Podcasts about Wild Bunch

In June of 1899, an outlaw gang robs a train outside of Wilcox, Wyoming. The gang is the Wild Bunch led by Butch Cassidy and the Sundance Kid. The Pinkerton agency receives the assignment to stop the gang once and for all, and Charlie Siringo conducts a 4-year manhunt for the elusive thieves. Thanks to our sponsor, HelloFresh! To get started, check out our plan: HelloFresh.com/legends10fm Join Black Barrel+ for ad-free episodes and bingeable seasons: blackbarrel.supportingcast.fm/join Apple users join Black Barrel+ for ad-free episodes, bingeable seasons and bonus episodes. Click the Black Barrel+ banner on Apple to get started with a 3-day free trial. For more details, visit our website www.blackbarrelmedia.com and check out our social media pages. We're @OldWestPodcast on Facebook, Instagram and Twitter. On YouTube, subscribe to LEGENDS+ for ad-free episodes and bingeable seasons: hit “Join” on the Legends YouTube homepage. Learn more about your ad choices. Visit megaphone.fm/adchoices

This is a re-broadcast of my 2023 interview with Steve LeSueur. Unfortunately Steve passed away from pancreatic cancer on July 1, 2025. Mormons were part of the untamed world of the Wild West—complete with outlaws, shootouts, and the kind of drama you'd expect straight out of a western film. In this episode, Steve LeSueur shares the gripping story of his great-uncle Frank LeSueur and his friend Gus Gibbons, who were murdered by the notorious outlaw gang known as The Wild Bunch. There's even a surprising connection to the infamous Butch Cassidy. Join us as we explore the real dangers Mormons faced on the frontier. Don't miss our conversation... https://youtu.be/QcPqQ7TQPrE Don't miss our other conversations with Steve: https://gospeltangents.com/people/steve-lesueur/ Copyright © 2025 Gospel Tangents All Rights Reserved Except for book reviews, no content may be reproduced without written permission. Today, we're sharing a powerful story that highlights the often-overlooked human cost of the Wild West era, brought to life by a historian who deeply personal connection to the past. We're talking about Steve LeSueur, a wonderful historian and author who sadly passed away in July 2025 due to pancreatic cancer. This post is a tribute to his work and his last interview on Gospel Tangents, where he discussed his remarkable book, Life and Death on the Mormon Frontier: The Murders of Frank LeSueur and Gus Gibbons by The Wild Bunch, published by Greg Kofford Books. Steve LeSueur was driven to explore a piece of his own family history that had been shrouded in mystery for generations. His great-uncle, Frank LeSueur, was murdered by outlaws in 1900. While his family always knew Frank was killed, the details were scarce, and the killers were believed to have gotten away with little effort to capture them. His grandfather, Carl LeSueur, Frank's younger brother, was only five when Frank was killed and didn't have many details to share. For over a century, it was largely considered "some minor episode in western history". However, in recent years, historians and biographers specializing in outlaws like Butch Cassidy and the Sundance Kid began to point fingers. These historians, some of whom had Mormon ties, suggested that Butch Cassidy's Wild Bunch gang were the likely culprits behind Frank's death. This new information ignited Steve's interest, drawing him into a deeper investigation. What truly set Steve's work apart was his unique perspective: focusing on the victims. As he noted, historians often prioritize the outlaws, their daring heists, and exciting getaways, treating victims as mere "bit players" or "extras in a movie". Steve, however, looked at the events from the victim's point of view, reading journals, diaries, and reminiscences left behind by Latter-day Saints in the community. He discovered a compelling story that offered numerous insights into both the outlaws and the community itself. It turns out, not many people have an ancestor killed by a famous outlaw. Despite the year being 1900, which might sound somewhat modern, the setting for this tragedy was truly still the Wild West. Frank LeSueur's murder occurred just outside St. Johns, Arizona, a "dusty cattle and sheep town". In 1900, this town had no electricity and no running water. It was an era where cars and airplanes were not yet commonplace. Steve LeSueur's research has profoundly enhanced our understanding of this specific Wild West tragedy, shifting the narrative to those who suffered the most. His book stands as a vital contribution to history, reminding us that every "bit player" has a story worth telling. We miss Steve greatly, and our hearts go out to his family. Don't miss our other conversations with Steve: https://gospeltangents.com/people/steve-lesueur/ Copyright © 2025 Gospel Tangents All Rights Reserved Except for book reviews, no content may be reproduced without written permission.

We're remembering the late great director (and Trailers From Hell Guru) Jonathan Kaplan (1947–2025) and re-running our chat with the director of Over The Edge, The Accused, and many more. Jonathan took us on a journey through some of his favorite movies. Movies Referenced In This Episode The Student Teachers (1973)Night Call Nurses (1972)White Line Fever (1975)Truck Turner (1974)Heart Like A Wheel (1983)The Accused (1988)Over The Edge (1979)Modern Times (1936)City Lights (1931)Manhattan (1979) Some Like It Hot (1959)The Apartment (1960)North By Northwest (1959) Moon Pilot (1962) Mr. Billion (1977)White Heat (1949)The Wizard of Oz (1939)The Three Musketeers (1973)The Four Musketeers (1974)Superman (1978)Superman II (1980)The Three Musketeers (1948)Shane (1953) The 400 Blows (1959)8 ½ (1963)Fellini Satyricon (1969)Richard (1972)Millhouse (1971)The Projectionist (1970)El Dorado (1966)The Shootist (1976)Woodstock (1970) Payback (1999)A Hard Day's Night (1964) The Loneliness of the Long Distance Runner (1962)Billy Liar (1963)Ford Vs Ferrari (2019)The Wild Bunch (1969)The Ballad of Cable Hogue (1970)Bad Girls (1994)Masters of the Universe (1987)Giant (1956)The More The Merrier (1943) The Graduate (1967) The Victors (1963)…And Justice For All (1979)Citizen Kane (1941)An Alan Smithee Film: Burn Hollywood Burn (1997)The Day of the Dolphin (1973)The Call of the Wild (2020) The Lion King (1994)The Lion King (2019) The Revenant (2015)Lawrence of Arabia (1962)Dr. Strangelove (1964)Hollywood Boulevard (1976) Day For Night (1973)Being There (1979)Bound For Glory (1976)Second-Hand Hearts (1981)Requiem For A Heavyweight (1962)The Night of the Hunter (1955) The Godfather (1972)The Godfather Part II (1974)The Student Nurses (1970) Valley of the Dolls (1967) Charlie's Angels (2019)2001: A Space Odyssey (1968)Psycho (1960) The Oscar (1966) Barry Lyndon (1976) Once Upon A Time In The West (1968) Bird (1988)The Outlaw Josey Wales (1976)American Sniper (2014) The Beguiled (1971)The Grapes of Wrath (1940) Fort Apache (1948)The Searchers (1956) Straight Time (1978)Who Is Harry Kellerman and Why Is He Saying Those Terrible Things About Me? (1971)True Confessions (1981)Monster (2003)Beyond The Valley Of The Dolls (1970) This list is also available on Letterboxd. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, Matt and Todd take aim at a film that needs no introduction... but we're giving it one anyway.The Wild Bunch (1969) is a brutal, operatic action-western from the legendary Sam Peckinpah, featuring a powerhouse cast led by William Holden, Ernest Borgnine, Jaime Sánchez, Warren Oates, Ben Johnson, and Robert Ryan.The Old West is dying, and Pike Bishop (Holden), a hardened outlaw, rallies his gang for one last big score: robbing a railway gold shipment. When the plan goes south, they're relentlessly pursued by former comrade-turned-bounty hunter Deke Thornton (Ryan). What follows is a violent, visceral masterpiece that grapples with fading codes of honor among men with a bent understanding of it.If you've never seen this film, it earns our highest and easiest recommendation. Whether you're a long-time fan of “horse operas” or just discovering the grit and grandeur of classic Westerns, The Wild Bunch is essential viewing. We think it would appeal to any action fan of all ages.Matt reviews and ranks more movies including newer ones at ⁠Letterboxd⁠You can find out what he's following on Bluesky @MovieMattSirois.bsky.socialCheck out favorites of what we follow, at: ⁠⁠⁠Once Upon a Geek⁠⁠⁠⁠ and  ⁠⁠⁠⁠The Fade Out Podcast⁠⁠ As Marcus he reviews all sorts of films but unlike here, they often they range from bad, worse, or terrible at the ⁠⁠⁠⁠MovieAsylum of the Weird, Bad and Wonderful⁠.

