BONE TOMAHAWK – A Movie Review
When a pair of literal cut-throats, played by David
Arquette and Sid Haig, have to scramble up a mountainside to escape pursuers,
they stumble into the hidden aerie of a lost, savage, cannibal tribe. One of the two escapes, and days later wanders
into the quiet town of Bright Hope, population 268. Unfortunately, he’s been followed, and he and
the people with him -- a deputy and a woman nursing the wounded cutthroat --
are spirited away to the aerie. A small
group of men quickly assemble to attempt a rescue. They are the Sheriff (Kurt Russell), his
back-up deputy (Richard Jenkins), the kidnapped woman’s husband (Patrick
Wilson), and the woman’s wealthy former suitor (Matthew Fox).
This is the start of a sharply written, elegantly
played western adventure. While the most
exciting parts of the adventure commence when they reach the aerie, there is
great fun, and character development, during the cross-desert trek. Much of the pleasure is getting to know the
men, none of whom seem entirely up to the undertaking. The Sheriff is a capable law man, but his predilection
for shooting people in the leg makes one doubt his judgment. The back-up deputy is too old for the job,
and seems somewhere between eccentric and simple. The husband is the sort of sexist that has a
hard time admitting the value of his fine wife until she’s gone – and he is
traveling with one leg in a splint! The
former suitor is such a pompous prig that you can’t wait for him to be
deflated.
And yet, impressively, all these
fallible men rise to the occasion. They
live by a code of honor and duty, and their imperfections make their dedication
all the more admirable. When Sheriff
Hunt, preparing to leave, addresses some townspeople, telling them to stay
vigilant, he indicates the missing woman’s husband. “I’m riding out with Mr. O’Dwyer because there
isn’t a choice for either of us.” He
doesn’t ask the crippled man ahead of time because there is no need: of course
he is going.
There’s plenty of action,
beautiful landscapes, and fine performances.
Kurt Russell is an older and more cautious lawman than his Wyatt Earp,
but he is just as solid. Richard Jenkins’
sidekick combines all the strengths of Chester and Festus and Gabby Hayes
without imitating any of them. Though
the role was brief, I particularly liked Sid Haig, who seemed to be channeling
Slim Pickens.
While all of the film is entertaining, and much of
it amusing, it gets increasing grim, and there are cringe-worthy moments of
savage brutality. I saw the film at its
Hollywood Egyptian premiere, and at a particularly ugly moment, the man next to
me muttered to himself, “Wait: it gets worse.”
And indeed it did. It’s a very
enjoyable film, but not recommended for the sensitive, and very definitely not
for kids. BONE TOMAHAWK opens this Friday, October 23rd.
INTERVIEW WITH ‘BONE TOMAHAWK’ WRITER/DIRECTOR S.
CRAIG ZAHLER
Writer/director Craig Zahler, in the soon-to-be bloody
barn, in his Once Upon A Time In The West shirt
BONE TOMAHAWK’s writer/director S. Craig Zahler is a
first-time director, and only one of his
many optioned screenplays, ASYLUM
BLACKOUT (2011), has been filmed. So it’s
kind of remarkable that he gathered such an impressive cast – Kurt Russell, Richard
Jenkins, Patrick Wilson, Matthew Fox, David Arquette, et al. Producer Dallas Sonnier says, “It all comes
down to the script. It’s just so good that
is what has attracted everybody; so it’s a leap of faith on the part of these
actors.”
Both a crime and a western author, A CONGREGATION OF
JACKALS, his first western novel, was nominated for a WWA Spur Award and a Peacekeeper
by the Western Fictioneers. But what
really established him in Hollywood was the still-unfilmed western screenplay
THE BRIGANDS OF RATTLEBORGE, which made the 2004 Black List. (In typically obtuse Hollywood fashion, ‘Black
List’ no longer refers to writers who are unemployable because of their
politics. It now refers to the best
unsold screenplays of the year.)
One night almost exactly a year ago I was visiting a
century-old farm just outside of L.A., watching Craig direct Kurt Russell and
others in and around a stable. Between
set-ups, we talked.
HENRY: You’re
a novelist, a screenwriter; a director; I know you’re not shooting this one,
but you’re a cinematographer.
