David Samuel “Sam” Peckinpah (/ˈpɛkɪnˌpɑː/;[1] 2 Life February 21, 1925 – December 28, 1984) was an Amer- ican film director and screenwriter who achieved promi- nence following the release of the epic The Wild David Samuel “Sam” Peckinpah was born February 21, Bunch (1969). He was known for the visually innovative 1925, in Fresno, California, where he attended both [9] and explicit depiction of action and violence as well as his grammar school and high school. He spent much time revisionist approach to the Western genre. skipping classes with his brother to engage in cowboy ac- tivities on their grandfather Denver Church's ranch, in- Peckinpah’s films generally deal with the conflict between cluding trapping, branding, and shooting. During the values and ideals, and the corruption of violence in human 1930s and 1940s, Coarsegold and Bass Lake were still society. He was given the nickname “Bloody Sam” owing populated with descendants of the miners and ranchers to the violence in his films. His characters are often loners of the 19th century. Many of these descendants worked or losers who desire to be honorable, but are forced to on Church’s ranch. At that time, it was a rural area un- compromise in order to survive in a world of nihilism and dergoing extreme change, and this exposure is believed to brutality. have affected Peckinpah’s Western films later in life.[10] Peckinpah’s combative personality, marked by years of He played on the junior varsity football team while at alcohol and drug abuse, affected his professional legacy. Fresno High School, but frequent fighting and discipline Many of his films were noted for behind-the-scenes bat- problems caused his parents to enroll him in the San tles with producers and crew members, damaging his rep- Rafael Military Academy for his senior year.[11] In 1943, utation and career during his lifetime. Some of his films, he joined the United States Marine Corps. Within two including Straw Dogs (1971), Pat Garrett and Billy the Kid years, his battalion was sent to China with the task of dis- (1973) and Bring Me the Head of Alfredo Garcia (1974), arming Japanese soldiers and repatriating them following remain controversial. World War II. While his duty did not include combat, he claims to have witnessed acts of war between Chinese and Japanese soldiers. According to friends, these included 1 Family origins several acts of torture and the murder of a laborer by sniper fire. The American Marines were not permitted to intervene. Peckinpah also claimed he was shot dur- The Peckinpahs originated from the Frisian Islands in the northwest of Europe. Both sides of Peckinpah’s fam- ing an attack by Communist forces. Also during his final ily migrated to the American West by covered wagon weeks as a Marine, he applied for discharge in Peking, in the mid-19th century.[2] Peckinpah and several rela- so he could marry a local woman, but was refused. His tives often claimed Native American ancestry, but this experiences in China reportedly deeply affected Peckin- [3] pah, and may have influenced his depictions of violence has been denied by surviving family members. Peck- [12] inpah’s great-grandfather, Rice Peckinpaugh, a merchant in his films. and farmer in Indiana, moved to Humboldt County, After being discharged in , he attended California, in the 1850s, working in the logging busi- California State University, Fresno, where he studied his- ness, and changed the spelling of the family name to tory. While a student, he met and married his first wife, “Peckinpah.”[4][5] Peckinpah Meadow and Peckinpah Marie Selland, in 1947. A drama major, Selland intro- Creek, where the family ran a lumber mill on a moun- duced Peckinpah to the theater department and he be- tain in the High Sierra north of Coarsegold, California, came interested in directing for the first time. During his have been officially named on U.S. geographical maps.[3] senior year, he adapted and directed a one-hour version Peckinpah’s maternal grandfather was Denver S. Church, of Tennessee Williams' The Glass Menagerie. After grad- a cattle rancher, Superior Court judge and United States uation in 1948, Peckinpah enrolled in graduate studies Congressman of a California district including Fresno in drama at University of Southern California. He spent County.[6] Sam Peckinpah’s nephew is David Peckinpah, two seasons as the director in residence at Huntington who was a television producer and director, as well as Park Civic Theatre near Los Angeles before obtaining his a screenplay writer.[7] Peckinpah’s parents were David master’s degree. He was asked to stay another year, but Edward Peckinpah and Fern Louise Church, and he is Peckinpah began working as a stagehand at KLAC-TV in a cousin of former New York Yankees shortstop Roger the belief that television experience would eventually lead Peckinpaugh.[8] to work in films. Even during this early stage of his ca-

1 2 4 TELEVISION CAREER

reer, Peckinpah was developing a combative streak. Re- son, and ) in many of his films, and several portedly, he was kicked off the set of The Liberace Show of his friends and assistants stuck by him to the end of his for not wearing a tie, and he refused to cue a car sales- life. man during a live feed because of his attitude towards [13] Peckinpah spent a great deal of his life in Mexico after stagehands. his marriage to Palacios, eventually buying property in In 1954, Peckinpah was hired as a dialogue coach for the the country. He was reportedly fascinated by the Mex- film . His job entailed acting as an as- ican lifestyle and culture, and he often portrayed it with sistant for the movie’s director, . The film was an unusual sentimentality and romanticism in his films. shot on location at Folsom Prison. Reportedly, the war- Four of his films, (1965), den was reluctant to allow the filmmakers to work at the (1969), Pat Garrett and Billy the Kid (1973) and Bring Me prison until he was introduced to Peckinpah. The war- the Head of Alfredo Garcia (1974), were filmed entirely den knew his family from Fresno and was immediately on location within Mexico, while The Getaway (1972) cooperative. Siegel’s location work and his use of actual concludes with a couple escaping to freedom there.[21] prisoners as extras in the film made a lasting impression on Peckinpah. He worked as a dialogue coach on four ad- ditional Siegel films: Private Hell 36 (1954), An Annapo- 3 Death lis Story, (1955, and co-starring L. Q. Jones), Invasion of the Body Snatchers (1956) and (1956).[14] Invasion of the Body Snatchers, in which Peck- Peckinpah was seriously ill during his final years, as a inpah appeared in a cameo as Charlie the meter reader, lifetime of hard living caught up with him. Regardless, starred Kevin McCarthy and Dana Wynter. It became he continued to work until his last months. He died [22] one of the most critically praised science fiction films of of heart failure on December 28, 1984. At the time, the 1950s. Peckinpah claimed to have done an extensive he was in preparation for shooting an original script by rewrite on the film’s screenplay, a statement which re- Stephen King entitled The Shotgunners, which later be- [23] mains controversial.[15] Nevertheless, Peckinpah’s associ- came a book called The Regulators. He lived at the ation with Siegel established him as an emerging screen- Murray Hotel in Livingston, Montana, from 1979 until [24] writer and potential director. his death in 1984. Throughout much of his adult life, Peckinpah was af- fected by alcoholism, and, later, other forms of drug addiction. According to some accounts, he also suf- 4 Television career fered from mental illness, possibly manic depression or paranoia.[16] It is believed his drinking problems be- On the recommendation of Don Siegel, Peckinpah es- gan during his service in the military while stationed in tablished himself during the late 1950s as a scriptwriter China, when he would frequent the saloons of Tianjin of western series of the era, selling scripts to Gunsmoke, and Beijing.[17] After divorcing Selland, the mother of Have Gun – Will Travel, The Rifleman, Broken Arrow, his first four children, in 1960, he married the Mexi- Klondike, and Dick Powell’s Zane Grey Theatre.[21][25] He can actress Begoña Palacios in 1965. A stormy relation- wrote one episode “The Town” (December 13, 1957) ship developed, and over the years they married on three for the CBS series, Trackdown, starring Robert Culp as separate occasions. They had one daughter together.[18] the Texas Ranger Hoby Gilman. The script is about a His personality reportedly often swung between a sweet, cowardly town afraid to resist the clutches of an outlaw soft-spoken, artistic disposition, and bouts of rage and vi- gang.[26] olence during which he verbally and physically abused Peckinpah wrote a screenplay from the novel The Authen- himself and others. An experienced hunter, Peckinpah tic Death of Hendry Jones, a draft that evolved into the was fascinated with firearms and was known to shoot 1961 Marlon Brando film One-Eyed Jacks.[27] His writ- the mirrors in his house while abusing alcohol, an im- ing led to directing, and he directed a 1958 episode of [19] age which occurs several times in his films. Peckin- Broken Arrow (generally credited as his first official di- pah’s reputation as a hard-living brute with a taste for vi- recting job) and several 1960 episodes of Klondike, (co- olence, inspired by the content in his most popular films starring , L. Q. Jones, Ralph Taeger, Joi and in many ways perpetuated by himself, affected his Lansing, and Mari Blanchard). He also directed the CBS [20] artistic legacy. His friends and family have claimed sitcom Mr. Adams and Eve, starring Howard Duff and this does a disservice to a man who was actually more .[28][29] complex than generally credited. Throughout his career, Peckinpah seems to have inspired extraordinary loyalty In 1958, Peckinpah wrote a script for Gunsmoke that was in certain friends and employees. He used the same ac- rejected due to content. He reworked the screenplay, ti- tors (, L. Q. Jones, R. G. Armstrong, James tled The Sharpshooter, and sold it to Zane Grey Theater. Coburn, , and Kris Kristofferson), and col- The episode received popular response and became the laborators (, Lucien Ballard, Gordon Daw- television series The Rifleman, starring Chuck Connors. Peckinpah directed four episodes of the series (with guest 3

