9lGZ01JCm3SMqEfcXYd/s1600/Morricone+hateful-8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="380" data-original-width="612" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg99IVtntGsdXOeby2V45BXrrk7Nus6JrKsHHWMGI5OB2_-IAM7MPmF36sFJvogmVZS-f_mIFsYZa9F5q86wjmzIIvyWm1Y0oSVMn47sTfMDGTyadlT0g2DfB3n9lGZ01JCm3SMqEfcXYd/s320/Morricone+hateful-8.jpg" width="320" /></a></div>
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Morricone conducting the Hateful 8 score recording --</div>
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and no, he won't be there.</div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">At 1 p.m. – the 5 p.m. performance
is sold out -- a concert of music from film scores by the maestro of the
Spaghetti Western, performed by a special ensemble of world-class musicians and
singers. It’s $10 for members, $20 for non-members, and you’d better make your
reservations <i style="mso-bidi-font-style: normal;">now</i>. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>COWBOYS AND INDIANS <i style="mso-bidi-font-style: normal;">AND VIKINGS</i>! – A DVD REVIEW</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNcVTAeescSKRG0tCCb0YA3_TI-8N6EpsZwvU0VgFL-0VWHMjTNxL_gcq4XwjlwwYQCAo9ynmKaV4FG7kBnsiLrZSDIllnCo2NYd7fAKSOZfbYHvvM64Xx0cqlN1caUcUaSb5xH44cXt2f/s1600/Days+of+V.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="780" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNcVTAeescSKRG0tCCb0YA3_TI-8N6EpsZwvU0VgFL-0VWHMjTNxL_gcq4XwjlwwYQCAo9ynmKaV4FG7kBnsiLrZSDIllnCo2NYd7fAKSOZfbYHvvM64Xx0cqlN1caUcUaSb5xH44cXt2f/s320/Days+of+V.jpg" width="234" /></a></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Wild East Productions
presents Volume 60 of their Spaghetti Western Collection, a Giuliano Gemma double
feature, DAYS OF VENGEANCE and ERIK THE VIKING. In VENGEANCE (1967), Gemma
stars as man framed and imprisoned not for just any crime, but the murder of
his own father! His old girlfriend, Nieves Navarro, is now with the lawman who
set him up, and Gemma teams up with a traveling charlatan (Manuel Muniz as his
comic character Pajarito) and his granddaughter (gorgeous Grabriella Giorgelli)
to get justice, and uncover a startlingly baroque conspiracy. It’s elegantly
made and highly enjoyable.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">The second film, ERIK THE
VIKING (1965) is goofy, exuberant fun. Gemma is Erik, nephew of Viking King
Thorwald, and when the old man is on his deathbed, he says he wants his power
to pass to his nephew, not his own son Erloff (Lucio De Santis). It’s a tough
time for Vikings, who get no end of abuse from the more militarily organized
Danes. Erik convinces several Vikings that they should find a new land far away
from the Danes, and sails off in search of it. They arrive in – you guessed it
– the New World, where they make friends with some Indians and enemies with
others. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">This action-packed daffy
little history lesson is surprisingly entertaining, capturing the spirit of the
Warner Brothers swashbucklers of the 1930s and ‘40s, and borrowing plot
elements from them as well. Yes, there is a beautiful Indian princess (Elisa
Montes), and evil plotters working for Erloff, including the indispensable muscleman
Gordon Mitchell.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Among the special
features is an excellent interview with actress Nieves Navarro conducted by
Western screenwriter Danny Garcia (6 BULLETS TO HELL, THE BOUNTY KILLER). The
double feature sells for $21.72, and can be purchased <a href="http://www.wildeast.net/new-releases-c-14/days-of-vengeanceerik-the-viking-p-283.html">HERE</a>.</span> </div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>A NEW SOURCE FOR TV
WESTERNS – JEWISH LIFE TV!</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigT-D68WpXKyGBNSQFMEVkD1Q0k5cCbk347RhEPhD2Sk4KdyIDGPFAvf5GI08GyucR1kVLT6yVKdKBSb_AFLHAYO3jZULMcH8k9OM7HcQOeoCCQYt4kB23YGRV8ESZnGWgvn96vfHKKBx8/s1600/annie+oakley+flying+A.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1000" data-original-width="1244" height="257" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigT-D68WpXKyGBNSQFMEVkD1Q0k5cCbk347RhEPhD2Sk4KdyIDGPFAvf5GI08GyucR1kVLT6yVKdKBSb_AFLHAYO3jZULMcH8k9OM7HcQOeoCCQYt4kB23YGRV8ESZnGWgvn96vfHKKBx8/s320/annie+oakley+flying+A.jpg" width="320" /></a></div>
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Gail Davis and Jimmy Hawkins</div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Next time you’re spinning
the dial – remember when TVs had dials? – looking for a Western, you might just
find one in an unexpected location: JLTV, aka Jewish Life Television, has added
oaters to the line-up! Episodes of BONANZA, ANNIE OAKLEY, and the 1954 Western
anthology series STORIES OF THE CENTURY have joined THE JACK BENNY SHOW and YOU
BET YOUR LIFE, with Groucho Marx, as reasons to watch. Lorne Green, Michael
Landon, and BONANZA-creator David Dortort were all Jewish, so perhaps that’s
the connection, but whatever the reason, thanks JLTV! <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>‘UNSPOOLED’ LOOKS AT ‘THE
SEARCHERS’</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Y4kIQuYXG6tkyiDUlG2Cj7rw4uF65GBnXMmjDZAq21nS1xTnTjGARzpeHnVx6e0kpo6Y8ze-fIOmeUyYl8dx6kLEgTfjwZxAPZd1NZtCvnyLtq3k27bDlfrSq6BGZi2HMhZ596mBS-c1/s1600/Henry+Unspooled.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1080" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1Y4kIQuYXG6tkyiDUlG2Cj7rw4uF65GBnXMmjDZAq21nS1xTnTjGARzpeHnVx6e0kpo6Y8ze-fIOmeUyYl8dx6kLEgTfjwZxAPZd1NZtCvnyLtq3k27bDlfrSq6BGZi2HMhZ596mBS-c1/s320/Henry+Unspooled.jpg" width="320" /></a></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Paul Scheer and Amy
Nicholson, the film critics who are re-examining all of the films on
the <i>AFI 100 Best Movies of All-Time </i>list, with 100 individual
podcasts, are up to #34, THE SEARCHERS. They are knowledgeable, but not big