CRAIG: The
way it worked for me was I went to NYU film school and I studied cinematography,
animation, and directing, and took the acting courses. I got out of school, and I had a bunch of day
jobs, working as a catering chef, and I worked as a cinematographer, pushing
heavy metal bands, and writing and directing these weird little one-act theatre
pieces. There was a point when I was working
as a cinematographer where I realized that I could make somebody’s
forty-thousand dollar indie feature look like a two or three million dollar
piece. But if the writing wasn’t there,
and the performances weren’t there, it was worthless. Good cinematography in a movie that didn’t
have content, performance, wasn’t even the frosting on the cake; it was the
color of the frosting on the cake. And
that was how I got out of shooting. I
think that was when BREAKING THE WAVES (1996), the Lars Von Trier, came
out. I saw that, and I thought it looked
terrible. But it was such an excellent
movie, and the content was there, the performances and the writing. And that was when I started focusing more and
more on writing. It was also a weird
transitional period. Because I was
shooting film exclusively, and the digital thing was starting to happen. But at the time the digital stuff didn’t look
great, and I didn’t want to shoot that stuff.
HENRY: At
that point, were you focusing on screenplays or novels?
CRAIG: It’s
interesting. The thing with a movie is,
you need a lot of people to believe of you in terms of the financial
aspect. You need to convince a lot of
people. I think one of the reasons I
focused on the (novel) writing is because by nature I’m not especially
collaborative, and that was something where I could just control every
word. At this point I’m fortunate that
my fourth book just came out couple weeks ago, and these are pretty much
exactly as I wrote it down. A couple of
words were changed, once I removed a chapter just to bring the word-count down,
but the control there is great, and you don’t need to compromise because you’re
losing daylight or your running out of money or your horse has flatulence. It’s great in that there’s no limit when I’m
writing fiction, other than how much time I want to put into it. How much I want to refine the prose. If directing movies wasn’t expensive I
probably would have directed ten by now. Books are just time: my last book is
just fifteen hundred hours of my time, and I completed it and it was
published. And the one before it was
just twelve-hundred hours, so I just know what it is.
HENRY: I’ve
never heard a writer talk about how long he takes to write a book. What is the new one?
CRAIG: It’s
called MEAN BUSINESS ON NORTH GANSON STREET, and it’s a crime piece. There are a few genres I really enjoy writing
and reading and watching more than others: westerns clearly, crime, science
fiction. They’re all very different for
me, satisfy different things. At this point
Leo DeCaprio is attached to it, and I’ve got a really nice deal, and maybe it
will get made and maybe it won’t. I’ve
sold twenty-two different pieces of fiction in Hollywood, and seen one
made. So the odds aren’t great. But that’s a crime piece, and that’s
something where I get to enjoy more intricate plotting than in the westerns, and
really focus a lot on the dialogue. It’s
St Martin’s Press.
HENRY: That’s
a terrific publisher.
CRAIG: They’re
pushing it big, and it’s my first time on a larger publisher, so we’ll see how
it does.
HENRY: BONE
TOMAHAWK – was this ever going to be a novel, or was it always a movie?
CRAIG: The
genesis of this is, one of the producers of this movie is Dallas Sonnier, and
he’s my manager and really good friend.
He read a book that I wrote called WRAITHS OF THE BROKEN LAND, which is
a western with a very strong horror component.
It’s a particularly savage western.
I certainly had some people read the first paragraph and put it down and
say, ‘This is not a Western,’ or ‘I don’t want to read it.’ I’m not trying to shock people with the
violence, but I’m trying to come up with something that’s interesting and
memorable, and in so doing, I shock a lot of people, but that’s not really the
goal. I just want to come up with
violent scenes that you haven’t seen.
It’s not just people being shot in the head and falling over. Dallas read it and said, “This would be
amazing to do as a movie.” The scale of
it is really huge, and could not be done with a small budget. There are massive battle sequences, gigantic horse-slaughtering
sequences. It’s pretty ugly. It’s character driven, as all of my stuff
is. (I told Dallas) there was no way I
can write a low-budget version of it, because I would just be cutting out way,
way, way too much. But I said I could do
another western that has a strong horror component, that is focused around an
ensemble, that’s dealing with a rescue.
So that’s how BONE TOMAHAWK came to be.
HENRY: The
genre of horror-western lately – I’m thinking of things like JONAH HEX (2010) and
COWBOYS & ALIENS (2011) – they weren’t that good, and they didn’t do that
well.