stars R. G. Armstrong and Warren Oates), but left af- an updated remake of The Westerner set in the present ter the first year. The Rifleman ran for five seasons and day with Lee Marvin as Dave Blassingame and Keenan achieved enduring popularity in syndication.[30][31] Wynn as Dehner’s character Bergundy Smith, he mixed slow motion, fast motion and stills together to capture vi- olence, a technique famously put to more sophisticated 4.1 The Westerner use in 1969s The Wild Bunch.[36]

Main article: The Westerner (TV series) During this time, he also created the television series The 5 Early film career

5.1

Main article: The Deadly Companions

After cancellation of The Westerner, was cast as the male lead in the 1961 Western film The Deadly Companions. He suggested Peckinpah as director and the project’s producer Charles B. Fitzsimons accepted the idea. By most accounts, the low-budget film shot on lo- cation in was a learning process for Peckinpah, who feuded with Fitzsimons (brother of the film’s star Maureen O'Hara) over the screenplay and staging of the scenes. Reportedly, Fitzsimons refused to allow Peck- inpah to give direction to O'Hara. Unable to rewrite the screenplay or edit the picture, Peckinpah vowed to never again direct a film unless he had script control. The Deadly Companions passed largely without notice and is the least known of Peckinpah’s films.[37][38]

5.2

Main article: Ride the High Country

Brian Keith in The Westerner (1960) His second film, Ride the High Country (1962), was based on the screenplay Guns in the Afternoon written by N.B. Westerner, starring Brian Keith and in three episodes also Stone, Jr. Producer Richard Lyons admired Peckinpah’s featuring John Dehner. Peckinpah wrote and directed a work on The Westerner and offered him the directing pilot called Trouble at Tres Cruzes, which was aired in job. Peckinpah did an extensive rewrite of the screen- March 1959 before the actual series was made in 1960. play, including personal references from his own child- Peckinpah acted as producer of the series, having a hand hood growing up on Denver Church’s ranch, and even in the writing of each episode and directing five of them. naming one of the mining towns “Coarsegold.” He based Critically praised, the show ran for only 13 episodes be- the character of Steve Judd, a once-famous lawman fallen fore cancellation mainly due to its gritty content detail- on hard times, on his own father David Peckinpah. In the ing the drifting, laconic cowboy Dave Blassingame (Brian screenplay, Judd and old friend Gil Westrum are hired Keith). Especially the episodes Jeff and Hand on the Gun to transport gold from a mining community through dan- are in their depiction of violence and with their imagina- gerous territory. Westrum hopes to talk Judd into taking tive directing remarkable forerunners of his later feature the gold for themselves. Along the way, following the films. Despite its short run, The Westerner and Peckinpah example of Judd, Westrum slowly realizes his own self- were nominated by the Producers Guild of America for respect is far more important than profit. During the fi- Best Filmed Series. An episode of the series eventually nal shootout, when Judd and Westrum stand up to a trio served as the basis for Tom Gries’ 1968 film Will Penny of men, Judd is fatally wounded and his death serves as starring . The Westerner, which has since Westrum’s salvation – a Catholic tragedy weaved from the achieved cult status, further established Peckinpah as a [32][33][34][35] Western genre. It became a major theme in many Peckin- talent to be reckoned with. pah films to come. Starring aging Western stars Joel Mc- In 1962 Peckinpah direct two-hour-long episodes for The Crea and Randolph Scott in their final major screen roles, Dick Powell Theater. In the second of these, The Losers, the film initially went unnoticed in the United States but 4 6 INTERNATIONAL FAME

was an enormous success in Europe. Beating Federico gambling drama about a young prodigy who takes on an Fellini's 8½ for first prize at the Belgium Film Festival, old master during a big New Orleans poker match. Be- the film was hailed by foreign critics as a brilliant re- fore filming started, producer Martin Ransohoff began to working of the Western genre. New York critics also receive phone calls about the Major Dundee ordeal and discovered Peckinpah’s unusual Western, with Newsweek was told Peckinpah was impossible to work with. In ad- naming Ride the High Country the best film of the year dition, Peckinpah decided to shoot in black and white and and Time placing it on its best-ten list. By some crit- was hoping to transform the screenplay into a social re- ics, the film is admired as one of Peckinpah’s greatest alist saga about a kid surviving the tough streets of the works.[39][40] Great Depression. After four days of filming, which re- portedly included some nude scenes, Ransohoff disliked the rushes and immediately fired him.[45] Eventually di- 5.3 Major Dundee rected by Norman Jewison and starring Steve McQueen, the film went on to become a 1965 hit.[46][47] Main article: Major Dundee

