Sam Peckinpah
Sam Peckinpah | |
---|---|
Born | David Samuel Peckinpah February 21, 1925 Fresno, California, U.S. |
Died | December 28, 1984 Inglewood, California, U.S. | (aged 59)
Alma mater | |
Occupations |
|
Years active | 1957–1984 |
Spouses | Marie Selland
(m. 1947; div. 1960)
(m. 1965; div. 1967)
(m. 1974)Joie Gould
(m. 1971; div. 1972) |
Children | 5 |
David Samuel Peckinpah (/ˈpɛkɪnˌpɑː/;[1] February 21, 1925 – December 28, 1984) was an American film director and screenwriter. His 1969 Western epic The Wild Bunch received an Academy Award nomination and was ranked No. 80 on the American Film Institute's top 100 list. His films employed a visually innovative and explicit depiction of action and violence as well as a revisionist approach to the Western genre.
Peckinpah's films deal with the conflict between values and ideals, as well as the corruption and violence in human society. His characters are often loners or losers who desire to be honorable but are forced to compromise in order to survive in a world of nihilism and brutality. He was given the nickname "Bloody Sam" owing to the violence in his films.
Peckinpah's combative personality, marked by years of alcohol and drug abuse, affected his professional legacy. The production of many of his films included battles with producers and crew members, damaging his reputation and career during his lifetime. Peckinpah's other films include Ride the High Country (1962), Major Dundee (1965), The Ballad of Cable Hogue (1970), Straw Dogs (1971), The Getaway (1972), Pat Garrett and Billy the Kid (1973), Bring Me the Head of Alfredo Garcia (1974), Cross of Iron (1977) and Convoy (1978).
Family origins
The Peckinpahs originated from the Frisian Islands in the northwest of Europe. Both sides of Peckinpah's family migrated to the American West by covered wagon in the mid-19th century.[2] Peckinpah and several relatives often claimed Native American ancestry, but this has been denied by surviving family members.[3] Peckinpah's great-grandfather, Rice Peckinpaugh, a merchant and farmer in Indiana, moved to Humboldt County, California, in the 1850s, working in the logging business, and changed the spelling of the family name to "Peckinpah".[4][5]
Peckinpah Meadow and Peckinpah Creek, where the family ran a lumber mill on a mountain in the
Sam Peckinpah's nephew is David Peckinpah, who was a television producer and director, as well as a screenwriter.[7] He was a cousin of former New York Yankees shortstop Roger Peckinpaugh.[8]
Life
This section needs additional citations for verification. (March 2018) |
David Samuel Peckinpah was born February 21, 1925, to David Edward (1895–1960) and Fern Louise (née Church) Peckinpah (1893–1983) in
He played on the junior varsity football team while at Fresno High School, but frequent fighting and discipline problems caused his parents to enroll him in the San Rafael Military Academy for his senior year.[12]
In 1943, he joined the United States Marine Corps. Within two years, his battalion was sent to China with the task of disarming Japanese soldiers and repatriating them following World War II. While his duty did not include combat, he claimed to have witnessed acts of war between Chinese and Japanese soldiers. According to friends, these included 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 during an attack by Communist forces. Also during his final weeks as a Marine, he applied for discharge in Beijing, so he could marry a local woman, but was refused. His experiences in China reportedly deeply affected Peckinpah, and may have influenced his depictions of violence in his films.[13]
After being discharged in Los Angeles, he attended California State University, Fresno, where he studied history. While a student, he met and married his first wife, Marie Selland, in 1947. A drama major, Selland introduced Peckinpah to the theater department and he became interested in directing for the first time. During his senior year, he adapted and directed a one-hour version of Tennessee Williams' The Glass Menagerie.