CRAIG: I
think you’re probably correct. I didn’t
see either of those. The bottom line is
people will classify this, and WRAITHS OF THE BROKEN LAND, as horror
westerns. For me they’re both
westerns. But the darkness and the
violence gets darker, and the violence gets more intense than you’re expecting
it to, so that’s what pushes it into the horror component. So for me, because the first western I wrote,
which set up my career as a screenwriter, was a piece called THE BRIGANDS OF
RATTLEBORGE, that was the same thing, some people read and said, ‘this is a
horror western.’ To me it was a western
that just got nastier. But it has that
vibe, and the crime stuff I write has the same thing. People find it scary, and I’m trying to make
it intense, I’m trying to make it atmospheric, and I’m putting in all the
details, if it’s working for you as the reader, it’s a vivid kind of reading
experience, where you are uncomfortable; where the violence does go farther
than you’re expecting, where every character is imperiled, and anyone might die,
and a lot of them do.
HENRY: What
western filmmakers influenced you? What
western movies do you like particularly?
CRAIG: For
me, the real life-changing moment in terms of me knowing this was something I
wanted to do, that I wanted to write, was when I was thirteen, and I saw THE
WILD BUNCH for the first time. And that
was it – that was a movie I probably saw fifteen times as a kid, and I’ve seen
on the big screen after moving to New York in revival houses multiple
times. I knew about the Leone stuff prior
to THE WILD BUNCH, and I adore the Leone stuff.
So that’s what really made me a fan, and informed some of the western
aesthetic that I like. A lot of people
think it’s just a crime piece with cowboy hats.
But to me it’s a distinctly different thing that I want to see in a
western. My favorite western filmmakers
are Sam Peckinpah, Sergio Leone and Anthony Mann. I like John Ford, although I don’t think the
comedy in John Ford works especially well.
I adore John Wayne. Actually my favorite John Wayne movie isn’t a
John Ford, but RED RIVER (1948) . And
I’m a huge fan of THE SHOOTIST (1976). Anthony Mann, like MAN OF THE WEST (1958), MAN
FROM LARAMIE (1955), and all of his pictures working with Jimmy Stewart are
terrific. Budd Boetticher – THE TALL T
(1957). Randolph Scott’s probably my
favorite western actor. I just adore
that guy in RIDE THE HIGH COUNTRY (1962).
Anthony Mann, Sergio Leone and Sam Peckinpah would be the top three, and
then a bunch of other guys.
HENRY: How about people who have done westerns in
the last few years. Anyone impress you?
CRAIG: THE
ASSASSINATION OF JESSE JAMES BY THE COWARD ROBERT FORD (2007). That’s the one; the mood there is
terrific. I’m going to sort of ruin the
ending – so if you haven’t seen it, don’t read this part of the interview. I think it’s fantastic how they kill off the
protagonist, and then there’s thirty more minutes of movie, where you’re
following another guy who becomes the de facto protagonist. That’s a really ballsy move, and the movie
gets even more interesting there. It’s a
gorgeous-looking movie – (cinematographer Roger) Deakins is as good as it
gets. And Andrew Dominick is one of the
few best directors working now. THE JACK
BULL (1999) isn’t as recent, the John Cusak, L.Q. Jones western that was made
for HBO. It was extremely emotional: the
whole ending section of that piece is really hard to watch, and fully realized.
One other one I liked was BROKEN TRAIL (2006) – Robert Duvall is the platinum
standard of acting, the finest actor ever to exist.There haven’t
been a ton; not a lot to choose from. I didn’t enjoy THE PROPOSITION. I just felt it was kind of heartless, and it
was violent, and the textures were excellent, but I think you need more than
that. The movie I’m working on definitely
has its scenes of violence; we’re about to shoot one of them, but
proportionally, this is probably going to be well over two hours, and the
violence is quick and sharp, and fast.
But it’s not what the movie is about, and the major part of the running
time, you’re not dealing with violence. I
think that’s what the modern western should be.
What people want to see is basically an action movie, and that’s not
what I think a western should be. You
can have those moments, but none of my favorite westerns are action
movies.
HENRY: As a
first-timer, did you have to fight to be the director on this? Did people say, ‘we’ll do this, but with a
more experienced director?’
CRAIG:
No. I’ve had westerns floating
around Hollywood, including the one that set up my career, for a while. They haven’t been made, but with BONE
TOMAHAWK, I wrote it to be small, and I wrote it to direct. It’s the fifth western I’ve written. I have a couple of westerns novels, three
scripts, a television pilot that almost got made. This one I wrote, contained, and I was really
fortunate with the cast that it attracted.
HENRY: How
did you get Kurt Russell?