Peckinpah’s next film, Major Dundee (1965), was the first 5.4 of Peckinpah’s many unfortunate experiences with the major studios that financed his productions. Based on He caught a lucky break in 1966 when producer Daniel a screenplay by Harry Julian Fink, the film was to star Melnick needed a writer and director to adapt Katherine Charlton Heston. Peckinpah was hired as director after Anne Porter's short novel Noon Wine for television. Mel- Heston viewed producer Jerry Bresler's private screen- nick was a big fan of The Westerner and Ride the High ing of Ride the High Country. Heston liked the film and Country, and had heard Peckinpah had been unfairly fired called Peckinpah, saying, “I'd like to work with you.”[41] from The Cincinnati Kid. Against the objections of many The sprawling screenplay told the story of Union cav- within the industry, Melnick hired Peckinpah and gave alry officer Major Dundee who commands a New Mexico him free rein. Peckinpah completed the script, which outpost of Confederate prisoners. When an war Miss Porter enthusiastically endorsed, and the project be- chief wipes out a company and kidnaps several children, came an hour-long presentation for ABC Stage 67. Tak- Dundee throws together a makeshift army, including un- ing place in turn of the century West Texas, Noon Wine willing Confederate veterans, black Federal soldiers, and was a dark tragedy about a farmer’s act of futile murder traditional Western types, and takes off after the Indians. which leads to suicide. Starring Jason Robards and Olivia Dundee becomes obsessed with his quest and heads deep de Havilland, the film was a critical hit, with Peckinpah into the wilderness of Mexico with his exhausted men in nominated by the Writers Guild for Best Television Adap- tow. Peckinpah’s first big-budget film had a large cast, tation and the Directors Guild of America for Best Tele- including Heston, , James Coburn, Senta vision Direction. Robards kept a personal copy of the Berger, Jim Hutton, Ben Johnson, Warren Oates, R. G. film in his private collection for years as he considered Armstrong and L. Q. Jones. Filming began without a the project to be one of his most satisfying professional completed screenplay, and Peckinpah chose several re- experiences. A rare film which had no home video re- mote locations in Mexico, causing the film to go heavily lease until 2014, Noon Wine is today considered one of over budget. Intimidated by the size and scope of the Peckinpah’s most intimate works, revealing his dramatic project, Peckinpah reportedly drank heavily each night potential and artistic depth.[48][49][50] after shooting. He also fired at least 15 crew members. At one point, Peckinpah’s mean streak and abusiveness towards the actors so enraged Heston that the normally 6 International fame even-tempered star threatened to run the director through with his cavalry saber if he did not show more courtesy to the cast. Shooting ended 15 days over schedule and 6.1 The Wild Bunch $1.5 million more than budgeted with Peckinpah and pro- ducer Bresler no longer on speaking terms. The movie, Main article: The Wild Bunch detailing themes and sequences Peckinpah mastered later in his career, was taken away from him and substantially The surprising success of Noon Wine laid the groundwork reedited. An incomplete mess which today exists in a va- for one of the most explosive comebacks in film history. riety of versions, Major Dundee performed poorly at the In 1967, Warner Bros.-Seven Arts producers Kenneth box office and was trashed by critics (though its stand- Hyman and Phil Feldman were interested in having Peck- ing has improved over the years). Peckinpah held for the inpah rewrite and direct an adventure film, The Diamond rest of his life that his original version of Major Dundee Story. An alternative screenplay written by Roy Sickner was among his best films, but his reputation was severely [42][43][44] and Walon Green was the western The Wild Bunch. At the damaged. time, William Goldman's screenplay Butch Cassidy and Peckinpah was next signed to direct The Cincinnati Kid, a the Sundance Kid had recently been purchased by 20th 6.3 Straw Dogs 5

Century Fox. who decides to make a fortune after discovering water It was quickly decided that The Wild Bunch, which had in the desert. He opens his business along a stagecoach several similarities to Goldman’s work, would be pro- line, only to see his dreams end with the appearance of duced in order to beat Butch Cassidy to the theaters.[51] the first automobile on the horizon. Shot on location By the fall of 1967, Peckinpah was rewriting the screen- in the Valley of Fire in Nevada, the film was plagued play into what became The Wild Bunch. Filmed on lo- by poor weather, Peckinpah’s renewed drinking and his cation in Mexico, Peckinpah’s epic work was inspired by brusque firing of 36 crew members. The chaotic film- his hunger to return to films, the violence seen in Arthur ing wrapped 19 days over schedule and $3 million over budget, effectively terminating his tenure with Warner Penn's Bonnie and Clyde, America’s growing frustration with the Vietnam War, and what he perceived to be the ut- Bros.-Seven Arts. In retrospect, it was a damaging ca- reer move as Deliverance and Jeremiah Johnson, critical ter lack of reality seen in Westerns up to that time. He set out to make a film which portrayed not only the vicious vi- and enduring box office hits, were in development at the time and Peckinpah was considered the first choice to di- olence of the period, but the crude men attempting to sur- [56] vive the era. Starring , Ernest Borgnine, rect both films. Largely ignored upon its initial release, has been rediscovered in re- , Ben Johnson, Warren Oates, Strother Mar- The Ballad of Cable Hogue tin, Jaime Sánchez and Edmond O'Brien, the film detailed cent years and is often held up by critics as exemplary of a gang of veteran outlaws on the Texas/Mexico border in the breadth of Peckinpah’s talents. They claim that the 1913 trying to exist within a rapidly approaching mod- film proves Peckinpah’s ability to make unconventional ern world. The Wild Bunch is framed by two ferocious and original work without resorting to explicit violence. Over the years, Peckinpah cited the film as one of his and infamous gunfights, beginning with a failed robbery [57][58][59] of the railway company office and concluding with the favorites. outlaws battling the Mexican army in suicidal vengeance prompted the death of one of their members.[52] Irrev- erent and unprecedented in its explicit detail, the 1969 6.3 Straw Dogs film was an instant success. Multiple scenes attempted in Major Dundee, including slow motion action sequences, Main article: Straw Dogs (1971 film) characters leaving a village as if in a funeral procession and the use of inexperienced locals as extras, were per- His alienation of Warner Brothers once again left him fected in The Wild Bunch. Many critics denounced its vi- with a limited number of directing jobs. Peckinpah was olence as sadistic and exploitative. Other critics and film- forced to do a 180-degree turn and traveled to makers hailed the originality of its unique rapid editing to direct Straw Dogs (1971), one of his darkest and most style, created for the first time in this film and ultimately psychologically disturbing films. Produced by Daniel becoming a Peckinpah trademark, and praised the re- Melnick, who had previously worked with Peckinpah on working of traditional Western themes. It was the begin- Noon Wine, the screenplay was based on the novel The ning of Peckinpah’s international fame, and he and his Siege of Trencher’s Farm by Gordon Williams. It starred work remained controversial for the rest of his life.[53] Dustin Hoffman as David Sumner, a timid American The film was ranked No. 80 on the American Film In- mathematician (his wife at one point attempts to erase stitute's top 100 list of the greatest American films ever Einstein’s field equations from his blackboard) who leaves made and No. 69 as the most thrilling, but the contro- the chaos of college anti-war protests to live with his versy has not diminished.[54] When The Wild Bunch was young wife Amy (Susan George) in her native village in re-released for its 25th anniversary, it received an NC-17 Cornwall, England. Resentment of David’s presence by rating from the MPAA, proving the film’s continued im- the locals slowly builds to a shocking climax when the pact after so many years.[55] Peckinpah received his only mild-mannered academic is forced to defend his home. Academy Award nomination for Best Original Screenplay Peckinpah entirely rewrote the existing screenplay, in- for this film. spired by the books African Genesis and The Territo- rial Imperative by Robert Ardrey, which argued that man was essentially a carnivore who instinctively battled over 6.2 The Ballad of Cable Hogue control of territory.[60] The character of David Sumner, taunted and humiliated by the town locals, is eventually Main article: The Ballad of Cable Hogue cornered within his home where he loses control and kills several of the men during the violent conclusion. Straw Defying audience expectations, as he often did, Peckin- Dogs deeply divided critics, some of whom praised its pah immediately followed The Wild Bunch with the ele- artistry and its confrontation of human savagery, while giac, funny and mostly non-violent 1970 Western The others attacked it as a misogynistic and fascistic celebra- Ballad of Cable Hogue. Utilizing many of the same cast tion of violence.[61] Much of the criticism centered on (L. Q. Jones, ) and crew members of The Amy’s complicated and lengthy rape scene, which Peck- Wild Bunch, the film covered three years in the life of inpah reportedly attempted to base on his own personal small-time entrepreneur Cable Hogue (Jason Robards) fears rooted in past failed marriages. To this day, the 6 7 LATER CAREER