Staffel Zwei startet mit dem ersten Dr. Horror Friendship Special, bei dem sich alles um Härte im Horror dreht! Zu Gast: Schmidi, Dr. Horror Wegbegleiter seit vielen Jahren, Gitarrenlegende bei der Band "Lazer" und ein absoluter Experte für Härte im Horror. Herzstück der Folge: Unsere härtesten Horrorfilme aller Zeiten, mit dabei u.a: John Carpenters The Thing, The House that Jack built, Martyrs und gaaanz viel random Sachen mit Nicholas Cage. Am Ende der Episode gibt es noch einen großen Showdown, bei dem zwischen „Hexe“, „Teufel“, „Zombie“, „Slasher-Killer“ und „Horror-Clown“ das härteste Horror-Motiv aller Zeiten ermittelt wird. Also, definitiv nichts für Softies! Dafür die perfekte Folge für alle Freunde wahrer Horror-Härte.  WeiterforschenH.P. Lovecrafts legendärer Essay, in dem er seine Theorie von der Angst vor dem Unbekannten entwickelt. Meine Ausgabe:H.P. Lovecraft: Die Literatur der Angst. Zur Geschichte der Phantastik. Übers. Von Koseler Michael. Frankfurt am Main. Suhrkamp. 1995. Online lesen:https://www.hplovecraft.com/writings/texts/essays/shil.aspxKompakter Aufsatz von George Bataille zum Thema Grenzüberschreitung,der zeigt, wie das Verbot selbst uns zur Übertretung herausfordert:Bataille, Georges. Die Transgression. In: Literatur und das Heilige. Übersetzt von Roswitha Burwick. Frankfurt am Main:Suhrkamp Verlag, 1995, S. 109–128Eine kleine Zusammenfassung des bisherigen Forschungsstands zur Frage: „Warum Horror?“ findest du hier:https://drive.google.com/drive/folders/1dFRsceGZiydBNYyHaL8Dv3EAWgCrKGa_?usp=drive_link Filme· Paul W. S.Anderson: Resident Evil. Constantin Film. 2002· Simon West: Con Air. Touchstone Pictures. 1997· Panos Cosmatos: Mandy. XYZ Films. 2018· Mark Steven Johnson: Ghost Rider. Columbia Pictures. 2007· Srđan Spasojević: A Serbian Film. Contra Film. 2010· Don Siegel: Invasion of the Body Snatchers. Allied Artists. 1956· John Carpenter: The Thing. Universal Pictures. 1982· William Friedkin: The Exorcist. Warner Bros.1973· Pascal Laugier: Martyrs. Wild Bunch. 2008· Aaron Norris: Hellbound. Cannon Group.1994· Robert Eggers: Nosferatu. Maiden Voyage Pictures. 2024QUOTE DR. HORROR Ich freu mich, wenn Dr. Horror dich bei deiner Arbeit weiterbringt! Du kannst jederzeit aus Dr. Horror in zitieren, vergiss nur nicht, den Credit anzugeben, z.B. so: Stefan Sonntagbauer & Schmidi: Härte im Horror. Dr. Horror. Podcast. Wien. 2024. Lass mich gerne wissen, wo du Dr.vHorror verwendet hast, schreib mir gern eine Mail oder schick mir eine DM auf Instagram, damit ich deine Arbeit teilen kann!!! TEAMDr. Horror: Stefan SonntagbauerProduktionsleitung: Axel StasnyProduktionsassistenz: Danny FilmgeekSet Design: Carina AntlTon: Lukas KlingseisenTheme „The Other Side“ by DavidSonntagbauer KONTAKTDu willst als Gast über dein Horror-Thema plaudern, hast Ideen für neue Episoden oder magst du einfach nurdein Feedback teilen? - Ich freu mich, von dir zu hören, schreib mir auf Stefan.sonntagbauer@gmx.atInstagram: ⁠⁠⁠⁠⁠instagram.com/dr.horror_official Facebook: ⁠⁠⁠www.facebook.com/stefan.sonntagbauerDISCLAIMERVerschiedene Medien werden ausschließlich zur kritischen Auseinandersetzung und Analyse im Sinne des Zitatrechts (§ 42 UrhG) verwendet. Alle Rechte verbleiben bei den jeweiligen Rechteinhaber:innen. Sollten Sie der Ansicht sein, dass Ihre Rechte verletzt wurden, kontaktieren Sie mich gerne,damit ich entsprechende Maßnahmen ergreifen kann.

This week Steve interviews author Bob Herzberg about his book Revolutionary Mexico on Film: A Critical History 1914-2014, covering such memorable titles as “The Wild Bunch,” “The Professionals,” “Juarez,” “Viva Zapata,” “Bandido,” Villa Rides” and more.      