Western fans – it’s the first John Wayne Western Scheer has seen (!) <span style="mso-spacerun: yes;"> </span>– so their takes on it are by turns
fascinating and infuriating. Well worth a listen. And I must give them credit
on one point in particular: it NEVER occurred to me that John Wayne might be
searching not for his brother’s daughter, but his own!<span style="mso-spacerun: yes;"> </span>THE SEARCHERS is #34. The episode about HIGH
NOON, where I was guest, is #19. You can hear them all <a href="https://www.earwolf.com/show/unspooled/">HERE</a>. </span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>I HAVE 5 ARTICLES IN THE FEBRUARY
‘TRUE WEST’!</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2iBOy8MiBf1FnlGQ4h080Lwo7U4vNbO5gGzOn_-Hb275LYI-kph16HE4UiB8HZ6wgbK-HbGPw-6bUt4T59RBsHg1Y8lQbgfveVPM1G7Lc5Yb8GSyyVHx_iF1qfGKQ9Kq3DcgsgmTQLXcP/s1600/True+West+2-19002.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1160" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2iBOy8MiBf1FnlGQ4h080Lwo7U4vNbO5gGzOn_-Hb275LYI-kph16HE4UiB8HZ6wgbK-HbGPw-6bUt4T59RBsHg1Y8lQbgfveVPM1G7Lc5Yb8GSyyVHx_iF1qfGKQ9Kq3DcgsgmTQLXcP/s320/True+West+2-19002.jpg" width="231" /></a></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">It’s a personal record
for one issue! If you’d like to read ‘em…<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">p.19 – ‘Cowboy Pens Best
Rodeo Movie Ever Made’<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">p. 26 – ‘Remembering Jeb
Rosebrook’<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">p. 52 – ‘Max Evans in
Hollywood’ <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">p. 54 – ‘Ballad of Buster
Scruggs’ review<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">p. 55 – ‘Fire Engulfs
Paramount Western Ranch’<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>ONE MORE THING…</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7RPo3NvI4kTRC6zvtxeD0M7tlwnVnz_EI-v41tLgP8WNA2zwOa0jMPPpccaCQi0pNOhPEg9vuH79L1vHrRrZ0XvLJsSDpFqJjKI1oDWpiMOxFEFAAkD4ZxRsG-7hdMWhwtLxqJkko0M5_/s1600/tom+mix+great.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="656" data-original-width="486" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7RPo3NvI4kTRC6zvtxeD0M7tlwnVnz_EI-v41tLgP8WNA2zwOa0jMPPpccaCQi0pNOhPEg9vuH79L1vHrRrZ0XvLJsSDpFqJjKI1oDWpiMOxFEFAAkD4ZxRsG-7hdMWhwtLxqJkko0M5_/s320/tom+mix+great.jpg" width="237" /></a></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Every spring there are
two events in the Los Angeles area that movie nuts, western nuts, and
especially western movie nuts dream about all year. One is the Santa Clarita
Cowboy Festival, a great get-together of all things cowboyish, at the estate of
the great movie cowboy William S. Hart. The other is the annual TCM Classic
Film Festival, one of the great and rare chances to see classic movies, and
especially westerns, the way they should be seen, on a big screen. Well, after
years of having them one weekend after another, the Cowboy Festival has been moved
up, so they will both be on the weekend of April 13 and 14. TCM is actually the
11<sup>th</sup> through the 14<sup>th</sup>, and before you say, “Then just go
to TCM on Thursday and Friday,” it doesn’t work that way, since the movies you
want to see are generally scattered through the four days. They’ve just started
to announce films, and included are BUTCH CASSIDY, a new restoration of
WINCHESTER ’73, and a Tom Mix double bill with live music, THE GREAT K & A
TRAIN ROBBERY and OUTLAWS OF RED RIVER. Cowboy Festival hasn’t started
announcing their events yet, but it should be noted that for the second year,
the Cowboy Festival will be free, while TCM costs a fortune, and even individual
movies are $20 a pop.<span style="mso-spacerun: yes;"> </span>I’ll keep you
informed as I learn more!<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;"><b>AND THAT’S A WRAP!</b><o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Happy Trails,<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">Henry<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman",serif; font-size: 12.0pt; line-height: 200%;">All
Original Material Copyright January 2019 by Henry C. Parke – All Rights
Reserved<o:p></o:p></span></div>
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<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-38535587768459444302019-01-01T03:33:00.000-08:002019-01-01T03:33:41.461-08:00HAPPY 2019! NEW SEASON OF ‘COWBOY WAY’, STEVE MCQUEEN’S ‘WANTED: DEAD OR ALIVE’ AND ‘VIRGINIAN’ JOIN INSP, PLUS VIDEO & BOOK REVIEWS!<br />
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>‘THE VIRGINIAN’ RETURNS
TO INSP NEW YEAR’S DAY!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">While throughout 2018, Western
fans have enjoyed the rare opportunity to watch THE MEN FROM SHILOH, the scarcely-seen
revamped final season on THE VIRGINIAN on INSP, the excellent news is that the original
series returns today, January 1<sup>st</sup>, New Year’s Day, at noon EST and 3
p.m. PST, with an 9-hour marathon. It starts with the very first two episodes, THE
EXECUTIONERS and THE WOMAN FROM WHITE WING. The marathon will continue with
big-name star episodes, including THE GOLDEN DOOR with Robert Duvall; THE EVIL
THAT MEN DO, with Robert Redford, THE INTRUDERS, with David Carradine; and THE
MODOC KID, with Harrison Ford. Starting noon Wednesday EST, 3 p.m. PST, the
series will continue in its original sequence with THROW A LONG ROPE, episode 3
of season one. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The story of THE VIRGINIAN
goes back to Owen Wister’s tremendously successful 1902 novel of the same name,
which helped make the cowboy into a folk-hero, and elevated the pulp genre to
legitimate literature. Wister created in his title character the original ‘man
with no name’, for he was only identified by where he came from. Beginning in
1962 and running for nine seasons and 249 episodes, the series revolved around
the Shiloh Ranch, the Garth family, headed originally by Judge Garth (Lee J.