scene is attacked by critics as an ugly male-chauvinist fan- to flee for Mexico with both the police and criminals in tasy, claiming it serves as an example of Peckinpah’s (and hot pursuit. Replete with explosions, car chases and in- Hollywood’s) debasing of women.[62] The film was for tense shootouts, the film became Peckinpah’s biggest fi- many years banned on video in the UK, although some nancial success to date earning more than $25 million at critics have come to hail it as one of Peckinpah’s greatest the box office.[70] Though strictly a commercial product, films.[63][64][65] Peckinpah’s creative touches abound throughout, most notably during the intricately edited opening sequence when McQueen’s character is suffering from the pres- 6.4 sures of prison life.[71] The film remains popular and was remade in 1994.[72][73][74] starring Alec Baldwin and Kim Main article: Junior Bonner Basinger.

Despite his growing alcoholism and controversial repu- tation, Peckinpah was extremely prolific during this pe- 7 Later career riod of his life. In May 1971, weeks after completing Straw Dogs, he returned to the United States to begin work on Junior Bonner. The lyrical screenplay by Jeb The year 1973 marked the beginning of the most difficult Rosenbrook, depicting the changing times of society and period of Peckinpah’s life and career. While still filming binding family ties, appealed to Peckinpah’s tastes. He The Getaway in El Paso, Texas, Peckinpah sneaked across accepted the project, at the time concerned with being the border into Juarez in April 1972 and married Joie typed as a director of violent action. The film was his fi- Gould. He had met Gould in England while filming Straw nal attempt to make a low-key, dramatic work in the vein Dogs, and she had since been his companion and a part- of Noon Wine and The Ballad of Cable Hogue. Filmed on time crew member. Peckinpah’s intake of alcohol had in- location in Prescott, Arizona, the story covered a week in creased dramatically while making The Getaway, and he the life of aging rodeo rider Junior “JR” Bonner (Steve became fond of saying, “I can't direct when I'm sober.” McQueen) who returns to his hometown to compete in He began to have violent mood swings and explosions of an annual rodeo competition. In addition to McQueen, rage, at one point assaulting Gould. After four months, the cast included Robert Preston, Ida Lupino, Joe Don she returned to England and filed for divorce. Devastated Baker and Ben Johnson. Junior Bonner was marked by by the breakup, Peckinpah fell into a self-destructive pat- sharp character development, colorful location detail and tern of almost continuous alcohol consumption, and his [75] unusually tender scenes between Preston and Lupino as health was unstable for the remainder of his life. Bonner’s estranged parents. Promoted as a Steve Mc- Queen action vehicle, reviews were mixed and the film performed poorly at the box office. Peckinpah remarked, 7.1 Pat Garrett and Billy the Kid “I made a film where nobody got shot and nobody went to see it.” The film’s reputation has grown over the years as Main article: Pat Garrett and Billy the Kid many critics consider Junior Bonner to be one of Peck- inpah’s most sympathetic works, while also noting Mc- It was in this state of mind that Peckinpah agreed to [66][67] Queen’s earnest performance. make Pat Garrett and Billy the Kid (1973) for Metro- Goldwyn-Mayer. Based on the screenplay by Rudolph Wurlitzer (who had previously penned Two-Lane Black- 6.5 The Getaway top, a film admired by Peckinpah), the director was con- vinced that he was about to make his definitive statement Main article: The Getaway (1972 film) on the Western genre.[76] The script offered Peckinpah the opportunity to explore themes that appealed to him: Eager to work with Peckinpah again, Steve McQueen two former partners forced by changing times onto op- presented him Walter Hill's screenplay to The Getaway. posite sides of the law, manipulated by corrupt economic Based on the Jim Thompson novel, the gritty crime interests. Peckinpah rewrote the screenplay, establishing thriller detailed lovers on the run following a dangerous Pat Garrett and Billy the Kid as friends, and attempted to robbery. Both Peckinpah and McQueen needed a hit, and weave an epic tragedy from the historical legend. Filmed they immediately began working on the film in Febru- on location in the Mexican state of , the film ary 1972.[68] Peckinpah had no pretensions about mak- starred James Coburn and Kris Kristofferson in the ti- ing The Getaway, as his only goal was to create a highly tle roles, with a huge supporting cast including Bob Dy- polished thriller to boost his market value.[69] McQueen lan (who composed the film’s music), Jason Robards, R. played Doc McCoy, an imprisoned mastermind robber G. Armstrong, Richard Jaeckel, Jack Elam, , whose wife Carol (Ali MacGraw) conspires for his re- Katy Jurado, Matt Clark, L. Q. Jones, Rutanya Alda, Slim lease on the condition they rob a bank in Texas. A dou- Pickens and Harry Dean Stanton.[77] From the beginning, blecross follows the crime, and the McCoys are forced Peckinpah began to have clashes with MGM and its pres- 7.3 7

ident James Aubrey, known for his stifling of creative 7.3 The Killer Elite interests and eventual dismantling of the historic movie company.[78] Numerous production difficulties, includ- Main article: The Killer Elite ing an outbreak of influenza and malfunctioning cameras, combined with Peckinpah’s growing problems with alco- His career now suffering from consecutive box office fail- hol, resulted in one of the most troubled productions of ures, Peckinpah once again was in need of a hit on the his career. The film finished 21 days behind schedule and level of The Getaway. For his next film, he chose The $1.6 million over budget. Enraged, Aubrey severely cut Killer Elite (1975), an action-filled espionage thriller star- Peckinpah’s film from 124 to 106 minutes, resulting in ring and as rival American Pat Garrett and Billy the Kid being released in a truncated agents. Filmed on location in , Peckinpah version largely disowned by cast and crew members. Crit- allegedly discovered cocaine for the first time thanks to ics complained that the film was incoherent, and the expe- Caan and his entourage.[85] This led to increased paranoia rience soured Peckinpah forever on Hollywood. In 1988, and his once legendary dedication to detail deteriorated. however, Peckinpah’s director’s cut was released on video Producers also refused to allow Peckinpah to rewrite the and led to a reevaluation, with many critics hailing it as a screenplay (for the first time since his debut film The mistreated classic and one of the era’s best films. Film- Deadly Companions). Frustrated, the director spent large makers, including Martin Scorsese, have praised the film [79][80] amounts of time in his on-location trailer, allowing assis- as one of the greatest modern Westerns. tants to direct many scenes. At one point he overdosed on cocaine, landing himself in a hospital and receiving a second pacemaker. The film was completed and was rea- sonably successful at box office business, although critics panned it. Today, the film is considered one of Peckin- pah’s weakest films, and an example of his decline as a 7.2 Bring Me the Head of Alfredo Garcia major director.[86][87]