In the early 1890s, the Dalton Gang burns hot and bright in Kansas and Oklahoma, but then burns out quickly. After the disastrous Coffeyville Raid, Bill Doolin and Bill Dalton pick up the pieces and start a new gang. The Doolin Dalton Dang, also known as the Wild Bunch, robs banks and trains and quickly becomes the most feared outfit on the southern plains. In the process, the gang draws the attention of the U.S. Marshals, and the stage is set for a legendary shootout in the village of Ingalls, Oklahoma. Join Black Barrel+ for ad-free episodes and bingeable seasons: blackbarrel.supportingcast.fm/join Apple users join Black Barrel+ for ad-free episodes, bingeable seasons and bonus episodes. Click the Black Barrel+ banner on Apple to get started with a 3-day free trial. For more details, visit our website www.blackbarrelmedia.com and check out our social media pages. We're @OldWestPodcast on Facebook, Instagram and Twitter. On YouTube, subscribe to LEGENDS+ for ad-free episodes and bingeable seasons: hit “Join” on the Legends YouTube homepage. Learn more about your ad choices. Visit megaphone.fm/adchoices

On April 19, 1980, legendary character actor Strother Martin hosted Saturday Night Live—and delivered a surprisingly strong performance. Best known for his unforgettable roles in films like Cool Hand Luke, True Grit, Slap Shot, The Wild Bunch, Up in Smoke, and Butch Cassidy and the Sundance Kid, Martin brought his unique presence and versatility to Studio 8H for one memorable night. Nick looks back at this fascinating episode, featuring a clever Cool Hand Luke parody and a mix of strange, sharp, and hilarious sketches. Along the way, he shares behind-the-scenes stories about how some of the show's most unusual comedy came together. You'll hear standout moments from cast members Bill Murray, Gilda Radner, Harry Shearer, Garrett Morris, Paul Shaffer, and more—plus material that feels just as politically relevant today as it did in 1980. It's a fun, deep dive into a night when one of Hollywood's most underrated talents—often mistaken for Tennessee Williams—stepped into the world of live sketch comedy and left his mark. [Ep 119]

For much of their outlaw careers, Butch Cassidy and the Sundance Kid weren't the inseparable duo that Hollywood made us believe with its 1969 depiction of the pair. But the movie isn't the only reason the two are inextricably linked: The two members of the Wild West crew known as The Wild Bunch were wanted men when they opted in 1901 to disappear together. The official story is that the pair died in a shoot-out with the Bolivian army, but more than a century later, questions remain. "Crimes of the Centuries" is a podcast from Grab Bag Collab exploring forgotten crimes from times past that made a mark and helped change history. You can get early and ad-free episodes on the Grab Bag Patreon page.  DON'T FORGET ABOUT THE CRIMES OF THE CENTURIES BOOK!  Order today at www.centuriespod.com/book (https://www.centuriespod.com/book)! Follow us on Instagram and Twitter: @centuriespod Episode Sponsors: Galatea. Over 30 million people have fallen in love with reading on Galatea. Join now to indulge in stories that make you feel like yourself again. Right now, Galatea is offering our listeners an extra 25% off on top of an already-irresistibly-affordable subscription when you go to GALATEA.COM/COTC. Home Chef. For a limited time, Home Chef is offering my listeners FIFTY PERCENT OFF and free shipping for your first box PLUS free dessert for life! Go to HomeChef.com/COTC. Hiya Health. We've worked out a special deal with Hiya for their best selling children's vitamin. Receive 50% off your first order. To claim this deal you must go to hiyahealth.com/COTC. 

The Thorny Rose Of The Wild BunchAd Free Safe House EditionEpisode 324 tells the tale of a young woman who would do anything for the man she loves, even go to prison for him. The couple were associated with the gang known as the Wild Bunch, featuring such notorious characters as Black Jack Ketchum, Butch Cassidy, and Harry Longbaugh, also known as the Sundance Kid.More WILD WESTERNSCulled from the historic pages of the St. Louis Times-Dispatch, the St. Louis Republican, and other newspapers of the era.Epilogue. Ben Kilpatrick did not get out of federal prison until 1911. By that time, Laura Bullion had been involved with several other men and was living in Memphis. They never reconnected. Kilpatrick was killed in an attempted train robbery in 1912. Laura Bullion worked as a seamstress and interior designer in Memphis until she died of heart disease at age 85 in 1961, the last surviving member of the Wild Bunch.Become a supporter of this podcast: https://www.spreaker.com/podcast/true-crime-historian--2909311/support.

**Our Guest: Hristina Noland Imdb: m.imdb.com/name/nm2738290Youtube:  @hristinanolandhrisohoou  --Hristina Noland Hrisohou was born in Heidelberg, Germany to Academia parents. She studied acting in prestigious Rose Bruford College and since then, she has worked steadily in leading roles in international feature films, ranging from drama to comedy, thrillers, science fiction and psychological horror.--Acting film credits vary from Adults in the Room by Academy Award winner filmmaker Costa Gavras; which opened in Venice Film Festival last year and distributed by Wild Bunch. Also, Hella's avant garde filmmaker Pantelis Voulgaris period feature critically acclaimed Psyhi Vathia - With Heart and Soul; streaming on Apple tv distributed by Amazon and the lead part in i.e crystal bear winner Henrik Norrthon's Taximan; also featuring in independent award winning Final Pay Off, a few well received Hellenic TV series as well as performed in the Actors' Gang Theatre in The Style directed by Academy Award Winner Tim Robbins.--Hristina's warm hearted pathos for cinema stemming from the life long intent in leaving a personal trail as a storyteller has prompted her tear jump in front and behind the camera leading to her directorial debut with the artistic feature film Ithaca now in post-production.​--Other work ranges from casting international mainstream TV series alongside independent boutique short films to positions in the PR department of the Thessaloniki international film festival, as well as working as a whimsical attorney and moreover winning first prize in playwriting competition in her earlier adult years.--Since 2015, she has been an acting tutor on British acting technique and holds the position of the executive director of the non profit educational organization International Casting Directors in Athens and a filmmaker in affiliation with NolandFilm. ICDA guest lecturers as yet has been an eclectic group of casting directors - i.e Manuel Puro of Guillermo del Toro's Hellboy, talent managers, screenwriters and producers. --For the Visual part of Her Artistic Endeavours as Actor, Filmmaker, award winning Play & Screenwriter; overall Creator----Join the conversation LiveChat as we raise the questions, give our opinions , and ask you the same questions... --Live Chat with Us Every week... -----Music: Audio Podcast : by Daniel Howse : www.youtube.com/ProfessorSoraMusic ** OneMicNite Theme Song "Chance" & Background Song "Kanye" Host:--Contact/ Follow Marcos on IG/Fb/IMdb/Twitter/TikTok: @MarcosLuis and www.MarcosLuis.com —Show: OneMicNite Podcast with Marcos Luis *Contact/Follow: IG/Fb/Twitter/Tumbler/LinkedIn/Youtube/TikTok @OneMicNite www.OneMicnite.com - - ** Listen to Audio Podcast: Available wherever you download , all digital platforms.. ** Support Us Now: http:www.Anchor.fm/onemicnitetalk ---Follow/Contact -- The Show: All Social Media Fb/Ig/Twitter/Tumbler/TikTok/ *** watch the episodes on Youtube @OneMicNite & www.OneMicNite.com****Please Support this Podcast: PayPal/ Zell Pay: MarcosStarActor@gmail.com Venmo @ Marcoso-Luis-1 CashApp : $MarcosLuis1 Please Visit: The AzulesEn Online store to find Products that Compliment your Lifestyle: Link : https://azulesen.myshopify.com/products/onemicnite-signature-logo-unisex-talk-live-pod-tee