Cobb), and James Drury as the Virginian. Also in the cast were Doug McClure,
Clu Gulager, Roberta Shore, Randy Boone, and over the seasons, many others.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">As INSP Senior V.P. Doug
Butts pointed out in his announcement, “The series was groundbreaking because
it was the only 90-minute Western on television. This allowed writers and
actors to give viewers a well-developed story arc, which is why it continues to
hold an audience today. Not surprising, THE VIRGINIAN is one of our
highest rated programs. What a great way to kick off 2019!” Back in 2012 I
attended The Virginian 50<sup>th</sup> Anniversary celebration at The Autry,
and was able to interview several of the series’ stars for a multi-part
article. Here are the links: <a href="http://henryswesternroundup.blogspot.com/2012/09/virginian-50th-anniversary-celebration.html">PART ONE</a>.<o:p></o:p></span></div>
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<a href="https://henryswesternroundup.blogspot.com/2012/09/virginian-night-ramona-days.html" style="font-family: "Times New Roman", serif; font-size: 12pt;">PART TWO</a> , <a href="http://henryswesternroundup.blogspot.com/2012/10/virginian-round-3-jarrod-barkely.html" style="font-family: "Times New Roman", serif; font-size: 12pt;">PART THREE</a>, <a href="http://henryswesternroundup.blogspot.com/2012/10/virginian-pt-4-almeria-new-cisco-kid.html" style="font-family: "Times New Roman", serif; font-size: 12pt;">PART FOUR</a> , <a href="https://henryswesternroundup.blogspot.com/2014/10/men-from-shiloh-review-plus-gene-autry.html" style="font-family: "Times New Roman", serif; font-size: 12pt;">THE MEN FROM SHILOH</a></div>
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DEAD OR ALIVE’ JOINS INSP LINE-UP!</b><o:p></o:p></span></div>
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Michael Landon guests on 1st episode of Wanted:</div>
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Dead or Alive, with Thomas Carr directing</div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Along with the return of
THE VIRGINIAN, the series that made Steve McQueen a star, WANTED: DEAD OR
ALIVE, will begin airing with episode one on New Year’s Day at 7 a.m. EST, 10
a.m. PST. This excellent half-hour series began in 1958 and ran for three
seasons and 94 episodes, featuring McQueen as thoughtful, decent bounty hunter
Josh Randall, who toted a cut down Winchester model 1892 carbine, caught
miscreants but, as often as not, gave the reward money to someone who needed it
more than himself. <span style="mso-spacerun: yes;"> </span>The series was very
popular, and when McQueen was cast in THE MAGNIFICENT SEVEN, but the series’
producers wouldn’t let him out of his contract to do the movie, he staged a car
wreck to shut the series down! <o:p></o:p></span></div>
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OF ‘COWBOY WAY’ SUNDAY, JAN. 6</b><sup><b>TH</b><o:p></o:p></sup></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Bubba, Booger and Cody,
and their wives and kids, are back for a 5<sup>th</sup> helping of the realities
of cowboy life in THE COWBOY WAY. <span style="mso-spacerun: yes;"> </span>The reality
series that breaks the rules by actually seeming real follows the three friends
who are partnered in the Faith Cattle Company, showing the nature of their
day-to-day work. When the series began, only one cowboy was married. Now all
three are, and have kids besides. This season the trio, who have largely
concentrated on raising cattle, will be more involved in the buying and selling
of the critters, and will venture from their Alabama homes to Texas. Here’s a <a href="https://truewestmagazine.com/reality-cowboy-stars/">LINK</a>
to my True West article about the show, as well as my interviews with Bubba
Thompson and Booger Brown from the Round-up.</span><span style="font-family: "times new roman" , serif; font-size: 12pt;"> </span></div>
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IN APRIL 2019!</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The ten-episode second
season is ‘in the can’! Returning to the series that examines a Texas cattle
and oil baron in two distinct eras, 1849 and 1915, are series stars Pierce Brosnan
and Jacob Lofland, who together play the older and younger Eli McCullough. Also
returning are Zahn McClarnon, Henry Garrett, Sydney Lucas, Paola Núñez, David Wilson Barnes, Jess Weixler, and
Elizabeth Frances. Joining the cast will be Jeremy Bobb from GODLESS, Duke
Davis Roberts from JUSTIFIED,<span style="mso-spacerun: yes;"> </span>Glenn
Stanton, and David Sullivan. If you’d like to read my True West article on THE
SON, featuring interviews with author Philip Meyer, producers Henry Bronchtein
and Kevin Murphy, and stars Jacob Lofland, Zahn McClarnon and Carlos Bardem, go
<a href="https://truewestmagazine.com/son-rises-amc/">HERE</a>. <o:p></o:p></span></div>
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review</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">In 1945, the brilliant
writer and filmmaker Jean Renoir ventured into John Steinbeck territory with <i style="mso-bidi-font-style: normal;">The Southerner</i>, for which he would
receive a Best Director Oscar nomination.<span style="mso-spacerun: yes;">
</span>Having already written and directed the classics <i style="mso-bidi-font-style: normal;">Grand Illusion</i> (1937), <i style="mso-bidi-font-style: normal;">Le
Bete Humaine</i> (1938), and <i style="mso-bidi-font-style: normal;">The Rules of
The Game</i> (1939) in his native France, in 1941 he fled for America following
the Nazi invasion of his homeland – he would become a naturalized U.S. citizen
– and directed a few films before hitting his stride with <i style="mso-bidi-font-style: normal;">The Southerner</i>. Adapted from the novel by George Sessions Perry, <i style="mso-bidi-font-style: normal;">The Southerner</i> is the Great Depression story
of Sam and Nona Tucker, impoverished Texas cotton-pickers who are determined
against tremendous odds to own their own farm and raise a family. It is at
times a harsh and bleak tale, the characters’ lives filled with suffering and
indignities, but it’s never hopeless. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Renoir assembled a
remarkable cast, sometimes using actors in their most familiar personas, other
times going radically against type and letting the players spread their wings
to wonderful effect. For Sam Tucker, the all-American driven farmer that would
normally have been a Gary Cooper or James Stewart or Joel McCrea – and McCrea
and wife Frances Dee were briefly attached – he instead used the hissable cad
from <i style="mso-bidi-font-style: normal;">Mildred Pierce</i>, Zachary Scott.