Main article: Bring Me the Head of Alfredo Garcia 7.4

In the eyes of his admirers, Bring Me the Head of Alfredo Main article: Cross of Iron Garcia (1974) was the last true “Peckinpah film.” The director himself claimed that it was the only one of his Still renowned in 1975, Peckinpah was offered the op- films to be released exactly as he intended it. A project portunity to direct the eventual blockbusters King Kong in development for many years and based on an idea by (1976) and Superman (1978). [88] He turned down both Frank Kowalski, Peckinpah wrote the screenplay with the offers and chose instead the bleak and vivid World War assistance of Kowalski, Walter Kelley and Gordon Daw- II drama Cross of Iron (1977). The screenplay was based son. An alcohol-soaked fever dream involving revenge, on a novel about a platoon of German soldiers in 1943 greed and murder in the Mexican countryside, the film on the verge of utter collapse on the Taman Peninsula. featured Warren Oates as a thinly disguised self-portrait The German production was filmed in Yugoslavia. Work- of Peckinpah, and co-starred a leather bag containing the ing with James Hamilton and Walter Kelley, Peckinpah severed head of a gigolo being sought by a Mexican pa- rewrote the screenplay and screened numerous Nazi doc- trone for one million dollars. The macabre drama was umentaries in preparation. Almost immediately, Peckin- part black comedy, action film and tragedy, with a warped pah realized he was working on a low-budget production, edge rarely seen in Peckinpah’s works. Most critics were as he had to spend $90,000 of his own money to hire repulsed, and it was listed in the book The 50 Worst Films experienced crew members. While not suffering from of All Time by Harry Medved and Randy Dreyfuss.[81] the cocaine abuse which marked The Killer Elite, Peck- One of the few critics to praise the film was , inpah continued to drink heavily causing his direction to and in fact, the film’s reputation has grown in recent years, become confused and erratic. The production abruptly with many noting its uncompromising vision as well as its ran out of funds, and Peckinpah was forced to com- anticipation of the violent black comedy which became pletely improvise the concluding sequence, filming the famous in the works of such directors as David Lynch scene in one day. Despite these obstacles, the film’s war and Quentin Tarantino.[82] While a failure at the box of- footage was stunning and James Coburn, in the lead role fice, the film today has a devoted cult following. In 1991, of Rolf Steiner, gave one of the finest performances of UCLA's film school organized a festival of great but for- his career. Co-starring James Mason, Maximilian Schell, gotten American films, and included Bring Me the Head David Warner and , Cross of Iron was noted of Alfredo Garcia in the program.[83][84] It is reportedly for its opening montage utilizing documentary footage Takeshi Kitano's favorite film. It also led a film critic to as well as the visceral impact of the unusually intense paraphrase the film’s title in an attack on the director, say- battle sequences. The film was a huge box office suc- ing, “Bring me the head of Sam Peckinpah”. cess in Europe, inspiring the sequel Breakthrough star- 8 8 THEMES

ring Richard Burton.[89] Cross of Iron was reportedly a fa- 7.6 The Osterman Weekend vorite of Orson Welles, who said that after All Quiet on the Western Front it was the finest anti-war film he had ever Main article: The Osterman Weekend (film) seen.[90] The film performed poorly in the U.S., eclipsed ultimately by Star Wars, though today it is highly regarded By 1982, however, Peckinpah’s health was in poor shape. and considered the last gasp of Peckinpah’s once-great Producers Peter S. Davis and William N. Panzer were talent.[91][92] undaunted, as they felt that having Peckinpah’s name attached to The Osterman Weekend (1983) would lend the suspense thriller an air of respectability. Peckin- 7.5 Convoy pah accepted the job but reportedly hated the convoluted screenplay based upon Robert Ludlum's novel (which he also disliked). Multiple actors in Hollywood auditioned Main article: Convoy (1978 film) for the film, intrigued by the opportunity. Many of those who signed on, including John Hurt, Burt Lancaster and Hoping to create the blockbuster, Peckinpah decided to Dennis Hopper, did so for less than their usual salaries for take on Convoy (1978). His associates were perplexed, a chance to work with the legendary director. By the time as they felt his choice to direct such substandard material shooting wrapped in January 1983 in Los Angeles, Peck- was a result of his renewed cocaine use and continued al- inpah and the producers were hardly speaking. Neverthe- coholism. Based on the hit song by C. W. McCall, the less, Peckinpah brought in the film on time and on budget, film was an attempt to capitalize on the huge success of delivering his director’s cut to the producers. Davis and Smokey and the Bandit (1977). Addictions or not, Peck- Panzer were unhappy with Peckinpah’s version, which in- inpah still felt compelled to turn the genre exercise into cluded a grossly distorted opening sequence of two char- something more significant. Unhappy with the screen- acters making love. The producers changed the open- play written by B.W.L. Norton, Peckinpah tried to en- ing and also deleted other scenes they deemed unneces- courage the actors to re-write, improvise and ad-lib their sary. The Osterman Weekend had some effective action dialogue. In another departure from the script, Peckin- sequences and some strong supporting performances, but pah attempted to add a new dimension by casting a pair of Peckinpah’s final film was critically panned. It grossed $6 black actors as members of the convoy, Madge Sinclair million in the United States and did well in Europe and as Widow Woman and Franklyn Ajaye as Spider Mike. on the new home-video market.[97][98] Filmed in New Mexico and starring Kris Kristofferson, Ali MacGraw and Ernest Borgnine, Convoy turned out to be yet another troubled Peckinpah production, with the 7.6.1 music videos director’s health a continuing problem. Friend and actor James Coburn was brought in to serve as second unit di- Peckinpah’s last work as a filmmaker was undertaken just rector, and he filmed many of the scenes while Peckinpah two months before his death. He was hired by producer remained in his on-location trailer. The film wrapped in Martin Lewis to shoot two music videos featuring Julian September 1977, 11 days behind schedule and $5 mil- Lennon –"" and "Too Late For Goodbyes". The lion over budget. Surprisingly, Convoy was the highest- critically acclaimed videos led to Lennon’s nomination for grossing picture of Peckinpah’s career, notching $46.5 Best New Video Artist at the 1985 MTV Video Music [99][100] million at the box office, but was panned by critics, leav- Awards. ing his reputation seriously damaged. For the first time in almost a decade, Peckinpah finished a picture and found himself unemployed.[93][94] 8 Themes

