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It all began in the summer of 1973, when the author--then a young man fresh out of film school--traveled to Mexico in pursuit of the man behind a list of motion picture masterpieces that include "Ride the High Country", "Major Dundee", "The Ballad of Cable Hogue", "Straw Dogs", "Junior Bonner", "The Getaway", "Pat Garrett and Billy the Kid", and the classic western epic that revolutionalized the face of global cinema, "The Wild Bunch". Simmons' seminal 1982 biography of Sam Peckinpah, published by the University of Texas Press and updated in the 1998 Limelight Editions release, is central to this current edition. With more than 100 pages of additional material and photos from the author's private collection providing even greater in-depth analysis of the director's films, this edition looks back on "The Wild Bunch" five decades after its theatrical release to gauge its lasting impact on filmmakers who have followed in Peckinpah's footsteps. Beyond the creative analysis in this new edition, Simmons shares with the reader his personal reflections of the man, the myth, and the legend he came to know as mentor and friend. More than mere biography, more than a mere recitation of events in the life of extraordinary filmmaking talent, this book provides a deep understanding of Hollywood's movie-making process. As such, it serves as both inspiration and cautionary tale. One cannot presume to have an appreciation of American Film without reading what the author shares within these covers.

231 pages : illustrations en noir et en couleurs, couverture illustrée en couleurs ; 21,0 x 27,5 x 1,8 cm French text (original)

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Sam Peckinpah (1925-1984), an accomplished writer and director of television westerns, did not attract media attention until the release of his second feature-length film, the award-winning Ride the High Country. Peckinpah revealed in early interviews his deep knowledge of film history, an uncompromising aesthetic, and an intolerance for any crew members who did not share his capacity for hard work. As his career progressed, he began having increasingly difficult times with producers who did not share his vision. His problems with them emerge as a major focus of his interviews. Sam Peckinpah: Interviews features the combustible director discussing his best-known films, including the gory western The Wild Bunch, the unsettling and controversial Straw Dogs (which Pauline Kael described as "the first American film that is a fascist work of art"), and the crime thriller The Getaway. In these conversations, Peckinpah's candor--about himself, filmmaking, studios, male/female relations, violence, and contemporary politics--provides a thoughtful portrait of a polarizing filmmaker. Kevin J. Hayes is professor of English at the University of Central Oklahoma. His previous books include Poe and the Printed Word, Folklore and Book Culture, and An American Cycling Odyssey, 1887, among others. He edited Charlie Chaplin: Interviews and Conversations with Jack Kerouac, both from University Press of Mississippi.

One of the greatest film directors America has produced, Sam Peckinpah revolutionized the way movies were made. In this detailed and insightful study, Bernard F. Dukore examines Peckinpah's fourteen feature films as a coherent body of work. He investigates the director's virtuosic editing techniques, thematic preoccupations that persist from his earliest to his last films, and the structure of his dramatic depiction of violence. He also addresses Peckinpah's cognizance of existentialism and the substantial traces this interest has left in the films.   At the heart of Dukore's study is an extensive and detailed examination of Peckinpah's distinctive editing techniques. Focusing on representative sequences--including the breakout from the bank and the final battle in The Wild Bunch, the half-hour siege that concludes Straw Dogs, the killing of the title characters of Pat Garrett and Billy the Kid, and combat sequences in Cross of Iron--Dukore provides a shot-by-shot analysis that illuminates Peckinpah's mastery of pacing and mood.  Sam Peckinpah's Feature Films demonstrates that Peckinpah's genius as a director and editor marks not only The Wild Bunch, Straw Dogs, and other classics but also his lesser-known feature films, even those that suffered substantial cuts at the hands of studio producers. Dukore's organic approach to the feature films reveals a highly unified body of work that remains a pointed commentary on power, violence, affection, and moral values.  