After graduation in 1948, Peckinpah enrolled in graduate studies in drama at University of Southern California. He spent two seasons as the director in residence at Huntington Park Civic Theatre near Los Angeles before obtaining his master's degree. He was asked to stay another year, but Peckinpah began working as a stagehand at KLAC-TV in the belief that television experience would eventually lead to work in films. Even during this early stage of his career, Peckinpah was developing a combative streak. Reportedly, he was kicked off the set of The Liberace Show for not wearing a tie, and he refused to cue a car salesman during a live feed because of his attitude towards stagehands.[14]
In 1954, Peckinpah was hired as a
Invasion of the Body Snatchers, in which Peckinpah appeared as Charlie the meter reader, starred Kevin McCarthy and Dana Wynter. It became one of the most critically praised science fiction films of the 1950s. Peckinpah claimed to have done an extensive rewrite on the film's screenplay, a statement which remains controversial.[16]
Throughout much of his adult life, Peckinpah was affected by
Peckinpah's reputation as a hard-living brute with a taste for violence, inspired by the content in his most popular films and in many ways perpetuated by himself, affected his artistic legacy.[22] His friends and family have claimed this does a disservice to a man who was actually more complex than generally credited. He used such actors as Warren Oates, L. Q. Jones, R. G. Armstrong, James Coburn, Ben Johnson, and Kris Kristofferson, and collaborators (Jerry Fielding, Lucien Ballard, Gordon Dawson, and Martin Baum) in many of his films, and several of his friends and assistants stuck by him to the end of his life.[citation needed]
Peckinpah spent a great deal of his life in Mexico after his marriage to Palacios, eventually buying property in the country. He was fascinated by the Mexican lifestyle and Mexican culture, and he often portrayed it with an unusual sentimentality and romanticism in his films.[23]
From 1979 until his death, Peckinpah lived at the
Television career
On the recommendation of
Peckinpah wrote a screenplay from the novel The Authentic Death of Hendry Jones, a draft that evolved into the 1961
In 1958, Peckinpah wrote a script for Gunsmoke that was rejected due to content. He reworked the screenplay, titled The Sharpshooter, and sold it to Zane Grey Theater. The episode received popular response and became the television series The Rifleman, starring Chuck Connors. Peckinpah directed four episodes of the series (with guest stars R. G. Armstrong and Warren Oates), but left after the first year. The Rifleman ran for five seasons and achieved enduring popularity in syndication.[33][34]
The Westerner
During this time, he also created the television series
In 1962, Peckinpah directed two hour-long episodes for The Dick Powell Theater. In the second of these, The Losers, an updated remake of The Westerner set in the present day with Lee Marvin as Dave Blassingame and Keenan Wynn as Dehner's character Bergundy Smith, he mixed slow motion, fast motion and stills together to capture violence, a technique famously put to more sophisticated use in 1969s The Wild Bunch.[39]
Early film career
The Deadly Companions
After cancellation of The Westerner, Brian Keith 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 location in Arizona 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 Peckinpah 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.[40][41]
Ride the High Country
His second film, Ride the High Country (1962), was based on the screenplay Guns in the Afternoon written by N.B. Stone, Jr. Producer Richard Lyons admired Peckinpah's work on The Westerner and offered him the directing job. Peckinpah did an extensive rewrite of the screenplay, including personal references from his own childhood growing up on Denver Church's ranch, and even naming one of the mining towns "Coarsegold." He based the character of Steve Judd, a once-famous lawman fallen on hard times, on his own father David Peckinpah. In the screenplay, Judd and old friend Gil Westrum are hired to transport gold from a mining community through dangerous territory. Westrum hopes to talk Judd into taking the gold for themselves. Along the way, following Judd's example, Westrum slowly realizes his own self-respect is far more important than profit. During the final shootout, when Judd and Westrum stand up to a trio of men, Judd is fatally wounded but his death serves as Westrum's salvation, a Catholic tragedy woven from the cloth of the Western genre. This sort of salvation became a major theme in many Peckinpah's later films. Starring aging Western stars Joel McCrea and Randolph Scott in their final major screen roles, the film initially went unnoticed in the United States but was an enormous success in Europe. Beating Federico Fellini's 8½ for first prize at the Belgium Film Festival, the film was hailed by foreign critics as a brilliant reworking of the Western genre. New York critics also discovered Peckinpah's unusual Western, with Newsweek naming Ride the High Country the best film of the year and Time placing it on its ten-best list. By some critics, the film is admired as one of Peckinpah's greatest works.[42][43]
Major Dundee
Peckinpah's next film,
Filming began without a completed screenplay, and Peckinpah chose several remote locations in
Peckinpah was next signed to direct
Noon Wine
Peckinpah caught a lucky break in 1966 when producer Daniel Melnick needed a writer and director to adapt Katherine Anne Porter's short novel Noon Wine for television. Melnick was a big fan of The Westerner and Ride the High Country, and had heard Peckinpah had been unfairly fired from The Cincinnati Kid. Against the objections of many within the industry, Melnick hired Peckinpah and gave him free rein. Peckinpah completed the script, which Porter enthusiastically endorsed, and the project became an hour-long presentation for ABC Stage 67.