Peckinpah’s films generally deal with the conflict between 7.5.1 2nd unit work on Jinxed! values and ideals and the corruption and violence of hu- man society. His characters are often loners or losers who For the next three years, Peckinpah remained a profes- harbor the desire to be honorable and idealistic but are sional outcast. But during the summer of 1981, his orig- forced to compromise themselves in order to survive in a inal mentor Don Siegel gave him a chance to return to world of nihilism and brutality. filmmaking. While shooting Jinxed!, a comedy drama The conflicts of masculinity are also a major theme of starring Bette Midler and Rip Torn, Siegel asked Peckin- his work, leading some critics to compare him to Ernest pah if he would be interested in directing 12 days of sec- Hemingway. Peckinpah’s world is a man’s world, and ond unit work. Peckinpah immediately accepted, and his feminists have castigated his films as misogynistic and earnest collaboration, while uncredited, was noted within sexist, especially concerning the shooting of a woman the industry. For the final time, Peckinpah found himself during the final moments of The Wild Bunch, the rape se- back in the directing business.[95][96][97] quence in Straw Dogs and Doc McCoy’s physical assault 9

of his wife in The Getaway. 10 Parodies Many critics see his worldview as a misanthropic, Hobbesian view of nature as essentially evil and savage. • John Belushi portrayed Peckinpah as a deranged Peckinpah himself stated the opposite. He saw violence lunatic who directs his first romantic comedy by as the product of human society, and not of nature. It beating up his leading lady in the first season, fifth [103] is the result of men’s competition with each other over episode of Saturday Night Live. power and domination, and their inability to negotiate this competition without resorting to brutality. Peckin- • Peckinpah’s use of violence was parodied by Monty pah also used violence as a means to achieve catharsis, Python in Sam Peckinpah’s “Salad Days”, one of the believing his audience would be purged of violence by more controversial episodes of ’s Fly- witnessing it explicitly on screen (one of the major in- ing Circus, in which a lovely day out for an upper- spirations for his violent sequences in The Wild Bunch). class English family turns into a blood-soaked orgy Peckinpah later admitted that this idea was mistaken, and of severed limbs and gushing wounds.[104] Peckin- that audiences had come to enjoy the violence in his films pah reportedly loved this sketch and enjoyed show- rather than be horrified by it, something that deeply trou- ing it to friends and family. bled him later in his career. • Peckinpah, who was born to a ranching family that in- Peckinpah’s penchant for filming action scenes in cluded judges and lawyers, was also deeply concerned by slow motion was satirized by Benny Hill in a West- the conflict between “old-fashioned” values and the cor- ern skit called “The Deputy” that first aired on his ruption and materialism of the modern world. Many of March 29, 1973 special. In one scene, Hill’s titular his characters are attempting to live up to their expecta- character shoots one of the villains (Bob Todd), who tions of themselves even as the world they live in demands then proceeds to pirouette in extremely slow motion that they compromise their values. before collapsing. This theme is most evident in Peckinpah’s Westerns. Un- • In the film Fletch (1985), the main character, imi- like most Western directors, Peckinpah tended to concen- tating a doctor in order to examine medical records, trate on the early 20th century rather than the 19th, and calls out, “And bring me the head of Alfredo his films portray characters who still believe in the values Garcia!"[105] of the Old West being swept away by the new, industrial America. • In the 1973 Sergio Leone/Tonino Valerii spaghetti This persistent theme has led many critics to view Peck- western My Name is Nobody, the characters Jack inpah’s films as essentially tragic. That is, his characters Beauregard () and “Nobody” (Terence are portrayed as being prisoners of their fates and their Hill) meet at a cemetery. Nobody walks past the own failings who nonetheless seek redemption and mean- tombstones reading the names and comes across one ing in an absurd and violent world. The theme of longing labeled “Sam Peckimpah”. He says “Sam Peckim- for redemption, justification, and honor in a dishonorable pah. That’s a beautiful name in Navajo.” Leone existence permeates almost all of Peckinpah’s work. named the gang in the film “The Wild Bunch”. No- body has Beauregard face The Wild Bunch in order to be known in history books. 9 Documentaries • Various Peckinpah films are parodied in Jim Rear- don's student film Bring Me the Head of Charlie • Sam Peckinpah has been the subject of three docu- Brown. mentaries including the BBC production Sam Peck- inpah: Man of Iron (1992), directed by Paul Joyce, • Sam Peckinpah’s West: Legacy of a Hollywood Rene- In the film Deadfall (1993), when the character Ed- gade (1994) and The Wild Bunch: An Album in Mon- die (Nicolas Cage) mortally wounds a would-be as- tage (1996) directed by Paul Seydor. The latter was sassin, he asks the man “Who sent you?" The killer nominated for an Academy Award as Best Docu- responds, “Sam fuckin' Peckinpah.” This film was mentary Short Subject.[101][102] later adapted into a song of the same name by Snot.

• Over a 4-year period German film maker Mike • In the John Waters film Cecil B. Demented (2000), Siegel produced and directed Passion & Poetry – several characters have the name of a legendary film The Ballad of Sam Peckinpah a two-hour long film director tattooed on their body. One of the charac- about Sam Peckinpah which includes rare Peckin- ters has “Sam Peckinpah” tattooed on their arm.[106] pah – interviews and statements. In 2009 the 2 – disc special edition with a running time of 270 min- • In the 1986 horror film Chopping Mall, a store in utes was released on DVD. the mall that survivors use to supply themselves with 10 14 NOTES

assault rifles, ammunition and grenades is named [15] Weddle, p. 120. Peckinpah’s Sporting Goods, a wry reference to the director’s film violence.[107] [16] Weddle, pp. 499–500. [17] Weddle, p. 56. • In the 2006 film Hot Fuzz, one of the characters is [18] Simmons, pp. 63–64. mentioned to be an extra in Straw Dogs, and a farm is owned by the Treachers, making it Treacher Farm. [19] Weddle, pp. 163,479.

[20] Weddle, p. 380. • In the 1993 Denis Leary song "Asshole", Leary states he is “going to get the Duke (), [21] Sam Peckinpah IMDB. John Cassavetes, Lee Marvin, Sam Peckinpah and a case of whiskey then drive down to Texas” before [22] Weddle, p. 550. being cut off by a bandmate and getting called an [23] Biography: Sam Peckinpah IMDB. asshole. [24] Cohen, pp. 77–80.

• In the BBC Radio 4 panel show I'm Sorry I Haven't [25] Weddle, p. 126. a Clue, the Film Club round usually includes a film name based on Bring Me the Head of Alfredo Garcia. [26] Billy Hathorn, “Roy Bean, Temple Houston, Bill Long- ley, Ranald Mackenzie, Buffalo Bill, Jr., and the Texas Rangers: Depictions of West Texans in Series Television, • Kris Kristofferson recorded “Sam’s Song (Ask Any 1955 to 1967”, West Texas Historical Review, Vol. 89 Working Girl)", a brief tribute to the director, for (2013), p. 106 his 1995 release “A Moment of Forever”. [27] Simmons, p. 28.

[28] Simmons, pp. 28–29. 11 Filmography [29] Klondike IMDB. 12 Television credits [30] Simmons, pp. 29–30. [31] Rifleman IMDB. 13 See also [32] Simmons, pp. 31–34. [33] Westerner IMDB.

14 Notes [34] Westerner Trivia IMDB.

[35] Weddle, p. 168–184. [1] “Peckinpah”, Random House Webster’s Unabridged Dic- tionary [36] Simmons, p. 55-6.

[2] Current Biography 1973, p. 327. [37] Weddle, pp. 197–198.

[3] Simmons, p. 3. [38] Simmons, pp. 36–39.

[4] Weddle, p. 15. [39] Weddle, pp. 198–219.

[5] Fine, p. 12. [40] Simmons, pp. 41–54.

[6] Weddle, p. 16. [41] Fine, p. 84.