CRAIG: I had
a handful of actors we were going to for different parts. And Kurt was a great choice for Sheriff
Hunt. What had happened was the
character of Arthur O’Dwyer went to Peter Sarsgaard. When he read it and enjoyed it, and signed on,
his agent, who also represents Kurt Russell, was then comfortable showing it to
Kurt. Kurt read it. He wanted to know about my background in terms
of filmmaking, because if I’m a just novelist going on-set, I might not know my
stuff, but this is actually my background.
And he came on board and has been unwavering in his support. Alongside Dallas, he’s one of the reasons
that we’re all here – he’s been terrific.
His enthusiasm is incredible. No one’s getting paid well on this movie; we’ve
got a lot of people getting the worst paychecks they’ve ever gotten. It really didn’t seem to matter with him or
the rest of the cast. They just wanted
to be involved, and I feel very fortunate.
(Note: the role of O’Dwyer was eventually played by Patrick Wilson, not
Peter Sarsgaard)
HENRY: You
have Oscar-nominee Richard Jenkins in your cast.
CRAIG: There’s
no better actor working than that guy – period.
He’s phenomenal. I was really
happy that we had time to do rehearsal prior to shooting, which obviously saves
you time, and you’re not figuring out things for the first time on the day. The
amount of embellishments that he came up with, the little moments – he’s just
an unbelievable talent.
HENRY: You’re
about two weeks into the shoot?
CRAIG: Two
weeks; today is the middle week. Because
the second half of the shoot is a little heavier with effects and stunts, the
first half of the shoot we will have shot well over half of the movie. We’re moving at a different clip than most
movies. We had a Friday where we (shot)
ten and a half pages, which is a ton.
And the only way you’re getting that is having a fast, hard-working crew, and incredible
actors who can come in, run it through a few times, really chisel everything
in, hit their spots and get to their moments.
And they’ve been doing it again and again. It’s difficult for everybody. This is what we have. I would love to have twice as much time. I would love to have even three extra
days. But it took us this long to get to
this spot, and it was time to make it.
HENRY: How
long did it take to get to this spot?
CRAIG: I
wrote it at the end of 2011, and there were a ton of different versions of this
movie that almost happened. I wrote this
movie to be made really really cheaply with unknown people for maybe a couple hundred
thousand dollars, a total guerrilla filmmaker thing, which is really my
background. Then when bigger names came
onboard, and it became something else, there was a period we had it scouted, we
were looking at New Mexico. Then I went
out to Utah and found a bunch of locations.
That version fell through. There
was a brief period when we were looking at Romania, which is where I believe
they shot HATFIELDS & MCCOYS (2012).
HENRY: And
COLD MOUNTAIN (2003) and DEAD IN TOMBSTONE (2013). They shoot a lot of westerns there, oddly
enough.
CRAIG: They
have a western town there that’s ready-to-go, but it seems really absurd. We’d planned to do it in Los Angeles, in outlying
areas, and we found what we needed. I
had pretty specific things in mind.
Putting in the time has really paid off.
Freddy Waff, who is the production designer, has been killing it, and
killing himself to make this look great.
Our editor is Fred Raskin, who cut DJANGO UNCHAINED. He’s one of my closest friends, a college
roommate of mine. (note: in the finished
film, Raskin shares credit with Greg D’Auria) He’s saying our footage, the
cinematography by Benji Bakshi, looks incredible.
HENRY: What equipment
are you shooting on?
CRAIG: It’s Red digital; we’re shooting
widescreen. The speed that we need to
move at, it needs to be digital. I like
film, and when I was a d.p. that was all I did.
But the kind of coverage we need to run necessitated digital, but I’m
hoping in the end it won’t look that way.
HENRY: Who are
your favorite westerns books?
CRAIG: I’m a
big Max Brand fan. Sometimes his
plotting is clunky, but his prose can be terrific, and especially BEYOND THE
OUTPOST, that is just a terrific novel and really really thoughtful and
interesting, what it says about the human psyche.
HENRY: Is he
the one who also created Dr. Kildare?
CRAIG: He
is. His real name is Frederick Faust,
which is a pretty badass name. I think
he wrote something like three hundred western novels when he was writing for the
pulps. I read a lot of pulps. Walt Coburn is another; he was an actual
cowboy writer. The verisimilitude of his
work is great. THE OX-BOX INCIDENT is
great.
HENRY: Anything else I should know, but didn’t ask?
CRAIG: I
wasn’t really a fan of DEADWOOD. I know
everyone adores it as the great western of recent years. To me the thing that it lacked, one of the
most important things about a western is a sense of adventure. The idea of a man going out into the wilds,
and bringing whatever morals and civility he has in him into the wild, and
imposing it on his group, or who he encounters.