Taking place in turn of the century West Texas, Noon Wine was a dark tragedy about a farmer's act of futile murder which leads to suicide. Starring Jason Robards and Olivia de Havilland, the film was a critical hit, with Peckinpah nominated by the Writers Guild for Best Television Adaptation and the Directors Guild of America for Best Television Direction. Robards kept a personal copy of the film in his private collection for years as he considered the project to be one of his most satisfying professional experiences. A rare film which had no home video release until 2014, Noon Wine is today considered one of Peckinpah's most intimate works, revealing his dramatic potential and artistic depth.[51][52][53]
International fame
The Wild Bunch
The surprising success of Noon Wine laid the groundwork for one of the most explosive comebacks in film history. In 1967, Warner Bros.-Seven Arts producers Kenneth Hyman and Phil Feldman were interested in having Peckinpah rewrite and direct an adventure film, The Diamond Story. An alternative screenplay written by Roy Sickner and Walon Green was the western The Wild Bunch. At the time, William Goldman's screenplay Butch Cassidy and the Sundance Kid had recently been purchased by 20th Century Studios.
It was quickly decided that The Wild Bunch, which had several similarities to Goldman's work, would be produced in order to beat Butch Cassidy to the theaters.
The film detailed a gang of veteran outlaws on the Texas/Mexico border in 1913 trying to survive within a rapidly approaching modern world. The Wild Bunch is framed by two ferocious and infamous gunfights, beginning with a failed robbery of the railway company office and concluding with the outlaws battling the Mexican army in suicidal vengeance prompted by the brutal torture and murder of one of their members.[57]
Irreverent and unprecedented in its explicit detail, the 1969 film was an instant success. Multiple scenes attempted in Major Dundee, including slow motion action sequences, characters leaving a village as if in a funeral procession and the use of inexperienced locals as extras, were perfected in The Wild Bunch. Many critics denounced its violence as sadistic and exploitative. Other critics and filmmakers hailed the originality of its unique rapid editing style, created for the first time in this film and ultimately becoming a Peckinpah trademark, and praised the reworking of traditional Western themes. It was the beginning of Peckinpah's international fame, and he and his work remained controversial for the rest of his life.[58] The film was ranked No. 80 on the American Film Institute's top 100 list of the greatest American films ever made and No. 69 as the most thrilling, but the controversy has not diminished.[59]
The Wild Bunch was re-released for its 25th anniversary, and received an
The Ballad of Cable Hogue
Defying audience expectations, as he often did, Peckinpah immediately followed The Wild Bunch with the elegiac, funny and mostly non-violent 1970 Western
Shot on location in the Valley of Fire in Nevada, the film was plagued by poor weather, Peckinpah's renewed drinking and his brusque firing of 36 crew members. The chaotic filming wrapped 19 days over schedule and $3 million over budget, effectively terminating his tenure with Warner Bros.-Seven Arts. In retrospect, it was a damaging career move as Deliverance and Jeremiah Johnson, critical and enduring box office hits, were in development at the time and Peckinpah was considered the first choice to direct both films.[62]
Largely ignored upon its initial release, The Ballad of Cable Hogue has been rediscovered in recent years and is often held up by critics as exemplary of the breadth of Peckinpah's talents. They claim that the film proves Peckinpah's ability to make unconventional and original work without resorting to explicit violence. Over the years, Peckinpah cited the film as one of his favorites.[63][64][65]
Straw Dogs
His alienation from Warner Brothers once again left him with a limited number of directing jobs. Peckinpah traveled to England to direct Straw Dogs (1971), one of his darkest and most psychologically disturbing films. Produced by Daniel Melnick, who had previously worked with Peckinpah on Noon Wine, the film's screenplay was based on the novel The Siege of Trencher's Farm by Gordon Williams.