[7] David E. Peckinpah IMDB. [42] Weddle, pp. 229–244.

[8] Simmons, p. 5. [43] Simmons, pp. 55–72.

[9] FilmReference. [44] Major Dundee Trivia IMDB.

[10] Simmons, pp. 10–11. [45] Carroll.

[11] Simmons, p. 18. [46] Weddle, pp. 257–263.

[12] Weddle, pp. 52–59. [47] Simmons, pp. 73–81.

[13] Weddle, pp. 104–105. [48] Weddle, pp. 280–295.

[14] Weddle, pp. 116–119. [49] Simmons, pp. 76–80. 11

[50] Noon Wine IMDB. [88] Weddle, p. 504.

[51] Weddle, pp. 307–309. [89] Breakthrough IMDB.

[52] Weddle, pp. 310–331. [90] Simmons, p. 236. [53] Weddle, pp. 376–377. [91] Weddle, pp. 504–513. [54] AFI 100. [92] Simmons, pp. 225–237. [55] Wild Bunch Trivia IMDB. [93] Weddle, pp. 514–518. [56] Weddle, pp. 391–392. [94] Simmons, pp. 232–236. [57] Weddle, p. 383–389. [95] Jinxed! IMDB. [58] Simmons, pp. 108–120. [96] Weddle, pp. 534–535. [59] Cable Hogue Trivia IMDB.

[60] Weddle, p. 396. [97] Simmons, p. 239.

[61] Weddle, p. 427. [98] Weddle, pp. 535–537.

[62] Weddle, pp. 399–400. [99] Weddle, pp. 541–543.

[63] Weddle, pp. 393–403. [100] MTV.

[64] Simmons, pp. 121–138. [101] Man of Iron IMDB. [65] Straw Dogs Trivia IMDB. [102] Montage IMDB. [66] Weddle, pp. 428–434. [103] SNL Episodes IMDB. [67] Simmons, pp. 139–153. [104] Weddle, p. 428. [68] Weddle, p. 434. [105] Fletch Quotes IMDB. [69] Weddle, p. 436. [106] Cecil B. DeMented Trivia IMDB. [70] Getaway Box Office IMDB. [107] Chopping Mall Connections IMDB. [71] Weddle, p. 439.

[72] Getaway IMDB.

[73] Simmons, pp. 154–168. 15 References

[74] Weddle, p. 442. • Simmons, Garner (1982). Peckinpah, A Portrait in [75] Weddle, pp. 444–450. Montage. University of Texas Press. ISBN 0-292- 76493-6. [76] Weddle, p. 453. • [77] Pat Garrett IMDB. Weddle, David (1994). If They Move . . . Kill 'Em! The Life and Times of Sam Peckipah. Grove Press. [78] Weddle, p. 463. ISBN 0-8021-1546-2.

[79] Weddle, p. 483. • Current Biography. H. W. Wilson. 1973. ISBN 0- [80] Simmons, pp. 169–188. 8242-0543-X.

[81] Medved, pp. 51–55. • “David E. Peckinpah”. Internet Movie Database. Retrieved July 23, 2007. [82] Ebert review. • [83] Weddle, pp. 492–498. "(David) Sam Peckinpah Biography (1925–)". FilmReference.com. Retrieved September 3, 2011. [84] Simmons, pp. 189–208. • “Sam Peckinpah”. Internet Movie Database. Re- [85] Weddle, p. 499. trieved September 27, 2007. [86] Weddle, pp. 498–500. • “Biography: Sam Peckinpah”. Internet Movie [87] Simmons, pp. 209–224. Database. Retrieved July 28, 2007. 12 16 FURTHER READING

• Cohen, Stan (2004). “The Murray Hotel”. Mon- • "Sam Peckinpah: Man of Iron". Internet Movie tana’s Grandest-Historic Hotels and Resorts of the Database. Retrieved November 9, 2007. Treasure State. Missoula, Montana: Pictorial His- tories Publishing Company. ISBN 1-57510-111-4. • "The Wild Bunch: An Album in Montage". Internet Movie Database. Retrieved November 9, 2007. • “Full cast and crew for Klondike". Internet Movie Database. Retrieved September 27, 2007. • “Episode list for Saturday Night Live". Internet Movie Database. Retrieved November 9, 2007. • “Episode list for The Rifleman". Internet Movie Database. Retrieved September 27, 2007. • “Memorable quotes for Fletch". Internet Movie Database. Retrieved November 9, 2007. • "The Westerner". Internet Movie Database. Re- trieved September 27, 2007. • “Trivia for Cecil B. DeMented". Internet Movie • “Trivia for The Westerner". Internet Movie Database. Retrieved November 9, 2007. Database. Retrieved September 27, 2007. • “Movie connections for Chopping Mall". Internet • “Trivia for Major Dundee". Internet Movie Movie Database. Retrieved November 20, 2007. Database. Retrieved September 27, 2007. • “Combined credits for Jinxed!". Internet Movie • Carroll, E. Jean (March 1982). “Last of the Desper- Database. Retrieved March 6, 2012. adoes: Dueling with Sam Peckinpah”. Rocky Moun- tain Magazine.

• Fine, Marshall. Bloody Sam. Donald I. Fine Books. 16 Further reading ISBN 978-1-55611-236-2. • • "Noon Wine". Internet Movie Database. Retrieved Bliss, Michael (2012). Peckinpah Today: New Es- September 27, 2007. says on the Films of Sam Peckinpah. Southern Illi- nois University Press. ISBN 0-8093-3106-3. • “American Film Institute”. afi.com. Retrieved September 27, 2007. • Simons, John L. (2011). Peckinpah’s Tragic West- erns: A Critical Study. McFarland. ISBN 0-7864- • “Trivia for The Wild Bunch". Internet Movie 6133-0. Database. Retrieved September 27, 2007. • Hayes, Kevin J. (2008). Sam Peckinpah: Interviews. • “Trivia for The Ballad of Cable Hogue". Internet University Press of Mississippi. ISBN 1-934110- Movie Database. Retrieved September 27, 2007. 64-7. • “Trivia for Straw Dogs". Internet Movie Database. • Engel, Leonard (2003). Sam Peckinpah’s West: New Retrieved September 27, 2007. Perspectives. University of Utah Press. ISBN 0- • “Box office/business for The Getaway". Internet 87480-772-7. Movie Database. Retrieved September 27, 2007. • Mesce, Bill, Jr. (2001). Peckinpah’s Women: A • "The Getaway". Internet Movie Database. Retrieved Reappraisal of the Portrayal of Women in the Pe- September 27, 2007. riod Westerns of Sam Peckinpah. Scarecrow Press. ISBN 0-8108-4066-9. • "Pat Garrett and Billy the Kid". Internet Movie Database. Retrieved September 27, 2007. • Seydor, Paul (1999). Peckinpah: The Western Films, A Reconsideration. University of Illinois Press. • Medved, Harry (1978). The 50 Worst Films of All ISBN 0-252-06835-1. Time. Warner Books. ISBN 0-446-38119-5. • • “Roger Ebert, Film Review for Bring Me the Head of Dukore, Bernard F. (1999). Sam Peckinpah’s Fea- Alfredo Garcia". suntimes.com. October 28, 2001. ture Films. University of Illinois Press. ISBN 0-252- Retrieved October 6, 2007. 06802-5.