Welcome back to Film Haven Reviews!! This week we are continuing our Bloody Western theme with the famous Spaghetti Western film Massacre Time (1966). This movie was certainly a step down from The Wild Bunch in terms of blood effects and general quality but there were still things to enjoy, even if it was for the humor of its ridiculousness. I gave this film a 6/10 for being entertainingly bad with some flashes of brilliance in the action choreography and practical effects that may have been a smidge a head of its time. For my full written review feel free to follow my instagram: https://www.instagram.com/film_haven_reviews/You can also go to find the video on my NEW youtube page: https://www.youtube.com/@filmhavenreviews

Welcome back to Film Haven Reviews for the 100th Episode!!!! Thank you to all of you who have stuck with the show this entire time and welcome all who are just now tuning in! This week we are starting a new Bloody Western Theme with one of the most famous and violent westerns of all time, The Wild Bunch (1969)This film was all about the peaks and valleys: moments of tremendous actions followed by long bouts of exposition. While that made the film feel boring at times, the highlights certainly outweighed the low points and I gave this film an 8/10 for its innovative action choreography and use of practial effects. For my full written review feel free to follow my instagram: https://www.instagram.com/film_haven_reviews/You can also go to find the video on my NEW youtube page: https://www.youtube.com/@filmhavenreviewsLink to Article Referenced in the episode: https://cinephiliabeyond.org/the-wild-bunch/Article by: Tim Pelan

Cinematic Karma - Stanley Kubrick's                     A Clockwork Orange  WatchThis fan and BuyMeACoffee contributor, Alan Lamberg, suggests this week's title, Stanley Kubrick's 1971 controversial (masterpiece - ?), A Clockwork Orange. In the late 60s and early 70s the cinematic landscape was changing and evolving into a very different creature. Arthur Penn's Bonnie & Clyde and Sam Peckinpah's The Wild Bunch would usher in a new era of cinematic violence. Stanley Kubrick would soon pick up the baton and create one of the most polarizing and controversial films ever made. From the novella by Anthony Burgess, Kubrick would create a dystopian England that would change the attitudes and expectations of film audiences. With a powerful and compelling performance by Malcolm McDowell, A Clockwork Orange has riveted audiences since its premiere in 1971. Fifty plus years later we have to ask ourselves if the film continues to offend and frighten as it did those many years ago. Mr. Chavez & I definitely have our opinions and are thrilled to lay it out for you the listener. Sit down, download, and enjoy a spirited discussion on the film, its role in cinematic history, and Kubrick's continuing power as a filmmaker. It's a fun time. As always, we can be reached at gondoramos@yahoo.com - Many Thanks.  For those of you who would like to donate to this undying labor of love, you can do so with a contribution at https://www.buymeacoffee.com/watchrickramos - Anything and Everything is appreciated, You Cheap Bastards.

Leader of the Wild Bunch gang, Butch Cassidy was a legendary American criminal who engineered infamous bank and train robberies across the West in the late 19th century. His charisma and careful planning ensured he eluded capture for years. And when, in 1901, he fled the law to South America with his partner, the Sundance Kid, reports differ as to what exactly became of him…. Could Cassidy have survived, quietly living out the rest of his days back in the United States? What is the real truth about his life? And was Butch Cassidy the kindly gentleman rogue some would have us believe? This is a Short History Of Butch Cassidy. A Noiser Production. Written by Nicola Rayner. With thanks to Amy Harmon, author of The Outlaw Noble Salt.  Get every episode of Short History Of a week early with Noiser+. You'll also get ad-free listening, bonus material, and early access to shows across the Noiser network. Click the Noiser+ banner to get started. Or, if you're on Spotify or Android, go to noiser.com/subscriptions. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Thomas “Black Jack” Ketchum was an Old West cowboy turned outlaw. He and his gang robbed trains and stole livestock all throughout the American Southwest before coming to a disastrous end. And that's when things went from bad to worse. Before it was all said and done, Ketchum would go down in history as the only person ever executed for ATTEMPTING to rob a train. Also discussed are Black Jack Christian, the Wild Bunch, Will Carver, Ben Kilpatrick, and Elzy Lay. This episode is brought to you by Quince! https://www.quince.com/wildwest This episode is also sponsored by DraftKings! https://sportsbook.draftkings.com Code: WILDWEST Check out the website for more true tales from the Old West https://www.wildwestextra.com/ Email me! https://www.wildwestextra.com/contact/ Buy me a coffee! https://www.buymeacoffee.com/wildwest Free Newsletter! https://wildwestjosh.substack.com/ Join Into History for ad-free and bonus content! https://intohistory.supercast.com/ Join Patreon for ad-free and bonus content! https://www.patreon.com/wildwestextra Dynamite and Six Shooter by Jeff Burton - https://a.co/d/802o5Z9 Thomas “Black Jack” Ketchum essay by Jeff Burton - https://www.seibelfamily.net/ketchum-black-jack.html Learn more about your ad choices. Visit megaphone.fm/adchoices

For our last episode 2024, we are still in our Western movie season with Sam Peckinpah's influential western THE WILD BUNCH.  Please send any and all feedback to anotherlookpod@gmail.com, and follow us on Instagram @anotherlookpod.  Our top movies of 2024 episode will come out sometime before the end of January!