DEADWOOD could just as easily been England and Dickens; (there was) nothing
to do with that sort of experience. There
are good moments, but it missed what I most wanted in a western. The first four episodes, when Wild Bill was
alive, that there was a heart to the show, and then that heart went away, and
it became ‘let’s see how grimy and filthy we can be.’ They’re stuck in that town, and there’s no
adventure. I think THE TALL T is a great
western, and it’s kind of a chamber piece, but you still get that these guys
are going out in the open terrain and imposing their morals upon each
other. The only city that’s there is the
one inside of them, and that’s something I look for in every western. That, to me, is what westerns are, like THE
WILD BUNCH: are you going to let Angel get killed? RIDE THE HIGH COUNTRY – are they going to
take a stand here?
A TALK WITH THE ‘BONE TOMAHAWK’ PRODUCERS
Producers Dallas Sonnier & Jack Heller
That same night I had a chance to speak with three
of the producers on BONE TOMAHAWK, Dallas Sonnier, Jack Heller and Peter
Sherayko
HENRY: I’m speaking to Dallas Sonnier, Jack Heller –
JACK: And Peter ‘Wild West’ Sherayko.
PETER: Did
they say anything good about me?
HENRY: Not
yet, but we just started.
DALLAS: Let’s
start with Pete, because it’s impossible to make this movie without him. Because he knows everything about the
westerns. He’s got the horses, the
props, all the guns, the contacts. I met
him as a coincidence. I was scouting
Paramount Ranch, where we shot the town sequences, and he was shooting a movie
there. I introduced myself to one of his
wranglers, and he said, “You’ve got to meet Peter.” So he brings me over to set. Peter’s sitting there with a cigar in his
mouth, of course. He’s like, “Oh, you’re making a western? Oh, you’ve got Kurt Russell? Okay, I’m in!”
HENRY: Well,
you two did work together before, I recall.
PETER: Yes,
Kurt and I worked on TOMBSTONE together; had a lot of fun there. And we’re having a lot of fun now. And as a matter of fact, when I wanted to
shoot on our big ranch, where you’ve been to, and I asked Dallas to come on out
there, Kurt said, “If Peter’s in, we’re happy.”
DALLAS:
That’s right.
PETER: I was
thrilled with that. It’s a great
script. It’s a lot of substance. And when you don’t have a hundred-million
dollars to do it, and you have a small cast, and Craig really cast some really
good group of people in it. Such a
tight, tight group of people. When I
first read it, I thought, oh my, it’s like THE PROFESSIONALS (1966), which is a
wonderful movie. And this is going to be
a wonderful movie, too, and I was able to add my little magic to it, and Dallas
made me a producer.
l to r, Peter Sherayko, Kurt Russell, Craig Zahler,
wrangler Kevin McNiven on horse
HENRY: How
did you gentlemen get involved with this project? What was its genesis?
DALLAS: Jack
and I run a company called Caliber Media, and we’re Craig’s managers. He’s written all these screenplays, and sold
them to the big studios, and it was time for him to direct. We had him conceive this script on a budget
we thought we could achieve. So for two
years we humped it around town, and found a bunch of investors – some came and
some went – and we made it this way, and that’s the story.
HENRY: What
changed in the two years of putting it together?
DALLAS: Here’s
the good news: we haven’t sacrificed.
That’s been a big commitment to Craig, to the movie, not to sacrifice. The script we are shooting is the first draft
of the script, with every single page, every single word in the movie. We’re pretty proud of that. The sacrifices have just been the creature
comforts.
JACK: There’s
no producers’ trailer, and no big parties and limousines. We’re all in it together, which I think it
the best way to make a movie, and how Dallas and I usually do make movies. We’re in the west together.
HENRY: Is
this your first western?
JACK: It
is. Not our last. Dallas is from Texas, and I think he was born
with cowboy boots on. I was lucky enough
to grow up in New York City where, all the cable channels, every western you
could possibly imagine was on. We always
had an eye to make a western, we both went to USC, where we took the same
classes. Every time we come on the set
every morning, I’m pretty freakin’ giddy that we’re here.
HENRY: It’s
interesting, talking to a director and two producers in a row who have all been
to film
school.
JACK: I hate
to say it, but I haven’t seen many westerns in the theatre that were contemporary
westerns. I was too young to see
UNFORGIVEN (1992) and TOMBSTONE in the theatre.
HENRY: It stuns me to think that was twenty years
ago.