It starred
The character of David Sumner, taunted and humiliated by the violent town locals, is eventually cornered within his home where he loses control and kills several of the men during the violent conclusion. Straw Dogs deeply divided critics, some of whom praised its artistry and its confrontation of human savagery, while others attacked it as a
Much of the criticism centered on Amy's complicated and lengthy rape scene, which Peckinpah reportedly attempted to base on his own personal fears rooted in past failed marriages. To this day, the scene is attacked by some critics as an ugly male-chauvinist fantasy.[68] The film was for many years banned on video in the UK.[69][70][71]
Junior Bonner
Despite his growing alcoholism and controversial reputation, Peckinpah was prolific during this period 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 Rosenbrook, depicting the changing times of society and binding family ties, appealed to Peckinpah's tastes. He accepted the project, at the time concerned with being typed as a director of violent action. The film was his final attempt to make a low-key, dramatic work in the vein of Noon Wine and The Ballad of Cable Hogue.
Filmed on location in
The Getaway
Eager to work with Peckinpah again, Steve McQueen presented him
A series of double-crosses ensues and Doc and his wife Carol (MacGraw) attempt to flee from their pursuers to Mexico. Replete with explosions, car chases and intense shootouts, the film became Peckinpah's biggest financial success to date earning more than $25 million at the box office.[76] Though strictly a commercial product, Peckinpah's creative touches abound throughout, most notably during the intricately edited opening sequence when McQueen's character is suffering from the pressures of prison life.[77] The film remains popular and was remade in 1994,[78][79][80] starring Alec Baldwin and Kim Basinger.
Later career
The year 1973 marked the beginning of the most difficult period of Peckinpah's life and career. While still filming The Getaway in El Paso, Texas, Peckinpah sneaked across the border into Juarez in April 1972 and married Joie Gould. He had met Gould in England while filming Straw Dogs, and she had since been his companion and a part-time crew member. Peckinpah's intake of alcohol had increased dramatically while making The Getaway, and he became fond of saying, "I can't direct when I'm sober." He began to have violent mood swings and explosions of rage, at one point assaulting Gould. After four months, she returned to England and filed for divorce. Devastated by the breakup, Peckinpah fell into a self-destructive pattern of almost continuous alcohol consumption, and his health was unstable for the remainder of his life.[81]
Pat Garrett and Billy the Kid
It was in this state of mind that Peckinpah agreed to make
Bring Me the Head of Alfredo Garcia
In the eyes of his admirers,
The Killer Elite
His career now suffering from consecutive box office failures, Peckinpah once again was in need of a hit on the level of The Getaway. For his next film, he chose
Cross of Iron
Still renowned in 1975, Peckinpah was offered the opportunity to direct the eventual blockbusters
Convoy
Hoping to create a blockbuster, Peckinpah decided to take on
2nd unit work on Jinxed!
For the next three years, Peckinpah remained a professional outcast. But during the summer of 1981, his original mentor Don Siegel gave him a chance to return to filmmaking. While shooting Jinxed!, a comedy drama starring Bette Midler and Rip Torn, Siegel asked Peckinpah if he would be interested in directing 12 days of second unit work. Peckinpah immediately accepted, and his earnest collaboration, while uncredited, was noted within the industry. For the final time, Peckinpah found himself back in the directing business.[101][102][103]
The Osterman Weekend
By 1982, Peckinpah's health was poor. Producers Peter S. Davis and
Julian Lennon music videos
Peckinpah's last work as a filmmaker was undertaken two months before his death. He was hired by producer
Documentaries
This section needs additional citations for verification. (July 2017) |
- Peckinpah has been the subject of four documentaries; the Best Documentary Short Subject.
- Over a 4-year period German film maker Mike Siegel produced and directed Passion & Poetry – The Ballad of Sam Peckinpah a two-hour long film about Sam Peckinpah which includes rare Peckinpah interviews and statements. In 2009 the two-disc special edition with a running time of 270 minutes was released on DVD.