In the days when the Wild West was still wild, organized gangs roamed the frontier, holding up trains and stagecoaches, and targeting banks. One of the earliest documented bank robberies occurred in 1866, when Frank and Jesse James robbed the Clay County Savings Association in Liberty, Missouri, escaping with sixty thousand dollars. Butch Cassidy and the Sundance Kid led the Wild Bunch into the early 1900s. While they primarily robbed trains, the Wild Bunch was also responsible for several bank robberies, including one in which they took over $32,000.

This week, CoinOps can finally shut up about the epic 1969 Sam Peckinpah western: The Wild Bunch. Yee, and I cannot stress this enough, haw.Send a wire:https://www.neondystopia.com/https://www.patreon.com/neondystopia/https://cyberpunklibrarian.com/discord.gg/M6fGZERb7Zhttps://rss.com/podcasts/l0wl1f3podcast/

Rod and Greg Show Daily Rundown – Friday, December 6, 20244:20 pm: Frank Miele, a Columnist with Real Clear Politics, joins the program for a conversation about Trump's picks for his cabinet signal an effort to upend bureaucracy and enact sweeping governmental reforms.4:38 pm: Steve Gruber, Host of America's Voice Live from Real America joins the show for a conversation about his piece for American Greatness on the decadence of transgender extremism.6:05 pm: Mark Krikorian, Executive Director of the Center for Immigration Studies joins Rod and Greg for a conversation about what a mass deportation plan in the U.S. might look like.6:20 pm: Alexandra Hudson of the Prohuman Foundation joins the show to discuss her op-ed piece in the Washington Post about the power of not talking about politics.6:38: pm: We'll listen back to this week's conversations with Utah Congressman-elect Mike Kennedy about the Supreme Court case regarding a Tennessee law banning children from undergoing gender-transition surgeries, and (at 6:50 pm) with Robert McGreevy, a reporter with the Daily Caller about how Robert F. Kennedy, Jr., if confirmed as the head of the Department of Health and Human Services, would like to remove fluoride from America's water.

THURSDAY DECEMBER 5th We go back to December 2020 and Celebrate THE FIRST NOEL!  This Show was just to much fun with this Wild Bunch! The SOUNDS OF THE SEASON continues on the award winning CAMPFIRE CAFE with special guest the multi talented and award winning Belinda Gail, Kip Calahan Young and R.W. Hampton! We remember the great Curly Musgrave... We welcome Back Country Horsemen of America's Director, Public Lands & Recreation Randy Rasmussen to this weeks SADDLE UP AMERICA! It's gonna a be a great show this week! Listen Live at Equestrianlegacy.net or the Podcast on Apple Podcast, iTunes, iHeart Radio and Spotify!

3527 – December 3, 2024 – Trump’s “Wild Bunch” – LIBERTY IS ALWAYS IN THE HANDS OF THE PEOPLE  … AND … We the People hired President Trump to Clean up Dodge and … restore our Freedom and Independence.  Will we truly get back to our Constitutional Republic form of government? Again, that will be up to We the People. Yesterday ... The post Trump’s “Wild Bunch” appeared first on CSC Talk Radio.

Considered by some to be the last of Butch Cassidy's Wild Bunch, Harry Tracy blasted his way out of prison in the summer of 1902. What followed was one of the most desperate man hunts in all of U.S. history. Over the course of the next two months, Tracy would lead hundreds of lawmen, including the National Guard, on a deadly game of chase that would see at least 7 men gunned down. According to the papers of his time, “In all of the criminal lore of the country, there is no record equal to that of Harry Tracy for cold-blooded nerve, desperation, and a thirst for crime. Jesse James, compared with Tracy, is a Sunday School teacher.” But who was the real Harry Tracy? Where'd he come from? What started him on a life of crime? And did he really ride with Butch Cassidy and the Sundance Kid? This is a compilation of previously released material.   Check out the website for more true tales from the Old West https://www.wildwestextra.com/   Email me! https://www.wildwestextra.com/contact/   Buy me a coffee! https://www.buymeacoffee.com/wildwest   Free Newsletter! https://wildwestjosh.substack.com/   Join Into History for ad-free and bonus content! https://intohistory.supercast.com/   The Saga of the Outlaw Harry Tracy by James Nystrom - https://www.amazon.com/dp/1456373501?linkCode=ssc&tag=onamzjoshta02-20&creativeASIN=1456373501&asc_item-id=amzn1.ideas.YEHGNY7KFAU7&ref_=aip_sf_list_spv_ofs_mixed_d_asin Learn more about your ad choices. Visit megaphone.fm/adchoices

Book Vs. Movie: ConvoyThe CW McCall Novelty Song Vs. the Sam Peckinpah (!) FilmIn the mid-1970s, a unique country song about truckers, CB radios, and the open road captured the imagination of America. It was called "Convoy," and it not only topped the charts but also inspired a Hollywood movie, solidifying its place in pop culture history. Initially a novelty tune, it evolved into a cultural phenomenon. The song was written and performed by C.W. McCall, the alter ego of ad man Bill Fries, in collaboration with musician Chip Davis, who later founded Mannheim Steamroller. "Convoy" rode the wave of the CB radio craze that swept through the U.S. during the 1970s. The song's immense success attracted Hollywood's attention, and soon, the story of "Rubber Duck" made its way to the big screen. The movie, directed by Sam Peckinpah, known for his gritty and violent Westerns such as The Wild Bunch and Pat Garrett & Billy the Kid, added a dramatic twist to the whimsical narrative. So, between the song and the film, which did the Margos prefer? Listen to find out! In this ep, the Margos discuss:How the song was created as an advertisementThe career of Sam Peckinpah The Movie Cast: Kris Kristofferson (Rubber Duck,) Ali McGraw (Melissa,) Ernest Borgnine (“Cottonmouth,”) Burt Young (Love Machine,) Madge Sinclair (Widow Woman,) Franklyn Ajaye (Spider Mike,) Seymour Cassell (Governor Haskins,) Cassie Yates (Violet,) Billy Hughes (“Pack Rat,”) Jorge Russek (Tiny Alvarez,) and Patrice Martinez as Maria. Clips used:“Convoy Truckers Escape Speedtrap”“Old Home Bread Commercial 1973”CW McCall on Hee Haw in 1976Convoy (1978 trailer)“Rubber Duck meets Melissa”“Rubber Duck sneaks into NM.”“Bridge scene Convoy.”Music by CW McCall & Chip DavisFollow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie bookversusmoviepodcast@gmail.com Margo D's Blog Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: Margo P's Instagram Margo P's Blog  Margo P's YouTube ChannelOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Book Vs. Movie: ConvoyThe CW McCall Novelty Song Vs. the Sam Peckinpah (!) FilmIn the mid-1970s, a unique country song about truckers, CB radios, and the open road captured the imagination of America. It was called "Convoy," and it not only topped the charts but also inspired a Hollywood movie, solidifying its place in pop culture history. Initially a novelty tune, it evolved into a cultural phenomenon. The song was written and performed by C.W. McCall, the alter ego of ad man Bill Fries, in collaboration with musician Chip Davis, who later founded Mannheim Steamroller. "Convoy" rode the wave of the CB radio craze that swept through the U.S. during the 1970s. The song's immense success attracted Hollywood's attention, and soon, the story of "Rubber Duck" made its way to the big screen. The movie, directed by Sam Peckinpah, known for his gritty and violent Westerns such as The Wild Bunch and Pat Garrett & Billy the Kid, added a dramatic twist to the whimsical narrative. So, between the song and the film, which did the Margos prefer? Listen to find out! In this ep, the Margos discuss:How the song was created as an advertisementThe career of Sam Peckinpah The Movie Cast: Kris Kristofferson (Rubber Duck,) Ali McGraw (Melissa,) Ernest Borgnine (“Cottonmouth,”) Burt Young (Love Machine,) Madge Sinclair (Widow Woman,) Franklyn Ajaye (Spider Mike,) Seymour Cassell (Governor Haskins,) Cassie Yates (Violet,) Billy Hughes (“Pack Rat,”) Jorge Russek (Tiny Alvarez,) and Patrice Martinez as Maria. Clips used:“Convoy Truckers Escape Speedtrap”“Old Home Bread Commercial 1973”CW McCall on Hee Haw in 1976Convoy (1978 trailer)“Rubber Duck meets Melissa”“Rubber Duck sneaks into NM.”“Bridge scene Convoy.”Music by CW McCall & Chip DavisFollow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie bookversusmoviepodcast@gmail.com Margo D's Blog Margo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: Margo P's Instagram Margo P's Blog  Margo P's YouTube ChannelOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