The book that re-established Peckinpah's reputation—now thoroughly revised and updated! When critics hailed the 1995 re-release of Sam Peckinpah's masterpiece, The Wild Bunch, it was a recognition of Paul Seydor's earlier claim that this was a milestone in American film, perhaps the most important since Citizen Kane.Peckinpah: The Western Films first appeared in 1980, when the director's reputation was at low ebb. The book helped lead a generation of readers and filmgoers to a full and enduring appreciation of Peckinpah's landmark films, locating his work in the central tradition of American art that goes all the way back to Emerson, Hawthorne, and Melville. In addition to a new section on the personal significance of The Wild Bunch to Peckinpah, Seydor has added to this expanded, revised edition a complete account of the successful, but troubled, efforts to get a fully authorized director's cut released. He describes how an initial NC-17 rating of the film by the Motion Picture Association of America's ratings board nearly aborted the entire project. He also adds a great wealth of newly discovered biographical detail that has surfaced since the director's death and includes a new chapter on Noon Wine, credited with bringing Peckinpah's television work to a fitting resolution and preparing his way for The Wild Bunch. This edition stands alone in offering full treatment of all versions of Peckinpah's Westerns. It also includes discussion of all fourteen episodes of Peckinpah's television series, The Westerner, and a full description of the versions of Pat Garrett and Billy the Kid now (or formerly) in circulation, including an argument that the label "director's cut" on the version in release by Turner is misleading. Additionally, the book's final chapter has been substantially rewritten and now includes new information about Peckinpah's background and sources.  

More than any other filmmaker, Sam Peckinpah opened the door for graphic violence in movies. In this book, Stephen Prince explains the rise of explicit violence in the American cinema, its social effects, and the relation of contemporary ultraviolence to the radical, humanistic filmmaking that Peckinpah practiced.Prince demonstrates Peckinpah's complex approach to screen violence and shows him as a serious artist whose work was tied to the social and political upheavals of the 1960s. He explains how the director's commitment to showing the horror and pain of violence compelled him to use a complex style that aimed to control the viewer's response.Prince offers an unprecedented portrait of Peckinpah the filmmaker. Drawing on primary research materials—Peckinpah's unpublished correspondence, scripts, production memos, and editing notes—he provides a wealth of new information about the making of the films and Peckinpah's critical shaping of their content and violent imagery. This material shows Peckinpah as a filmmaker of intelligence, a keen observer of American society, and a tragic artist disturbed by the images he created.Prince's account establishes, for the first time, Peckinpah's place as a major filmmaker. This book is essential reading for those interested in Peckinpah, the problem of movie violence, and contemporary American cinema.

Hardcover in dust jacket. Owner's name and date. Otherwise clean, tight, and unmarked. A sound and handsome copy, very neat.

May have limited writing in cover pages. Pages are unmarked. ~ ThriftBooks: Read More, Spend Less 1.12

Almost as famous for the legendary excesses of his personal life as for his films, Sam Peckinpah (1925-1984) cemented his reputation as one of the great American directors with movies such as The Wild Bunch and Pat Garrett and Billy the Kid. Max Evans, one of Peckinpah's best friends, experienced the director's mercurial character and personal demons firsthand. In this enthralling memoir we follow Evans and Peckinpah through conversations in bars, family gatherings, binges on drugs and alcohol, struggles with film producers and executives, and Peckinpah's abusive behavior--sometimes directed at Evans himself.Evans's stories--most previously unpublished--provide a uniquely intimate look at Peckinpah, their famous friends (including Lee Marvin, Brian Keith, Joel McCrea, and James Coburn), and the business of Hollywood in the 1960s and 1970s.

The first major biography of the film director recounts his life and career, from his stint as a script-writer for the television series, "Gunsmoke," in the fifties, through his string of movies, including The Wild Bunch in 1969.

In this thriller, arguably Sam Peckinpah's most controversial film, David (Dustin Hoffman), a young American mathematician, moves with his English wife, Amy (Susan George), to the village where she grew up. Their sense of safety unravels as the local men David has hired to repair their house prove more interested in leering at Amy and intimidating David, beginning an agonizing initiation into the iron laws of violent masculinity that govern Peckinpah's world. Working outside the U.S. for the fir

Long before Sam Peckinpah finished shooting his 1973 Western, Pat Garrett and Billy the Kid, there was open warfare between him and the studio. In this scrupulously researched new book Paul Seydor reconstructs the riveting history of a brilliant director fighting to preserve an artistic vision while wrestling with his own self-destructive demons. Meticulously comparing the film five extant versions, Seydor documents why none is definitive, including the 2005 Special Edition, for which he served as consultant. Viewing Peckinpah’s last Western from a variety of fresh perspectives, Seydor establishes a nearly direct line from the book Garrett wrote after he killed Billy the Kid to Peckinpah’s film ninety-one years later and shows how, even with directors as singular as this one, filmmaking is a collaborative medium. Art, business, history, genius, and ego all collide in this story of a great director navigating the treacherous waters of collaboration, compromise, and commerce to create a flawed but enduringly powerful masterpiece.