In popular culture
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- first season of Saturday Night Live.[107]
- Peckinpah's use of violence was parodied by Monty Python in Sam Peckinpah's "Salad Days", in which a lovely day out for an upper-class English family turns into a blood-soaked orgy of severed limbs and gushing wounds.[108] Peckinpah reportedly liked the sketch and enjoyed showing it to friends and family.[citation needed]
- Peckinpah's penchant for filming action scenes in slow motion was satirized by UK comedian Benny Hill,[109] playing a milkman in a Western skit called "The Deputy" that first aired on his March 29, 1973, special. In one scene, Hill's titular character shoots one of the villains (Bob Todd), who then proceeds to pirouette in extremely slow motion before collapsing.[citation needed]
- In the 1973 My Name is Nobody, the characters Jack Beauregard (Henry Fonda) and "Nobody" (Terence Hill) meet at a cemetery. Nobody walks past the tombstones reading the names and comes across one labeled "Sam Peckimpah". He says "Sam Peckimpah. That's a beautiful name in Navajo." Leone named the gang in the film 'The Wild Bunch'.
- Various Peckinpah films are parodied in Jim Reardon's student film Bring Me the Head of Charlie Brown.[citation needed]
- In the John Waters film Cecil B. Demented (2000), several characters have the names of legendary film directors tattooed on their bodies. One of the characters has "Sam Peckinpah" tattooed on his arm.[110]
- Kris Kristofferson recorded "Sam's Song (Ask Any Working Girl)", a brief tribute to the director, for his 1995 release A Moment of Forever.[111]
Filmography
Films
Year | Title | Credited as | Notes | |||
---|---|---|---|---|---|---|
Director | Writer | Actor | Other Role | |||
1961 | The Deadly Companions | Yes | No | No | No | |
1962 | Ride the High Country | Yes | Uncredited | No | No | |
1965 | Major Dundee | Yes | Yes | No | No | |
1969 | The Wild Bunch | Yes | Yes | No | No | |
1970 | The Ballad of Cable Hogue | Yes | No | No | Yes | Producer |
1971 | Straw Dogs | Yes | Yes | No | No | |
1972 | Junior Bonner | Yes | No | Yes | No | Role: Man in Palace Bar (uncredited) |
The Getaway | Yes | No | No | No | ||
1973 | Pat Garrett and Billy the Kid | Yes | No | Yes | No | Role: Will (uncredited) |
1974 | Bring Me the Head of Alfredo Garcia | Yes | Yes | No | No | |
1975 | The Killer Elite | Yes | No | No | No | |
1977 | Cross of Iron | Yes | No | No | No | |
1978 | Convoy | Yes | No | Yes | No | Role: TV Reporter (uncredited) |
1983 | The Osterman Weekend | Yes | No | Yes | No | Role: Danforth's Aide (uncredited) |
Other film work
Year | Title | Credited as | Notes | ||
---|---|---|---|---|---|
Writer | Actor | Other Role | |||
1954 | Riot in Cell Block 11 | No | No | Yes | Production Assistant (uncredited) |
Private Hell 36 | No | No | Yes | Dialogue Director | |
1955 | Dial Red O | No | Yes | Yes | Dialogue Coach Role: Cook in Diner (uncredited) |
The Blue and the Gold | No | Yes | Yes | Dialogue Coach Role: Pilot (uncredited) | |
Wichita | No | Yes | No | Role: Bank Teller (uncredited) | |
1956 | World Without End | No | No | Yes | Dialogue Coach (uncredited) |
Crime in the Streets | No | No | Yes | Dialogue Director | |
Invasion of the Body Snatchers | No | Yes | No | Role: Charlie | |
1961 | One-Eyed Jacks | Uncredited | No | No | |
1965 | The Glory Guys | Yes | No | No | |
1968 | Villa Rides | Yes | No | No | |
1972 | Morbo | No | No | Yes | Script Supervisor (uncredited) |
1978 | China 9, Liberty 37 | No | Yes | No | Role: Wilbur Olsen |
1979 | The Visitor | No | Yes | No | Role: Dr. Sam Collins |
1982 | Jinxed!
|
No | No | Yes | Second Unit Director (uncredited) |
Television
|
|
Music videos
Year | Title | Artist |
---|---|---|
1984 | "Valotte" | Julian Lennon |
"Too Late for Goodbyes" |
Notes
- ^ "Peckinpah", Random House Webster's Unabridged Dictionary
- ^ Current Biography 1973, p. 327.
