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Pat Garrett & Billy the Kid DELETED SCENE (Read 12698 times)
mike bishop
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Re: Pat Garrett & Billy the Kid DELETED SCENE
Reply #48 - 04/26/14 at 4:18am
 
Novecento wrote on 04/25/14 at 8:53pm:
Stanton wrote on 04/24/14 at 7:06am:
It was shot. We have scene stills.


Hey Mike - none of these stills were included in your Passion & Poetry book right? Or am I just looking in the wrong place? Hopefully you'll put them in the Japanese release...


No, I did the book 11 years ago. Since then we (Jeff & me) found soo many more great stills, a few hundred more on BUNCH alone (but not so much on PAT, unfortunately). I try to use as much as possible along with Blu-ray / DVD projects. Like the 400 unpublished CROSS OF IRON behind the scenes stills we got few years ago and which enriched that Blu-ray (or CONVOY) a lot I think.
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« Last Edit: 04/26/14 at 4:18am by mike bishop »  

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Stanton
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Re: Pat Garrett & Billy the Kid DELETED SCENE
Reply #49 - 04/26/14 at 4:41pm
 
Robert Blenheim wrote on 04/25/14 at 8:00pm:
[quote author=7551535D677A514B505748380 link=1397421613/43#43 date=1398445594]  After all, much of the film is Garrett almost pointlessly going around in circles to avoid the confrontation. 




But that's what one half of the film is about. Garrett, who knows where to find Billy, tries as long as possible not to find Billy, who doesn't hide.
Why do you think it is pointless?

And I don't think PG&BtK is a mess. Not in the theatrical version, not in the Turner version.
In fact it his second best film and more or less another masterpiece.
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« Last Edit: 04/26/14 at 4:44pm by Stanton »  
 
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Robert Blenheim
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Re: Pat Garrett & Billy the Kid DELETED SCENE
Reply #50 - 04/26/14 at 8:16pm
 
Quote:
Why do you think it is pointless?

I don't.  I meant 'seemingly' pointless.  Maybe I used the wrong word, but Garrett meanders about without much of an aim.  The point IS the 'seeming pointlessness'.  Of course it has a point, and you can read that in my words.  It's a characteristic of the film that helps make it great!

Quote:
And I don't think PG&BtK is a mess. Not in the theatrical version, not in the Turner version. In fact it his second best film and more or less another masterpiece.

Again, maybe I used the wrong word or you're not being generous enough in trying to understand what I'm saying.  It's a 'theoretical' mess; the 'messiness' is, again, the point.  I love it because it is NOT cut and dried, paint by the numbers, assembled like a factory film.  And surely the 'mess' is also from the various scenes that we can argue about, that Peckinpah wavered on (partly out of compromising to keep what he wanted in) and also because it was never actually completed by him.  Let's not play semantics here.  You certainly know what those of us mean by 'mess'.

And I also tend to agree with you that it may be his second best film, and, yes, a masterpiece, albeit an inadvertent one.   But, to me, the Turner cut (WITH the added three scenes that belong in it) make it a masterpiece.   Neither the theatrical version or the 2005 version show it to be a masterpiece.  Too much is missing, not the least of which is the 'messiness', the episodic nature, and the existential meandering.

Arguably, the theatrical cut and the 2005 cut in lacking the 'messiness' (through a false 'polishing' that I call meddling) does not produce a masterpiece.  It's missing what makes it a great existential document as well as the DEPTH that the conglomeration of the various sequences deliver.

"Pat Garrett and Billy the Kid" is NOT an average film, and it does not have the coherence of "The Wild Bunch".  It's a gloriously rambling work of art that, I'd bet, is so appreciated by Martin Scorsese and other famous admirers because of its existential quality, not its ersatz polish.
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« Last Edit: 04/26/14 at 8:38pm by Robert Blenheim »  
 
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Robert Blenheim
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Re: Pat Garrett & Billy the Kid DELETED SCENE
Reply #51 - 04/26/14 at 8:36pm
 
This is a good opportunity to say I just purchased Mike's Peckinpah book, and even though I, too, don't understand German, it is a necessary addition to anyone who loves Peckinpah (which is all of us here, I'm sure).   What a treasure trove of photos, worth the price of the book alone!

I did take German in college for two semesters (mostly inspired by my own love of Wagner and R. Strauss operas, but also because I sang German lieder somewhat for a while) but now I wish I had continued my German studies. I remember almost nothing now.   I'd really love to be able to read every word in this book!
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Novecento
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Re: Pat Garrett & Billy the Kid DELETED SCENE
Reply #52 - 03/21/15 at 2:36pm
 
Robert Blenheim wrote on 04/13/14 at 4:40pm:
After trying several programs (Windows Media Player & Real Player) without success, I simply filmed this clip with my iphone, hand-held, off of my monitor as I showed it off of my own created DVD. The scene looks lousy, but you can check it out.

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I see your YouTube upload is specifically mentioned by Seydor in his book (fn.40 on p.344) where he credits you by name.  Cool

Robert Blenheim wrote on 04/14/14 at 8:50pm:
Mike, send me your address via personal message, and I'll send you a copy of my own 'assembly'. And if you can 'join' the parts and make a new DVD of it, can you send me a copy of it?  (If it's possible.)


Did this ever happen? I'd love to watch a copy  Smiley

Novecento wrote on 04/23/14 at 9:50pm:
Beyond this being aired on CBS (and syndicated thereafter) in the mid to late 70s, it seems there is very little information about this.

Novecento wrote on 04/13/14 at 8:23pm:
Now this is just conjecture, but it seems most likely to me that the intent of the intermediary "deleted" scene was to have the exchange of glances between Billy and Alias followed by the camera reverting back to Billy's face again from Alias' face, but now Billy's face is in the next scene. With the ending you mentioned elsewhere that the kids playing is supposed to transition nicely to the cocks fighting which makes really good sense. However with the scene ending as it does in what you have uploaded it is hard to discern this.


I was hoping to find some more information about the TV version in Seydor's book. Perhaps there really was not much of interest beyond this deleted scene. Interestingly Seydor describes it as "indifferently played, shot, and directed" (p.178). However I would love to see how the transitions between the scenes preceding and following it work.
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