Lee traces Dylan’s celluloid obsession from teenage adulation of James Dean through groundbreaking documentaries like Don’t Look Back and his enigmatic appearance in Peckinpah’s Pat Garratt and Billy The Kid, on to Dylan’s surreal dramatic directorial debut, Renaldo and Clara, and his starring role in mainstream Hollywood vehicle, Hearts of Fire. Lee also analyses Dylan’s major TV and video appearances.

CROSS OF IRON is a riveting and violent tale of men on the front lines of battle and it is the only war film directed by master filmmaker Sam Peckinpah. Set in 1943, this explosive epic centers on Corporal Steiner (James Coburn), an accomplished but war-weary combat veteran leading a group of German soldiers on the Russian front. Steiners authority comes under attack when Captain Stransky (Maximilian Schell) takes over command of his troops. Stransky has only one goal in mind: to win the covete

When the Western film, for many decades the staple of the American cinema, suffered a decline in the Seventies, a new sub-species helped fill the void - the trucking epic. The great Sam Peckinpah (The Wild Bunch) directed this action classic based on the runaway hit song, Convoy. Martin 'Rubber Duck' Penwald (Kris Kristofferson, Vigilante Force) who, in pursuance of a feud with Sheriff Lyle 'Cottonmouth' Wallace (Ernest Borgnine, Marty), unites scores of his fellow-drivers via Citizen Band radio

“An addictively satisfying, deeply amusing, dirty-ass masterpiece.”—William Gibson“A sharp-edged urban fantasy, drenched in blood and cynicism, tipping its hat to Sam Peckinpah, Raymond Chandler, and the anti-heroes of Hong Kong cinema....A bravura performance.”—San Francisco Chronicle“I couldn’t put it down.”—Charlaine HarrisSandman Slim has arrived—a wild and weird, edge-of-your-seat supernatural roller-coaster rider that propels author Richard Kadrey to the forefront of the fantasy, thriller, and a host of other literary genres. This spellbinding, utterly remarkable tale of a vengeful magician/hitman’s return from hell is part H.P. Lovecraft, part Christopher Moore, part Jim Butcher, and totally, unabashedly dark, twisted, and hilarious.

Extensive interviews and research mark a detailed look at the volatile life and brilliant films of legendary director Sam Peckinpah, who has changed the face of modern cinema and influenced a generation of directors

“An addictively satisfying, deeply amusing, dirty-ass masterpiece.”—William Gibson“A sharp-edged urban fantasy, drenched in blood and cynicism, tipping its hat to Sam Peckinpah, Raymond Chandler, and the anti-heroes of Hong Kong cinema....A bravura performance.”—San Francisco Chronicle“I couldn’t put it down.”—Charlaine HarrisSandman Slim has arrived—a wild and weird, edge-of-your-seat supernatural roller-coaster rider that propels author Richard Kadrey to the forefront of the fantasy, thriller, and a host of other literary genres. This spellbinding, utterly remarkable tale of a vengeful magician/hitman’s return from hell is part H.P. Lovecraft, part Christopher Moore, part Jim Butcher, and totally, unabashedly dark, twisted, and hilarious.

Limited vinyl LP pressing including digital download. Pat Garrett & Billy The Kid is Bob Dylan's mostly instrumental soundtrack to the surreal 1973 Western from director Sam Peckinpah. Of the few vocal tracks on the album, the stunning now-classic 'Knocking On Heaven's Door' made it's debut on this release. Roger McGuinn, Booker T. Jones and guitarist Bruce Langhorne appear on this album. "Knockin on Heavens Door" is the avowed classic here, but the rest of the songs and instrumentals are a th