- ^ a b Simmons, p. 3.
- ^ Weddle, p. 15.
- ^ Fine, p. 12.
- ^ Weddle, p. 16.
- ^ David E. Peckinpah & IMDB.
- ^ Simmons, p. 5.
- ^ FilmReference.
- ^ "Director Sam Peckinpah, the rugged auteur director of films..." UPI. Retrieved February 14, 2022.
- ^ Simmons, pp. 10–11.
- ^ Simmons, p. 18.
- ^ Weddle, pp. 52–59.
- ^ Weddle, pp. 104–05.
- ^ Weddle, pp. 116–119.
- ^ Weddle, p. 120.
- ^ Weddle, pp. 499–500.
- ^ Weddle, p. 56.
- ^ Simmons, pp. 63–64.
- ^ "LUPITA PECKINPAH TALKS ABOUT HER FATHER, SAM PECKINPAH". Money-into-light.com. Retrieved July 9, 2022.
- ^ Weddle, pp. 163, 479.
- ^ Weddle, p. 380.
- ^ Rowl, Paul; s. "LUPITA PECKINPAH TALKS ABOUT HER FATHER, SAM PECKINPAH". Retrieved December 6, 2022.
- ^ Cohen, pp. 77–80.
- ^ Weddle, p. 550.
- ^ McCarthy, Todd. "Sam Peckinpah, Controversial Director, Dead At 59". Variety. January 2, 1985. Retrieved January 14, 2017.
- ^ Harrington, Richard. "Sam Peckinpah, Director Of 'Wild Bunch,' Dies at 59". The Washington Post. December 29, 1984. Retrieved January 14, 2017.
- ^ Sam Peckinpah & IMDB.
- ^ Weddle, p. 126.
- ^ Simmons, p. 28.
- ^ Simmons, pp. 28–29.
- ^ Klondike & IMDB.
- ^ Simmons, pp. 29–30.
- ^ Rifleman & IMDB.
- ^ Simmons, pp. 31–34.
- ^ Westerner & IMDB.
- ^ Westerner Trivia & IMDB.
- ^ Weddle, pp. 168–184.
- ^ Simmons, pp. 55–6.
- ^ Weddle, pp. 197–198.
- ^ Simmons, pp. 36–39.
- ^ Weddle, pp. 198–219.
- ^ Simmons, pp. 41–54.
- ^ Fine, p. 84.
- ^ Weddle, pp. 229–44.
- ^ Simmons, pp. 55–72.
- ^ Major Dundee Trivia & IMDB.
- ^ Carroll.
- ^ Weddle, pp. 257–63.
- ^ Simmons, pp. 73–81.
- ^ Weddle, pp. 280–95.
- ^ Simmons, pp. 76–80.
- ^ Noon Wine & IMDB.
- ^ Weddle, pp. 307–309.
- Time Out London. Archived from the originalon August 7, 2018. Retrieved August 7, 2018.
- ISSN 2577-7610. Retrieved August 7, 2018.
- ^ Weddle, pp. 310–31.
- ^ Weddle, pp. 376–377.
- ^ AFI 100.
- ^ Wild Bunch Trivia & IMDB.
- ^ "The 42nd Academy Awards". Academy Awards. Academy of Motion Picture Arts and Sciences. April 7, 1970. Retrieved August 7, 2018.
- ^ Weddle, pp. 391–92.
- ^ Weddle, pp. 383–89.
- ^ Simmons, pp. 108–20.
- ^ Cable Hogue Trivia & IMDB.
- ^ Weddle, p. 396.
- ^ Weddle, p. 427.
- ^ Weddle, pp. 399–400.
- ^ Weddle, pp. 393–403.
- ^ Simmons, pp. 121–38.
- ^ Straw Dogs Trivia & IMDB.
- ^ Weddle, pp. 428–34.
- ^ Simmons, pp. 139–53.
- ^ Weddle, p. 434.
- ^ Weddle, p. 436.