For his hard-struggling, honorable wife he chose the trollop from Steinbeck’s <i style="mso-bidi-font-style: normal;">Of Mice and Men</i>, Betty Field. To play
the albatross of a Granny, who self-centeredly rails about their lack of
concern for her, Renoir cast Beulah Bondi, who’d played the perfect mom for
Frank Capra in <i style="mso-bidi-font-style: normal;">Mr. Smith Goes To
Washington </i>and <i style="mso-bidi-font-style: normal;">It’s A Wonderful Life</i>.
<span style="mso-spacerun: yes;"> </span>The usually lovable J. Carrol Naish played
the most spiteful character in the story, a neighbor farmer with a little
success who does everything he can to sabotage the Tuckers, willing even to let
their ailing child go without milk. On the other hand his son, played by Norman
Lloyd, the title character from Hitchcock’s <i style="mso-bidi-font-style: normal;">Saboteur</i>,
is right in character, and Percy Kilbride is Pa Kettle, only in nicer clothes.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">The film is not heavily
plotted; this is not a traditional story so much as it is a chance to watch the
trials and triumphs of its characters against the land, the weather, and
sometimes other people. It also has two wonderful knock-down drag-out brawls,
one light-hearted but fraught with danger, the other deadly. These are not the
thrillingly choreographed Yakima Canutt-inspired displays we’ve come to love,
but rather the kind of fights real angry non-athletes have, with everything
they ca lay their hands on included. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Despite three Oscar
nominations – Best Director, Best Sound Recording: Jack Whitney, Best Musical
Score: Werner Janssen – this indie, originally released by <i style="mso-bidi-font-style: normal;">United Artists</i>, had become something of an orphan film, and
difficult to see. Fortunately, <i style="mso-bidi-font-style: normal;">Alpha
Video</i> has released the DVD for only $7.98. Order it <a href="https://www.oldies.com/product-view/8148D.html">HERE. </a><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>A NEW PLAY PUBLISHED BY
MICHAEL B. DRUXMAN – BRODERICK CRAWFORD: A PLAY IN TWO ACTS</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">As far as The Round-up is
concerned, Michael Druxman’s most important accomplishment is writing the
screenplay for 1994’s CHEYENNE WARRIOR, one of the very best independent
Westerns of the past quarter century. The publicist, journalist, screenwriter,
director, and playwright has published a series of plays, frequently
one-character plays, in his Hollywood Legends series, focusing on the lives of such
stars as Al Joslon, Orson Welles, Carole Lombard, and Clara Bow. His most
recent entry is about a hugely talented but decidedly less glamorous star,
Broderick Crawford. This two act play features three characters: Brod, his
mother Helen Broderick, and father Lester Crawford. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Brod’s parents were important
vaudeville stars – they played the Palace in New York, the pinnacle of success.
Lester had some success in Hollywood, and Helen had a major film career, an
attractive comedienne who appeared in numerous chic RKO comedies and musicals, typically
as Ginger Rogers’s friend or Edward Everett Horton’s romantic interest. <span style="mso-spacerun: yes;"> </span>The play’s thesis is that although their son
had a great career – a Best Actor Oscar for <span style="mso-spacerun: yes;"> </span>ALL THE KING’S MEN, his tremendous success in
BORN YESTERDAY, a long string of movies, and two successful TV series, HIGHWAY
PATROL and THE INTERNS, it was never enough to satisfy his parents. Their
disappointment and disapproval haunt him literally in the play – the two acts
are set in dressing rooms in 1971 and 1977, long after both parents have died,
but that doesn’t even slow down their bedeviling of their alcoholic son. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Along the way you’ll
learn quite a bit about the actor’s slow and steady decline. Humorous but not
exactly uplifting, it’s a tremendous role for an actor of the right age and size.