In der aktuellen Folge von echtgeld.tv begrüßt Tobias Kramer zum zweiten Mal in 2024 Dirk Hagemann. Dirk hat in diesem Jahr als Privatperson und als Stimmrechtsvertreter der DSW 37 (!) Hauptversammlungen besucht und dabei zahlreiche Eindrücke gesammelt, wie man mit Anlegern umgehen kann, umgehen sollte und natürlich auch, wie man es auf keinen Fall macht. Also auf zu einem Blick auf die HV-Tops Bauer, Tradegate und DEFAMA und auch auf die Flop-Veranstaltungen von Wild Bunch, die in Arzneiwerk AG Vida umbenannte TELES und die glücklicherweise nahezu unbekannte Commertunity AG. Aber mit diesen drei Flops endet das partielle HV-Desaster 2024 noch nicht! Denn auch bei den Aktionärstreffen von Karwendelbahn und Mr. Spex gelang es den nicht immer vollständig vorhandenen Vorständen und Aufsichtsräten recht nachhaltig, das Vertrauen ihrer Aktionäre, also den Miteigentümern der Gesellschaft, massiv zu erschüttern.

Jan Gangsei is an award-winning author of books for young adults and tweens. Her debut YA thriller, Zero Day, was named to several state award lists and was one of Bank Street's Best Books of the Year. She's also penned several middle-grade books, including Project Me 2.0, The Wild Bunch, as well as series fiction under various pen names commissioned by book packagers and publishers. Her latest YA novel is Dead Below Deck 

Here is a series of firsts for us at the Half Hour of Power! Our first thumbnail! Our first video of collecting physical media! That is right! DVDs, VHS, Laserdisc! You name it! We collect it! We thought it would be fun to talk about the collection and share some of that with you guys. Snow Globe Fargo VHS. Scream VHS with the extra commentary tape and the phone card! A Wild Bunch director's cut Laserdisc and a Strange Orson Welles film! King Kong 1933 Tin edition! Dario Argento's Masterpiece Suspiria! We hope you enjoy this and share some of your favorites in your Physical Media collection!

This week on the show we'll let you know about a massive new record swordfish caught off the Southern California coast.  Krista Fahlgren walks you through the Phillips County Historical Museum in Malta, Montan where you'll see everything from dinosaur fossils to an extensive collection of taxidermy and a great exhibit about outlaws who operated around here during the old west to include members of "The Wild Bunch".  In addition to this, we'll re-air a great conversation with Mark Kayser about an epic Wyoming elk hunt and share a season ending wrap up for Sportsmans Cove Lodge with Jenny Neary.   www.americaoutdoorsradio.com www.missouririvermt.com  www.alaskasbestlodge.com   

*WARNING GRAPHIC CONTENT* Brett, Pappy, Korey, and Josh review a spooooky Gaspar Noé classic: Climax! When members of a dance troupe are lured to an empty school, drug-laced sangria causes their jubilant rehearsal to descend into a dark and explosive nightmare as they try to survive the night -- and find out who's responsible -- before it's too late. Release date: March 1, 2019 (USA) Director: Gaspar Noé Screenplay: Gaspar Noé Distributed by: Wild Bunch, O'Brother Distribution Budget: $2.9 million Cinematography: Benoît Debie

The ninth episode of our season on the awesome movie year of 1969 features Jason's personal pick, Sam Peckinpah's The Wild Bunch. Directed and co-written by Sam Peckinpah and starring William Holden, Ernest Borgnine, Robert Ryan, Edmond O'Brien and Jaime Sánchez, The Wild Bunch was nominated for two Oscars.The contemporary reviews quoted in this episode come from Vincent Canby in The New York Times (https://www.nytimes.com/1969/06/26/archives/violence-and-beauty-mesh-in-wild-bunch.html), Pauline Kael in The New Yorker, and Judith Crist in New York Magazine.Please like, share, rate and comment on the show and this episode, and tune in for the next 1969 installment, featuring a Venice Film Festival award winner, Federico Fellini's Fellini Satyricon.

The true story of Tulsa Jack and Doolin's Wild Bunch and the Pursuit by U.S. Marshal Chris Madsen

Welcome to Hit Rewind! In this episode, Michael and Kersey take a trip back to 1968 to explore how cinema began pushing boundaries. The year saw the emergence of the R and X ratings, reflecting a shift towards more mature themes. First on the list is Valley of the Dolls, a melodrama about three women navigating the dark side of Hollywood. Despite its reputation for being trashy, it's a fascinating look at the industry's underbelly, with standout performances, especially from Patty Duke. The conversation then shifts to Beyond the Valley of the Dolls, a wild, bizarre follow-up that blends comedy, musical acts, and surrealism. Directed by Russ Meyer and co-written by Roger Ebert, this film is a cult classic that defies conventional storytelling. Next up is Midnight Cowboy, a groundbreaking film that delves into the gritty life of a wannabe male prostitute in New York City. With stellar performances by Jon Voight and Dustin Hoffman, this movie is a masterpiece that stands the test of time. Finally, they discuss The Wild Bunch, a film that redefined action and Western genres with its raw, unfiltered portrayal of violence and camaraderie. Directed by Sam Peckinpah, it's a gritty tale of outlaws facing the end of their era. Join us as we explore these iconic films and their impact on the world of cinema. Enjoy the journey through the transformative year of 1968!