- ^ Getaway Box Office & IMDB.
- ^ Weddle, p. 439.
- ^ Getaway & IMDB.
- ^ Simmons, pp. 154–68.
- ^ Weddle, p. 442.
- ^ Weddle, pp. 444–450.
- ^ Weddle, p. 453.
- ^ Pat Garrett & IMDB.
- ^ Weddle, p. 463.
- ^ Weddle, p. 483.
- ^ Simmons, pp. 169–188.
- ^ Medved, pp. 51–55.
- ^ Ebert review.
- ^ Weddle, pp. 492–498.
- ^ Simmons, pp. 189–208.
- ^ Weddle, p. 499.
- ^ Weddle, pp. 498–500.
- ^ Simmons, pp. 209–224.
- ^ Weddle, p. 504.
- ^ Breakthrough & IMDB.
- ^ Simmons, p. 236.
- ^ Weddle, pp. 504–513.
- ^ Simmons, pp. 225–237.
- ^ Weddle, pp. 514–518.
- ^ Simmons, pp. 232–236.
- ^ Jinxed! & IMDB.
- ^ Weddle, pp. 534–535.
- ^ a b Simmons, p. 239.
- ^ Weddle, pp. 535–537.
- ^ Weddle, pp. 541–543.
- ^ MTV.
- ^ SNL Episodes & IMDB.
- ^ Weddle, p. 428.
- ^ "The Truth About Benny Hill, Collins, Andrew". Sabotagetimes.com. Retrieved February 22, 2020.
- ^ Zacharek, Stephanie (August 11, 2000). "Cecil B. DeMented". Salon.com. Retrieved August 23, 2019.
- ^ "Kris Kristofferson - A Moment of Forever Album Reviews, Songs & More". AllMusic. Retrieved July 9, 2022.
References
- Simmons, Garner (1982). Peckinpah, A Portrait in Montage. University of Texas Press. ISBN 0-292-76493-6.
- Weddle, David (1994). If They Move... Kill 'Em! The Life and Times of Sam Peckinpah. Grove Press. ISBN 0-8021-1546-2.
- Current Biography. H. W. Wilson. 1973. ISBN 0-8242-0543-X.
- "David E. Peckinpah". Internet Movie Database. Retrieved July 23, 2007.
- "(David) Sam Peckinpah Biography (1925–)". FilmReference.com. Retrieved September 3, 2011.
- "Sam Peckinpah". Internet Movie Database. Retrieved September 27, 2007.
- "Biography: Sam Peckinpah". Internet Movie Database. Retrieved July 28, 2007.
- Cohen, Stan (2004). "The Murray Hotel". Montana's Grandest-Historic Hotels and Resorts of the Treasure State. Missoula, Montana: Pictorial Histories Publishing Company. ISBN 1-57510-111-4.
- "Full cast and crew for Klondike". Internet Movie Database. Retrieved September 27, 2007.
- "Episode list for The Rifleman". Internet Movie Database. Retrieved September 27, 2007.
- "The Westerner". Internet Movie Database. Retrieved September 27, 2007.
- "Trivia for The Westerner". Internet Movie Database. Retrieved September 27, 2007.
- "Trivia for Major Dundee". Internet Movie Database. Retrieved September 27, 2007.
- Carroll, E. Jean (March 1982). "Last of the Desperadoes: Dueling with Sam Peckinpah". Rocky Mountain Magazine.
- Fine, Marshall (1991). Bloody Sam. Donald I. Fine Books. ISBN 978-1-55611-236-2.
- "Noon Wine". Internet Movie Database. Retrieved September 27, 2007.
- "American Film Institute". afi.com. Archived from the original on July 16, 2011. Retrieved September 27, 2007.
- "Trivia for The Wild Bunch". Internet Movie Database. Retrieved September 27, 2007.
- "Trivia for The Ballad of Cable Hogue". Internet Movie Database. Retrieved September 27, 2007.
- "Trivia for Straw Dogs". Internet Movie Database. Retrieved September 27, 2007.
- "Box office/business for The Getaway". Internet Movie Database. Retrieved September 27, 2007.
- "The Getaway". Internet Movie Database. Retrieved September 27, 2007.