• "Breakthrough". Internet Movie Database. Re- • Bliss, Michael (1993). Justified Lives: Morality and trieved November 9, 2007. Narrative in the Films of Sam Peckinpah. Southern Illinois University Press. ISBN 0-8093-1823-7. • “Rock on the Net: 1985 MTV Video Music Awards”. rockonthenet.com. Retrieved November • Evans, Max (1972). Sam Peckinpah: Master of Vi- 9, 2007. olence. Dakota Press. ISBN 0-88249-011-7. 13

17 External links

• Sam Peckinpah at the Internet Movie Database

• SamPeckinpah.com A discussion forum for fans of Sam Peckinpah

• Senses of Cinema: Sam Peckinpah

• Essays about Sam Peckinpah’s films • Roger Ebert review of The Wild Bunch

• Sam Peckinpah versus Michael Mann • A Tribute to Sam Peckinpah by ConvoyTM.com

• “A Glorious High” by at austinchroni- cle.com

• Best Sam Peckinpah Westerns from American Movie Classics

• Sam Peckinpah papers, Margaret Herrick Library, Academy of Motion Picture Arts and Sciences

• Sam Peckinpah - Radio Documentary 1969 at http://www.kaneprod.com/peckinpah_ radiodocumentary.htm 14 18 TEXT AND IMAGE SOURCES, CONTRIBUTORS, AND LICENSES

18 Text and image sources, contributors, and licenses

18.1 Text

• Sam Peckinpah Source: https://en.wikipedia.org/wiki/Sam_Peckinpah?oldid=685629725 Contributors: Sjc, Chuckhoffmann, Davi- dLevinson, Olivier, Kchishol1970, Jahsonic, Error, BenKovitz, Uyanga, Dtgm, Zoicon5, Motor, Grendelkhan, Owen, Huangdi, Naddy, Timrollpickering, Matty j, Asparagus, DocWatson42, Marcika, Gamaliel, Litalex, DragonflySixtyseven, Ellsworth, Cornischong, Sam, Slidewinder, D6, Boris Kaiser, Rich Farmbrough, Guanabot, Paulo Oliveira, Bishonen, Bender235, Ground, Nabla, Maclean25, Spald- ing, Alansohn, Q0, Rosenzweig, Buaidh, Arthena, Philip Cross, Ricky81682, Docboat, Grenavitar, Ndteegarden, Ianblair23, Drbreznjev, Zosodada, The JPS, Woohookitty, Towpilot, Ashmoo, BD2412, Rjwilmsi, Lockley, Fred Bradstadt, FlaBot, Ian Pitchford, Ben-w, Carrion- luggage, YurikBot, Gregalodon, Hede2000, DanMS, Rhindle The Red, Spot87, Bobak, PhilipC, Zenexp, Tony1, Alex West, Davidpatrick, Pegship, BlackJack, Deville, Hal Raglan, [email protected], Infamous30, Th1rt3en, Spin Boy 11, Whobot, Fourohfour, Mrblondnyc, Diagraph01~enwiki, SmackBot, Looper5920, Aim Here, Elonka, Evanreyes, Chris the speller, Cafe tableaux, Jeff5102, Mike hayes, Mid- night man, MadameArsenic, OrphanBot, Silent Tom, Konczewski, Fallshirmjager, Filpaul, Will Beback, Ser Amantio di Nicolao, Egres- sio, PseudoSudo, Nobunaga24, Shamrox, Benjamin Ben-Ze'ev, Keith-264, Derbent 5000, Iridescent, TjoeC, Billy Hathorn, FairuseBot, CmdrObot, Unmitigated Success, Cydebot, Metanoid, Registered user 92, Otto4711, Lugnuts, Nabokov, Njan, TylerThorne, LarryQ, Sky- masterson, ThatGuamGuy, James086, Chase317, Brrryan, LudwigK, Cineast67, AntiVandalBot, Jguad1, Nicholas0, JimDunning, Elko- ref, Aille, Postcard Cathy, Fetchcomms, Wbwn, Slabba, MegX, Rothorpe, Geniac, Johnnyparker, 75pickup, J.B., Robneyer, KConWiki, Gkklein, Johnpacklambert, J.delanoy, Uncle Dick, Scott Free, Monkeyzpop, Dispenser, Doctor Sunshine, Aboutmovies, AdamBMorgan, HenryLarsen, Ajfweb, Lupus Daemonicus, VolkovBot, Fistful of Questions, Nachtschicht, Philip Trueman, ElinorD, Vendrov, Ferengi, ^demonBot2, Bearian, Maxim, Bahamut0013, Alcmaeonid, Sojourneyer, GirasoleDE, SieBot, Gerakibot, Jbmurray, Alex Middleton, As- pects, Chriskent2002, Jrgilfoil, Kumioko (renamed), Hans yulun lai, Mopal, Sensewagon, LarRan, Martarius, Binksternet, All Hallow’s Wraith, Newzild, Stonestead, Mild Bill Hiccup, TheOldJacobite, Niceguyedc, Cirt, Grandpallama, Mlaffs, Light show, NunoXEI, Plas- mate, Certes, Savolya, Bobdog01, TFBCT1, Kbdankbot, Addbot, Sergiobrunojoe, Manuel Trujillo Berges, JGKlein, Tassedethe, Lightbot, Luckas-bot, Yobot, Granpuff, Citation bot, Zanderavia, Omnipaedista, F W Nietzsche, MerlLinkBot, Erik9, FrescoBot, D'ohBot, Ci- tation bot 1, Rpftwebmaster, Primaler, Arbero, Andrei Cvhdsee Brazil, ZéroBot, Rlsurfsandsun, David J Johnson, Thine Antique Pen, Looney1023, ChuispastonBot, BornonJune8, Sofffie7, Brycehughes, Helpful Pixie Bot, Gothicfilm, Blake Burba, PumpkinSky, Frommsb, Empress-of-angels, Benzband, JCHeverly, Mogism, Cerabot~enwiki, Krusty94301, VIAFbot, MLPainless, Lindenhurst Liberty, Jump Forward Immediately, Tsaost, StiffyGreen, Lauren at Margaret Herrick Library, KasparBot, Docu1969 and Anonymous: 207

18.2 Images

• File:Brian_Keith_The_Westerner_1960.JPG Source: https://upload.wikimedia.org/wikipedia/commons/5/5b/Brian_Keith_The_ Westerner_1960.JPG License: Public domain Contributors: eBay item Original artist: NBC Television • File:P_vip.svg Source: https://upload.wikimedia.org/wikipedia/en/6/69/P_vip.svg License: PD Contributors: ? Original artist: ? • File:Question_book-new.svg Source: https://upload.wikimedia.org/wikipedia/en/9/99/Question_book-new.svg License: Cc-by-sa-3.0 Contributors: Created from scratch in Adobe Illustrator. Based on Image:Question book.png created by User:Equazcion Original artist: Tkgd2007 • File:USMC_logo.svg Source: https://upload.wikimedia.org/wikipedia/commons/2/21/USMC_logo.svg License: Public domain Contrib- utors: DoD website: http://www.defenselink.mil/multimedia/web_graphics/#mc Original artist: U.S. Government

18.3 Content license

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