The eighth episode of our season on the awesome movie year of 1969 features our animation pick, Peanuts adaptation A Boy Named Charlie Brown. Directed by Bill Melendez from a screenplay by Peanuts creator Charles M. Schulz and starring the voices of Peter Robbins, Pamelyn Ferdin, Glenn Gilger and Andy Pforsich, A Boy Named Charlie Brown was the first theatrical feature film based on the Peanuts characters.The contemporary reviews quoted in this episode come from Vincent Canby in The New York Times (https://www.nytimes.com/1969/12/05/archives/screen-good-old-charlie-brown-finds-a-home.html), Time magazine, and Molly Haskell in The Village Voice.Visit https://www.awesomemovieyear.com for more info about the show.Make sure to like Awesome Movie Year on Facebook at http://www.facebook.com/awesomemovieyear and follow us on Twitter @AwesomemoviepodYou can find Jason online at http://goforjason.com/, on Facebook at https://www.facebook.com/JHarrisComedy/, on Instagram at https://www.instagram.com/jasonharriscomedy/ and on Twitter @JHarrisComedyYou can find Josh online at http://joshbellhateseverything.com/, on Facebook at https://www.facebook.com/joshbellhateseverything/ and on Twitter @signalbleedYou can find our producer David Rosen's Piecing It Together Podcast at https://www.piecingpod.com, on Twitter at @piecingpod and the Popcorn & Puzzle Pieces Facebook Group at https://www.facebook.com/groups/piecingpod.You can also follow us all on Letterboxd to keep up with what we've been watching at goforjason, signalbleed and bydavidrosen.Subscribe on Patreon to support the show and get access to exclusive content from Awesome Movie Year, plus fellow podcasts Piecing It Together and All Rice No Beans, and music by David Rosen: https://www.patreon.com/bydavidrosenAll of the music in the episode is by David Rosen. Find more of his music at https://www.bydavidrosen.comPlease like, share, rate and comment on the show and this episode, and tune in for the next 1969 installment, featuring Jason's personal pick, Sam Peckinpah's The Wild Bunch.