You can buy it from Amazon, either as a paperback or download, and check out
Druxman’s many other plays, <a href="https://www.amazon.com/gp/product/B07CQRW9SC/ref=dbs_a_def_rwt_hsch_vapi_tkin_p2_i2">HERE</a>.<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>…AND ONE MORE THING…</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmfOh_SRuigurZ3WtO8dx02467F1i5fGo1aywdRuSounUDX0VCxNgYbmwNIZI5YGaaOYBSObcrq7hl1VYhjKc-wndfsCtaGnrZfA6HKXG-3xdQzC0y2BX5I6U1A_tGkDnBnYfNnr3NJgpC/s1600/new+years+burns+and+allen.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="642" data-original-width="500" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmfOh_SRuigurZ3WtO8dx02467F1i5fGo1aywdRuSounUDX0VCxNgYbmwNIZI5YGaaOYBSObcrq7hl1VYhjKc-wndfsCtaGnrZfA6HKXG-3xdQzC0y2BX5I6U1A_tGkDnBnYfNnr3NJgpC/s320/new+years+burns+and+allen.jpg" width="249" /></a></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">As I begin my tenth year
writing Henry’s Western Round-up, I am immensely grateful to all of my readers
for their interest and encouragement. If anyone had told me a decade ago that what
I had to say about Westerns would be read in over a hundred nations, with close
to a million-and-a-half page-views, I would never have believed it. Nor would I
have dreamt that I would be entering my fourth year as Western Film Editor for
<i>True West Magazine</i>. <o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;">Because of the increased –
and very welcome – steadily increasing work-load from <i style="mso-bidi-font-style: normal;">True West</i>, the past few years have seen a steady diminishing in the
number of Round-up posts, from weekly to monthly to less than that. I’ve never
been a big one for New Year’s resolutions, but it’s my intention to return to
weekly postings, or at least every-other-week postings. They may be shorter
than in the past, but I’ll do my best to keep my news service current. Best
wishes to you all for a successful and fulfilling 2019!<o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>AND THAT’S A WRAP!<o:p></o:p></b></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>HAPPY TRAILS,</b><o:p></o:p></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>Henry<o:p></o:p></b></span></div>
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<span style="font-family: "times new roman" , serif; font-size: 12.0pt; line-height: 200%;"><b>All
Original Material Copyright January 1<sup>st</sup> 2019 by Henry C. Parke – All
Rights Reserved</b><o:p></o:p></span></div>
<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0tag:blogger.com,1999:blog-7768227493189956785.post-21764087074452790622018-10-31T00:22:00.000-07:002018-11-04T11:54:25.329-08:00BOBBY CRAWFORD REMEMBERS ‘LARAMIE’, KCET’S ‘TENDING NATURE’ – EXCLUSIVE PEEK, PLUS NEW iPHONE SPAGHETTI WESTERN ‘THE CONDEMNED’!<br />
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;"><b>BOBBY CRAWFORD REMEMBERS ‘LARAMIE’<o:p></o:p></b></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;"><b>BY HENRY C. PARKE</b><o:p></o:p></span></div>
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LARAMIE's Bobby Crawford, Robert Fuller</div>
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and John Smith</div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;"><o:p><br /></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">When the Emmy nominations for
1959 were announced, the Crawford clan managed a trifecta that no other
show-business family has ever matched – not the Barrymores, not the Hustons,
not the Fondas -- even though none of the Crawfords won. Robert Crawford Sr. was
nominated for Best Editing of a Film for Television for THE BOB CUMMINGS SHOW,
and lost to Silvio D'Alisera on PROJECT 20. Son Johnny Crawford’s work on THE
RIFLEMAN saw him nominated for Best Supporting Actor, Continuing Character, in
a Drama Series, which he lost to Dennis Weaver, playing Chester in
GUNSMOKE.<span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">But perhaps the most impressive
nomination was for Johnny’s older brother, 14-year-old Robert Crawford Jr., whose
appearance on PLAYHOUSE 90, in an episode called CHILD OF OUR TIME, would not
only earn him a nomination for Best Single Performance by an Actor, but pit him
against Fred Astaire, Paul Muni, Rod Steiger, Christopher Plummer, and Mickey
Rooney. “I got to sit right in front of Fred Astaire during the show,” Bobby
recalls, “And he tapped me on the shoulder and he says, ‘Oh, we're the same
category, and that's ridiculous.’<span style="mso-spacerun: yes;"> </span>And he
won the award that night.” But remarkably, fourteen years later, Bobby would
re-team with his show’s soon-to-be-legendary director, George Roy Hill, not as
an actor, but as producer on a string of classic films including THE STING, THE
GREAT WALDO PEPPER, SLAPSHOT, A LITTLE ROMANCE, THE WORLD ACCORDING TO GARP,
and THE LITTLE DRUMMER GIRL.<o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">In the heat of this past summer,
I had the opportunity to chat with Bobby about his wide-ranging career, and his
family, who already had a history in “the biz.” His mother, Betty Megerlin, was
a stage actress with parents who were both vaudeville violinists. “On the other
side of the family tree, my grandpa Bobby Crawford was a music publisher.” When
he met his soon-to-be-bride, Thelma Briney, Bobby relates, “She was a piano
player at a five and dime store. My grandpa later on was a music publisher with
DeSylva, Brown and Henderson. And they created the song, <i style="mso-bidi-font-style: normal;">I Found a Million Dollar Baby in a Five and Ten Cent Store</i>.” Grandpa
Bobby, who managed Al Jolson, built <i style="mso-bidi-font-style: normal;">Crawford
Music</i>, </span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12pt;">“Sold it to Warner Brothers in 1928. And then lost his fortune in the
1929 [Stock Market Crash].”</span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">Jump ahead a generation, and
it’s <i style="mso-bidi-font-style: normal;">déjà vu</i>: Robert Crawford (the
soon-to-be-editor), is working as an extra at <i style="mso-bidi-font-style: normal;">Universal Pictures</i> when a fellow extra wants to introduce him to
the girl he’s been courting.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;"><span style="mso-spacerun: yes;"></span>“So, my
dad walked into the room and my mom was playing the piano and he was smitten
immediately by her.” It took some time, but he stole her away, and they were
married in New York City by Norman Vincent Peale, the Minister famous for his
bestseller, THE POWER OF POSITIVE THINKING. Robert was working as a film
librarian at <i style="mso-bidi-font-style: normal;">Columbia Pictures</i> when
he was drafted into World War II. He joined the Marines, wanting to be a
cameraman, but when they learned of his background, he was made a military film
librarian at Quantico. “He never talked a lot about it, but he felt guilty
about doing the librarian work because he would get all this footage in; the
cameraman's shooting everything, and then oftentimes you'd see the camera
images fall into the sand, as the man had been hit. He did that from ‘43 to ‘46
and I was born in Quantico.”<o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: When did you start