DALLAS: I think I was thirteen when TOMBSTONE came
out.
JACK: TOMBSTONE
was the first DVD I ever bought. My
whole film love – and Dallas and I have talked about this a hundred times –
when we were growing up, and DVDs became
huge, you would get director commentaries.
As they would reissue the older pictures, they would always get film
historians, so even before I got to film school, I could quote commentaries on
the DVDs, and Dallas was the same way.
Actually Patrick Wilson was telling us over dinner that he was the same
way too. He got into the
behind-the-scenes stuff, too. That was a
great thing for our generation. Having
that really gave us a love for the classic westerns, and a lot of other movies.
HENRY: Now BONE
TOMAHAWK has been referred to as a horror western, which to me suggests
supernatural or sci-fi elements, like JONAH HEX or COWBOYS & ALIENS.
JACK: No,
this is not supernatural.
DALLAS:
No. Yes, there are horror
elements to the film, it’s very scary, but it’s a western.
JACK: This is
a western. If you think THE SEARCHERS (1956)
is a horror movie because they do
horrible things, then that’s a horror
movie. This is a movie that pushes the
limits for character stakes.
DALLAS: It’s a
genre-bending film. I think it will
satisfy the western fans and the horror fans.
JOHN SAYLES TO SCRIPT ‘DAJNGO LIVES!’
"Write well, my friend!"
I’ve been writing for a few years now about Franco
Nero returning to his most famous role in DJANGO LIVES! More than a year ago Nero had signed on to for
the third time play Django, this time as an older man, living in Hollywood,
working as a technical advisor on silent westerns. But various co-stars, writers, directors, and
production companies were announced, then disappeared. Now comes word from The Hollywood Reporter that John Sayles, twice Oscar-nominated for
his scripts for LONE STAR (1996) and PASSION FISH (1992), will be
scripting. Franco told the Hollywood Reporter, “John Sayles is a master of literature. His LONE
STAR is one of the greatest modern Westerns ever shot. He knows how
to be exquisitely cultivated and people-oriented at the same time, exactly like
another master I’ve worked with, Mr. Orson Welles. And that says a lot.” The film is to being produced by Fast Draw Films.
‘JUSTIFIED’ AUCTION OFFERS 300 SCREEN-USED LOTS!
Want to own Sam Elliot’s (Avery Markham’s)
blood-soaked dinner jacket? How about
Boyd’s or Ava’s or Dickey’s prison jumpsuits?
Dozens of costume items, props from the U. S. Marshal’s office, signed
scripts and more are going on the auction block! Items signed by Timothy Olyphant will benefit
his charity, Alex’s Lemonade Stand Foundation.
Bidding opened today, and will end on Thursday, October 22nd . You
can see everything that’s up for bids, and register to bid HERE.
‘MAGNIFICENT 7’ CONVENTION THIS WEEKEND AT L.A.
CONVENTION CENTER!
Hope to see you this weekend at this event, Friday,
October 23rd through Sunday, October 25th, celebrating
the TV series. For details and tickets,
visit the official site HERE.
TARANTINO’S ‘HATEFUL 8’ TO HAVE TWO VERSIONS
If you decide to wait until after the Christmas 70mm Super Panavision limited engagement, to
see HATEFUL 8 at your local multiplex, you’ll see substantially the same movie, but not exactly. What you won’t get it the overture, the
intermission, and six minutes of footage.
Tarantino told The Variety, “The 70 is the 70. You’ve paid the money.
You’ve bought your ticket. So you’re there. I’ve got you. But I actually
changed the cutting slightly for a couple of the multiplex scenes because it’s
not that.”
‘THE REVENANT’ WAS NEVER GONNA BE CHEAP, BUT HOLY
COW!
DeCaprio westerns budget swells from $95 million to
$135 million or $165 million! Read about
why HERE.
SPOOKY GENE AUTRY DOUBLE BILL NOON SAT. OCT. 24
To get you in a Halloween frame of mind, The Autry
will be screening a pair of Gene’s 1949 Columbia
films with spooky overtones, RIM OF THE CANYON and RIDERS IN THE SKY. His performance of GHOST RIDERS IN THE SKY,
from the latter film, is one of my all-time favorites of Gene’s musical
numbers.
THAT’S A WRAP!
Have a great couple of weeks – the next Round-up
will be Sunday, November 1st, all things bein’ equal! Have a happy Halloween!
Happy Trails,
Henry
All Original Contents Copyright October 2015 by
Henry C. Parke – All Rights Reserved