- "Pat Garrett and Billy the Kid". Internet Movie Database. Retrieved September 27, 2007.
- Medved, Harry (1978). The 50 Worst Films of All Time. Warner Books. ISBN 0-446-38119-5.
- "Roger Ebert, Film Review for Bring Me the Head of Alfredo Garcia". suntimes.com. October 28, 2001. Archived from the original on September 20, 2012. Retrieved October 6, 2007.
- "Breakthrough". Internet Movie Database. Retrieved November 9, 2007.
- "Rock on the Net: 1985 MTV Video Music Awards". rockonthenet.com. Retrieved November 9, 2007.
- "Sam Peckinpah: Man of Iron". Internet Movie Database. Retrieved November 9, 2007.
- "The Wild Bunch: An Album in Montage". Internet Movie Database. Retrieved November 9, 2007.
- "Episode list for Saturday Night Live". Internet Movie Database. Retrieved November 9, 2007.
- "Memorable quotes for Fletch". Internet Movie Database. Retrieved November 9, 2007.
- "Trivia for Cecil B. DeMented". Internet Movie Database. Retrieved November 9, 2007.
- "Movie connections for Chopping Mall". Internet Movie Database. Retrieved November 20, 2007.
- "Combined credits for Jinxed!". Internet Movie Database. Retrieved March 6, 2012.
Further reading
- Bliss, Michael (2012). Peckinpah Today: New Essays on the Films of Sam Peckinpah. Southern Illinois University Press. ISBN 978-0-8093-3106-2.
- Simons, John L. (2011). Peckinpah's Tragic Westerns: A Critical Study. McFarland. ISBN 978-0-7864-6133-2.
- Hayes, Kevin J. (2008). Sam Peckinpah: Interviews. University Press of Mississippi. ISBN 978-1-934110-64-5.
- Engel, Leonard (2003). Sam Peckinpah's West: New Perspectives. University of Utah Press. ISBN 0-87480-772-7.
- Mesce, Bill Jr. (2001). Peckinpah's Women: A Reappraisal of the Portrayal of Women in the Period Westerns of Sam Peckinpah. Scarecrow Press. ISBN 0-8108-4066-9.
- Seydor, Paul (1999). Peckinpah: The Western Films, A Reconsideration. University of Illinois Press. ISBN 0-252-06835-1.
- Dukore, Bernard F. (1999). Sam Peckinpah's Feature Films. University of Illinois Press. ISBN 0-252-06802-5.
- Bliss, Michael (1993). Justified Lives: Morality and Narrative in the Films of Sam Peckinpah. Southern Illinois University Press. ISBN 0-8093-1823-7.
- Evans, Max (1972). Sam Peckinpah: Master of Violence. Dakota Press. ISBN 0-88249-011-7.
External links
- Sam Peckinpah at IMDb
- Black, Stacy (October 2009). "The Best Sam Peckinpah Westerns Are a Wild Bunch Indeed". American Movie Classics. Archived from the original on July 29, 2017. Retrieved July 28, 2017.
- Sam Peckinpah papers, 1936-1985. Margaret Herrick Library: Academy of Motion Picture Arts and Sciences. Collection 91.
- "Sam Peckinpah". Fan Forum.
- "Sam Peckinpah – Radio Documentary". One Act Plays and Monologues. 1969.
- "Tribute to Sam Peckinpah". ConvoyTM. 1994.
- Kael, Pauline (November 19, 1999). "A Glorious High". Austin Chronicle.
- Murray, Gabrielle (May 2002). "Sam Peckinpah". Senses of Cinema. Great Directors (20).
- Ebert, Roger (September 29, 2002). "The Wild Bunch". Sun Times. Review.
- Childs, Hayden (2003). "Wherefore Art Thou, Bloody Sam?". The High Hat. Nitrate (Special feature) (2). Archived from the original on November 15, 2007. Retrieved January 30, 2006.
Essays about Sam Peckinpah's films
- Cremean, Paul (May 23, 2006). "[Sam] Peckinpah's West versus [Michael] Mann's Metropolis". Cremmers.
- "The Films of Sam Peckinpah". Filmkuratorium. August 26, 2023.