acting?<o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">BOBBY CRAWFORD: [My parents] did
some shows at the Pasadena Playhouse. He had a scooter and they'd go out to
Pasadena from Hollywood, Mom riding on the back, and then have to change from
her scooter clothes into the costume. I remember being a child and watching
them in a small theater in Hollywood. My brother I think was four years old
when he did <i style="mso-bidi-font-style: normal;">Little Boy Lost</i> in a
stage show somewhere in Hollywood. And I did a few little things that I don't
recall except I recall being Tiny Tim in some Christmas show. I was about eight
years old. My folks never really belonged to a church, but Grandma sent us off
to Sunday school; we went to the Christian Science Church on Olympic Boulevard,
and our Sunday School teacher just happened to be one of the major agents for
children in Hollywood. She took an interest in both John and I, and she started
representing us and sending us out on commercials. John started getting MATINEE
THEATRE [an hour-long daily live TV drama anthology], and small parts, and I'd
get a commercial now and then. Johnny was the Anglo-looking blond kid and I was
the Hispanic-looking Latino, and I did Indians and French and Spanish-looking
roles as a child. I remember the <i style="mso-bidi-font-style: normal;">Fritos</i>
commercial, being at the factory and eating them hot off the assembly line; it
was really good. <o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Did you take acting
classes, or did your parents teach you? <o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">BOBBY CRAWFORD: My mom was our
coach. We’d go on interviews, and we'd sit out in the lobby and read through
the lines. And the instruction I got from mom, then reinforced when I got my
first big break, by the director George Roy Hill, is the most important thing
about acting? Don't. Don't act. Just be real. I think that was my cue. Therefore,
I figured I'd better not study acting, I'd better just do it. I remember years
later reading the James Cagney autobiography. They asked him, what's your
secret to acting? And he says, stand there and tell the truth. So, I think
those are my two bits of instruction. And I was afraid to get into school plays
or get into theater at UCLA, thinking whatever it was that I did -- and I
didn't know what it was I did -- it seemed to be working, and I was afraid I'd
get corrupted if I started to try to learn it.<o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: You appeared on a
number of TV shows – DONNA REED, WYATT EARP, ZORRO.<o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">BOBBY CRAWFORD: I did a couple
of ZORROS. I remember, I loved being at the <i style="mso-bidi-font-style: normal;">Disney
Studios</i> and I also loved being with Zorro, Guy Williams, a wonderful man
and a beautiful man. And Mary Wickes played my aunt. And the sergeant on ZORRO,
Henry Calvin. I didn't realize he was a great opera singer. A roly-poly fellow,
and a wonderful man. Zorro saves me from the well, I guess, but I remember
hugging the big burly Spanish soldier.<o:p></o:p></span></div>
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Bobby in Playhouse 90's</div>
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A Child of Our Time</div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Before LARAMIE, you
were nominated for an Emmy for A CHILD OF OUR TIME, where you play Tanguay, a
boy who winds up in a Nazi Concentration Camp. How big an effect was your Emmy
nomination on your career? Had you already been cast in LARAMIE?<o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">BOBBY CRAWFORD: No, I got LARAMIE
immediately after doing A CHILD OF OUR TIME, right about the time we were
nominated. A Producer, Robert Pirosh, cast me, wanted me. He was the writer of
the pilot, [and] strongly committed to the series, involved and in charge. I
came out to do a reading with Bob Fuller, a screen test; we did the scene
together. Slim [Sherman, the role John Smith would ultimately play], was the
part that he had originally been cast for, and he went up to talk to a fellow I
later worked with, Pat Kelly, and said, ‘It's wonderful, but the part's wrong.
I should be Jess.’ And Pat Kelly said, ‘Oh yeah?’ He said, ‘Absolutely, I can't
do it otherwise.’ John Smith was a very nice man and he said, ‘It's fine with
me.’ Fuller said, ‘Let me test for it.’ And so we did the scene in which he was
going to convince the powers that be that he should play Jess. And he convinced
them that I should play Slim’s brother. Of course, me being the Latino, I’d had
my head shaved. It's just, John Smith was blond, and I'm supposed to be <i style="mso-bidi-font-style: normal;">his</i> brother, and I looked a lot more
like Bob Fuller. So they dyed my hair blond for the pilot. And it grew out in
like four months. I went from being a short haired blond to brunette with long
hair in the series. But anyway, it didn't really matter. They had their show
and it went on the air along with RIVERBOAT which featured some unknown guys, one
of them being Burt Reynolds. I just remember Eastwood starting RAWHIDE and Burt
Reynolds on RIVERBOAT our same season, and I was astonished that our show was a
hit. I just said, wow, I got a job, and I get to go to the studio every day.
And then I was worried. <span style="mso-spacerun: yes;"> </span>I still wanted
to get into UCLA at that time. I was just starting high school, and I’d just
run into the first defeat of my career in school, geometry. But I remember
getting a leg up because I had a private tutor on LARAMIE. <o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: What were Robert
Fuller and John Smith like?<o:p></o:p></span></div>
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John Smith and Bobby</div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">BOBBY CRAWFORD: They were jolly.
They were in their prime. They were just thrilled to be starring in the series.
They were congenial and having fun on the set, which is the only time I got to
be with them for the most part. We had some publicity stunt things that we did,
I did a double- date with Bob Fuller once. At 14 or 15 years old I got myself a
moped, and I would tool around, in the Hollywood Hills, before I could have a
driver's license. And there is a shot of Bob Fuller on my moped. Other than
that we had very little social contact off the set. But it was like going to
Disneyland each a day of work when you walked into the set. The guys were all
about the business of shooting the scene and the story and getting onto the
next one. There isn't a whole lot of time between takes and so would have our
chairs. I remember that first Christmas in the show, Bob Fuller bought us all
nice leather director's chairs, with our names engraved on them.<o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">John Smith was the most
beautiful man I had ever seen in my life. I don't know what kind of curse that
was on him, but he just wasn't real to see in life. He was decent, charming man,
but it was so hard to get over -- it was like he was back-lit all the time. He just
glowed in the dark, in the sunlight. You couldn't be help but be struck by it. <span style="mso-spacerun: yes;"> </span>He's not real, he's so good looking. And Fuller
was good-looking, but rugged; it wasn't quite the same impact. <o:p></o:p></span></div>
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Robert Fuller and Bobby</div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">Bob Fuller had a forearm as big
as my thigh. And my ambition as a kid in that series was to get a forearm as
big as Bob Fuller's. So I would do my push-ups and pull-ups and my fencing. But
I never learned how to build my body so I'd get a forearm like Bob Fuller. Bob
was a great charismatic fellow. He was a quick draw. What I was learning on LARAMIE
was my lines, and how to be a quick draw. I got the steel holster that helped
make you a quick draw. But I could never quite out-draw Bob. I came close, but
I didn't get the cigar. <o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: How about Hoagy
Carmichael?<o:p></o:p></span></div>
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Smith, Fuller, Hoagy Carmichael and Bobby</div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">BOBBY CRAWFORD: I adored Hoagy
Carmichael. I'm ashamed to say I didn't get to know Hoagy other than in
passing. <span style="mso-spacerun: yes;"> </span>We have a couple of episodes
where he's showing me the piano, and he's singing a cute song. Now in my later
years, I find myself driving down the road singing <i style="mso-bidi-font-style: normal;">Stardust</i> in the morning. And I'm thinking, if only I'd known about
that when he was playing at the piano. <o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Did you have any favorite
guest stars? <o:p></o:p></span></div>
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Ernest Borgnine plays a former soldier accused</div>
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of cowardice in this episode</div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">BOBBY CRAWFORD: It was just
terrific fun to work with Ernie Borgnine. I remember being under the table with
him. I knew he was an Academy Award winner, and doing TV was still a second gig
for a movie actor. He was always playing these mean tough guys, but in person,
he was just the most easygoing, charming guy who just loved being there on the
set, as I did. And on the first episode, Dan Duryea, playing the bad guy. He had
this wonderful demeanor about him. I just remember him being scary. A scary
man. He was good casting, a dangerous fellow. I loved all the actors that I got
to be around. Every one of them was a character, but it was true of all the
grips, electricians, the prop men; everybody who would be on a Hollywood set is
a pro, especially if you got lucky enough to get into the major leagues, and I
was in the majors then. Those guys are having fun. They're so confident about
what they do that they can just have fun doing it. There's the pressure of
getting it done, but they're very confident they're going to get it done well. You’re
imbued with confidence when you're on a set like that. Everything works, and nobody
gets hurt. You only appreciate as an adult, that movie-making is all about
moving. You are moving arcs and lights, and in those days the equipment was
big, heavy. And it's horses and wagons and, and I only appreciated later how
physical making a good movie can be, and making a Western in particular. And
also how absolutely prone to accidents things can be, and that's why you want
guys who don't have accidents. <o:p></o:p></span></div>
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Dan Duryea is the villain in</div>
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Laramie's pilot</div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: On LARAMIE you had
two of my absolute favorite action directors, Leslie Selander and Joe Kane. Do you
have any memories of working with them? <o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">BOBBY CRAWFORD: I remember
Leslie Selander, because I loved his name. I remember the directors telling me
what to do. I don't remember them vividly; in fact the only director I remember
vividly was Lee Sholem, who was a director on CHEYENNE. Who was called “Roll
'em Sholem.” Which was because -- look, there's an airplane! Roll 'em! He was a
forceful character. And you didn't want to do two takes with Roll 'em Sholem.
You wanted to do one take. <span style="mso-spacerun: yes;"> </span>I remember
the cameramen and I remember faces, but I think I was kind of intimidated and
shy on the set; I didn't develop relationships with the crew. I was always
feeling a bit like I was the kid on the show, not necessarily the pro on the
show. I don't know. Somehow, my brother John would get around to every member
of the set, [even]the background extras. He knew everybody on the set, and I
knew everybody to say hi, but I didn't develop relationships. I think I just
sort of passed through my experience as a kid on LARAMIE, enjoying the moments
and remembering some of them, but mostly just saying this too will pass. <o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: You did a few guest
shots on THE RIFLEMAN. How did you like working with your kid brother? <o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">BOBBY CRAWFORD: I did, and the
problem was it was just a couple of days work. We got to get on horses, we'd be
here and we'd be there. We had to go to school for three hours and then we’d
get to be on the set a bit. We got to wrestle in one of them; we got a lot of
practice at that. <o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: Early in season two
of LARAMIE, you and Hoagy Carmichael disappeared.<o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">BOBBY CRAWFORD: <span style="mso-spacerun: yes;"> </span>Bob Pirosh left, and then John Champion came
along. [Note: Writer and producer John Champion had made several successful
Westerns for <i style="mso-bidi-font-style: normal;">Allied Artists</i>, and
would produce LARAMIE and write 36 episodes.] I didn't know who John Champion
was, and I didn't make it a point of trying to stay in the show, or even think
that I wouldn't, until the next season began and they said well, they've
written you out. And I said, okay, I'll do something else. Whether Hoagy wanted
to leave or not, I don't know. And I never talked to anybody about it. <o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">With LARAMIE, my experience with
the cowboys and the horses, what was probably 20 weeks of working and being
part of it, was sensational. It made me feel like a real Hollywood cowboy, and
I could go to Griffith Park, where I had a horse for about three years, that I
would groom and take care of, and be the king of corral 17, and go on parades
and riding. I felt comfortable around horses and always have felt at home in a
stable around the big animals. That I thought was my gift from LARAMIE. <o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">HENRY PARKE: A couple of seasons
later they brought in a new kid, Dennis Holmes and Spring Byington essentially
playing a female version of Hoagy Carmichael. Did you feel vindicated? <o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">BOBBY CRAWFORD: Well, I'm
ashamed to say I haven't watched it, but I don't think I was watching it when I
was making it, either. I didn't want to be inhibited. I do have the DVD set of
the first season, and I have watched some episodes. If I'm going to a signing
show, I'll run an episode or two, but I'm ashamed to say I haven't done that
with THE RIFLEMAN episodes either. So I am an uninformed participant. And
before I go to Kanab, I think I'm going to run some RIFLEMANS and some more LARAMIES,
LARAMIES I haven't been in. I owe Dennis Holmes a look.<o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">In the next Round-up, the second
and final part of my interview, Bobby Crawford discusses his work on BUTCH CASSIDY
AND THE SUNDANCE KID, and twenty years as Producer to iconic movie Director George
Roy Hill.<o:p></o:p></span></div>
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<br /></div>
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SHOUT FACTORY has put LARAMIE out on DVD, although season one is out of print. The entire series is available on STARZ.</div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;"><b>KCET PRESENTS ‘TENDING NATURE’ PREMIERING
NOVEMBER 7<sup>TH</sup>!</b><o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">Following up on the fascinating
Emmy-winning documentary TENDING THE WILD, produced in partnership with KCET
and THE AUTRY MUSEUM OF THE AMERICAN WEST, the partners have made a 3-year
commitment to continue with the series TENDING NATURE, which premieres Wednesday,
November 7<sup>th</sup>. Just as TENDING THE WILD examined land management
techniques used for centuries by American Indians, TENDING NATURE will explore
California’s Native stories, traveling across the state to visit and hear from
several Indian communities striving to revive their cultures and inform western
sciences. This season, the Tolowa Dee-Ni’, Ohlone, Pit River tribes, and the
multi-tribal Potawot Health Village, will welcome the series and share their
knowledge on topics including ocean toxicity, decolonizing cuisine, tribal
hunting, food deserts, and traditional sweats.<span style="mso-spacerun: yes;">
</span>Henry’s Western Round-up is honored to share the exclusive following
first look.<o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;"><iframe allow="accelerometer; autoplay; encrypted-media;
gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/cG66v09li4w" width="560"></iframe><o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;"><b>HERE’S ‘THE CONDEMNED’, A NEW
TEN-MINUTE SPAGHETTI WESTERN SHOT ON AN iPHONE! </b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJJ_PowcABq_82wYs29nW_L1EBwPUAL1riE_Q8Lrqhke9AEyY4ayYManN2LaziZzmgrD5S2iX7Tn4FHT93SLya2LNgfsApXcDsgmelCTPOS0Ycm-vF-PaESuNIRTma3DdneFLJbwtu10ci/s1600/Jay+Wade+Edwards.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="960" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJJ_PowcABq_82wYs29nW_L1EBwPUAL1riE_Q8Lrqhke9AEyY4ayYManN2LaziZzmgrD5S2iX7Tn4FHT93SLya2LNgfsApXcDsgmelCTPOS0Ycm-vF-PaESuNIRTma3DdneFLJbwtu10ci/s320/Jay+Wade+Edwards.jpg" width="320" /></a></div>
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Director Edwards on location</div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">Filmmaker Jay Wade Edwards set
out to make an American film, pretending to be an Italian film, which is itself
pretending to be an American film: an Italian-language Spaghetti Western shot
in, well, the West! Not just any west, but around one of the most photographed
of western locales, Pioneertown! <span style="mso-spacerun: yes;"> </span>And he
shot it, spectacularly, on an iPhone!<span style="mso-spacerun: yes;"> </span>I’ll
have more details coming soon to the Round-up, but for now, here is the
wonderfully daft movie itself. <span style="mso-spacerun: yes;"> </span>Enjoy!<o:p></o:p></span><br />
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;"><a href="https://vimeo.com/251085833">https://vimeo.com/251085833</a><o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;"><b>UNSPOOLED ‘HIGH NOON’ PODCAST
POSTED!</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhujGUnKFtKlIBbOCyzAIZKS8TvUpF4fiNJI0TmInfUulpXhCy0r4INeDLO38eFRl451h-Lehd2tZV7npM_WctpYe1JwIaHUa8xVnbNIwpVHJfPhqwBDQ4BLBQtHNiIyH22453SOC-n5ZEq/s1600/unspooled+Henry.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1080" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhujGUnKFtKlIBbOCyzAIZKS8TvUpF4fiNJI0TmInfUulpXhCy0r4INeDLO38eFRl451h-Lehd2tZV7npM_WctpYe1JwIaHUa8xVnbNIwpVHJfPhqwBDQ4BLBQtHNiIyH22453SOC-n5ZEq/s320/unspooled+Henry.jpg" width="320" /></a></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">UNSPOOLED’s Paul Scheer and Amy
Nicholson are re-examining all of the films on the </span><span style="font-family: rockwell, serif; font-size: 16px;"><i>AFI 100 Best Movies of All-Time</i> list, with 100 individual podcasts. They're </span><span style="font-family: rockwell, serif;"><span style="font-size: 12pt;">very knowledgeable about film, but are not Western nerds, which
makes their discussion of HIGH NOON, and its placement on the list all the more insightful and entertaining. They’re also
funny as Hell. I had a great time as their guest on this segment, and think
you’ll enjoy it – especially since, whether you’re a HIGH NOON or RIO BRAVO loyalist,
you’ll find plenty to be offended by! Here’s the link to the series. HIGH NOON is #19, and </span>APOCALYPSE NOW, #20, begins with listener comments about HIGH NOON. Enjoy them all! </span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;"><a href="https://www.earwolf.com/show/unspooled/">https://www.earwolf.com/show/unspooled/</a><o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;"><b>ONE MORE THING…</b><o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNXsbWwEeYPvwy2foQ1FqXvDxHFScix915ZAhrj76IaRDMcqthupQiSaIQJt4xViS14pqWFZuZaCqENh1dIitj0WMgkFLy5c24Vw2CgCQ3CahbwsIRYe6PBQg-1cgjpN-g3kn1BfqM-Hsc/s1600/Phantom+Empire+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1021" data-original-width="1364" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNXsbWwEeYPvwy2foQ1FqXvDxHFScix915ZAhrj76IaRDMcqthupQiSaIQJt4xViS14pqWFZuZaCqENh1dIitj0WMgkFLy5c24Vw2CgCQ3CahbwsIRYe6PBQg-1cgjpN-g3kn1BfqM-Hsc/s320/Phantom+Empire+1.jpg" width="320" /></a></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">If you’re looking for a spooky
Western to watch on Hallowe’en (and who isn’t?) Here’s a link to my True West
article on the best and worst of the ‘Weird Westerns.’<o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;"><a href="https://truewestmagazine.com/best-weird-western/?fbclid=IwAR3t8kboE0LQfO8SVaqZRnZ7iz26B_UlCxQneChkUnNNTZrHJShk9tEurtE">https://truewestmagazine.com/best-weird-western/?fbclid=IwAR3t8kboE0LQfO8SVaqZRnZ7iz26B_UlCxQneChkUnNNTZrHJShk9tEurtE</a><o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;"><b>AND THAT’S A WRAP!</b><o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">Happy Trails, and Happy Hallowe'en!<o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">Henry<o:p></o:p></span></div>
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<span style="font-family: "rockwell" , serif; font-size: 12.0pt; line-height: 200%;">All Original Content Copyright
October 2018 by Henry C. Parke -- All Rights Reserved<o:p></o:p></span></div>
<br />Henry C. Parkehttp://www.blogger.com/profile/02619991499711943991noreply@blogger.com0