This week on the blog, a podcast interview with Director/Editor Roger Nygard on his new book, “The Documentarian.”LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Buy “The Documentarian” Here: http://applausebooks.com/books/9781493086221Roger Nygard Website: http://rogernygard.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTWhere did you first get the documentary bug?Roger Nygard: It was a big mistake. I didn't plan for it. It is sort of like, “Oh, I'll try one bump of heroin. What could hurt, right? Just once.” I made a documentary called Trekkies because an actress I met named Denise Crosby (who was in my first feature film), we had lunch a few years later and she pitched the idea to me. “Hey, someone should make a documentary about these Star Trek fans.” Because she'd been going to conventions as an actor and said these people are entertaining and we couldn't believe no one had done it yet. It seems so obvious and “Yes, of course.” So, we brainstormed a little bit. We'd never done this before. How do you, uh, we have no idea how to make a documentary. But, you know, as the naive often say, how hard can it be? And then you dive in and it's really hard, especially if you don't know what you're doing.And we just stumbled into it, watched a bunch of documentaries, absorbed what we could, made a lot of mistakes, which I learned from, and then put in a book about how to make documentaries, I made the mistakes, so you don't have to. So, I just kind of stumbled into it. What was the biggest challenge you faced on that one, looking back on it? Roger Nygard: It's always, the biggest challenge is always finding the money to pay for it. Every time. Even for Ken Burns, he said it was a challenge raising money. You'd think a guy like, in, in his career at this point, with dozens of films, they'd be writing him checks, but he says he still has to go searching for the finishing funds on every project. One of the things when I saw Trekkies for the first time I was really impressed with--well, first the humanity that you treated every subject in it with. But also, your balance of the humorous and the serious elements within it. I imagine you found that in the editing, am I right? Roger Nygard: I guess so. I mean, it's something innate. I don't really consciously set out to be, “I'm going to be balanced,” or “I'm going to be funny.” It's what I look for in my own viewing. I look for films where the filmmaker is not lying to me. I want a genuine take on something. They can take a position. In fact, it's better when you take a position with a documentary. You should have a point of view. If you are just presenting both sides equally, you're much less likely to have an audience than if you take a stand, make a position and lay out the evidence and let the audience decide.But I look for that in a film, and so my films, I guess, are an embodiment of me. I'm the filmmaker. You're getting my perspective on the world. Any piece of art is the artist's perspective on the world. They're saying, “here's how I see the world.” And my documentary is me looking at people. I'm amused and I'm obsessed and I'm interested in human behavior.I find it fascinating and really funny. And so that's what happens when I process what I'm making. And then, of course, then in the editing, that's where I'm refining that point of view. So, when you sit down with someone, what techniques do you use to make your interview subjects comfortable and willing to open up to get the sort of responses you need?Roger Nygard: First, you want to start off with some flattery. Obviously. “Thank you for being here. I loved your book. It's such a good book. I loved your movie. I loved your acting. I loved whatever. I love that broach.” You, find something to compliment.And people love it. You bond with someone who likes you. We like people who like us. And so that interview is going to be a connection between two people and it's nice when it's like a friendly connection where they're not hiding their true selves. So, you want someone to feel comfortable enough so that they'll open up and give you the real stuff and not try to present, to pre edit their image. Those interviews don't work so well when someone's trying to make sure that they're going to come off a certain way. They need to be open and you're gonna take what they give you and edit it and make them look good, ideally, or at least give them a genuine, honest portrayal. But you want them to feel comfortable.Another way to do that is to share something about yourself, before you start. Maybe a tragedy you experienced, if you're talking about their tragedy. Or a funny event that happened to you. But keep it short, because they are there to talk, you're there to listen.So, mainly, you ask a question and then just shut up and let them fill the space. How long did it take you to learn to shut up? Because I'm not sure I've learned that yet. Roger Nygard: It's so hard. Especially for men. Men are the worst. I mean, I made a documentary about relationships, and that's almost the number one thing I learned from marriage therapists is that your partner needs to be heard. And men typically try to fix things, because that's what we do, right? But your partner doesn't need you to fix them usually when they're telling you something. Let's say you've got a wife, she's complaining about her boss, she doesn't want you to, to say, “Oh, why don't you quit? Why don't you do this? Why don't you do that?” That's going to make her feel worse. She wants you to just, just show empathy. And so in an interview, you want to do the same thing—show empathy—but don't intrude, just nod, “hmm, hmm, yeah, oh that's, that must have been awful, tell me more about how that felt.”Instead of interrupting and trying to guide them, just ask the question, leave the space, provide silent empathy, because you don't want your voice all over their soundtrack. How much pre-interviewing do you do and do you like that or not? Roger Nygard: I used to do a lot of pre interviewing. On Trekkies, we did a lot because it was expensive to shoot film. We made that in 16mm film. Oftentimes, we would rehearse what they're going to say and get the soundbite we needed kind of ready. And then say “action,” have them say it, and then cut, and then move on. Or maybe say it in a couple different ways. But now, it's much more typical to just let the camera roll, because we're shooting video, with maybe multiple cameras.And I think that's a better way generally, because you might get things you didn't expect. I'd rather have a lot of extra footage that I can't use and yet get that moment that I wouldn't have had otherwise, than if I'm trying to save video. But that said, you want to know what you're going there to get. You don't want to shoot a bunch of things that are useless, because you've got to sit in the editing room, or your poor editor has to go through all of this stuff. So, you do need to plan it out, and there's nothing wrong with preparing the person, pre interviewing them. You know, early in my career, I was a PA on a documentary that HBO was doing here in the Twin Cities. It was about hockey goalies, I think, and suicide. And I'd never been on a documentary set like that. And the director of it literally would say, “when we talked on the phone, you said the following sentence, would you say that again?” Which appalled me at the time, because I thought, “let him really talk.” But then like you say, he was shooting 16 and he had to get what he had to get. But now, a million years later, having done hundreds of corporate interviews, while I'm absolutely on your side of let the camera run, you also need to know what it is you want to get. But also, I remember, we were wrapping up an interview with a father of someone who, I think she had become ill, but she was fine now. And I said, “OK, well, that's just been great, Dave. Thank you for talking to me.” And the sound man—I was about to say cut—and the sound man said, “John, um, I just feel like Dave wants to say something else.” And I said, “well, yeah, we're still rolling. Go ahead, Dave.” And then he said the sentence that we needed for the whole video. And the sound man had seen that because he was paying attention to the person that I was interviewing. I had not seen it. And I got better later on at seeing that, but it's finding that balance between we're done and we're almost done, but you're about to do something brilliant that I guess you can only get from having done it.Roger Nygard: I agree. Yes, I've oftentimes said to someone, “That was a great story or a great thing you just said. Could you say it again? Because it's so important, I want to have you try again. And maybe we'll get it a little more concise this time?” Or if in your mind, you're thinking they didn't quite deliver it the way you wanted.I might even suggest, “Why don't you start by saying ‘That time I was riding my bike …' and finished the sentence.” I'll guide them, because I'm editing, I'm pre editing in my head. How am I going to use this soundbite? Can I use it? Is it usable? Or should we try again? That's very common and they like that, because they want to come off well and they want a second chance to say the thing better. So, everybody wins. And by the way, did you meet Gump Worsley? I did not. This was a high school hockey thing, it wasn't a professional hockey video. But I was surprised that at the end of the day they gave me all the film to take over to the lab. I'm just a PA. You're giving me everything to take to the place? It seemed like they were giving an awful lot of trust to this kid who didn't know what he was doing. But you raise an interesting point, because as you're interviewing, you are both directing and editing at the same time. I think if you're good at it, you're figuring out, yes, no, yeah, I can use, no, I can't. And that's a weird dichotomy. How do you balance both those things? Be in the moment, but also be in the editing suite at the same time in your head?Roger Nygard: That's the hardest thing, especially if you're a one-man band, or a one-person band, or maybe it's you and a sound person. But often, it's been just me with the person that I'm interviewing. And so I've got to make sure it's in focus, I have to remember to turn off the autofocus, I've got to ride the levels, ride the volume, I've got to remember to ask the question, and I have to listen to what they're saying, in case I want to go with a follow up. Doing all these things at once. I've got to remember that—if the lighting changes during the shot—I've got to fix the lighting because the sun moved. So many things are happening. And so, you just practice. You get better every time you do another one, and it starts to become second nature. But the most important thing, after making sure it's in focus and the sound is good quality, is to listen to what they say, exactly like your sound person. What a great advantage to have someone who is paying attention like that and a good team member to remind you.Every interview should end with, “Is there anything else you'd like to add? Is there anything that we missed or is there anything else you'd like to say?” Many of the best soundbites I've collected came in those moments when it was unprompted by me. They gave me what they needed to give me. I remember being on one shoot for an NCAA athlete. She was a basketball point guard, I think. And we're about halfway through the interview and I asked a question and her response was this. She said, “Well as I said before, oh wait, I shouldn't say ‘as I said before,' because I bet you're going to cut this up. Let me redo that and I won't say ‘as I said before.'” And then she said the statement. She finished the statement, and I turned to the crew and said, “You guys do this much more than I do. Has a subject ever said that? And they said, “No, no subject has ever been that aware of the process that they were in that they fixed on the fly what they're saying, because they knew you couldn't use it.”Roger Nygard: Those interview subjects are rare. One technique you talk about in the book is something that started with Errol Morris and ended up being used in corporate America, corporate videos quite a bit. We called it The Interrogator, but that's not quite the word that he used. What did he call it? Roger Nygard: Oh, the Interitron. We call it just the Interrogator, and it's where you've set up a system wherein they're not looking at the camera, they're looking basically at a screen, which is in front of the camera, and they see your face, and so it is a conversation. And with many subjects, I found that that really helped break down any sort of barrier, because it's really hard to talk to a camera, it's much easier to talk to someone sitting next to the camera, and the closer they are to the camera, the better your shot's going to be. But having them look right at your face was hugely helpful. Roger Nygard: There is a connection that happens, according to Errol Morris, that brings unexpected, well, I don't know, what do you want to call it, electricity between you and your subject. Maybe that you might not have when the camera's intruding on the relationship. Have you ever run into situations where there wasn't a pre-interview and it becomes very apparent very quickly that this isn't going to go anywhere? If you have, what's your response to that and how do you handle that? Roger Nygard: Oh, yeah, there are many times. Especially when I was shooting The Nature of Existence. I had 450 hours of footage. I interviewed 170 people. Something like that. Because I was fishing, I don't know what I'm going to get. And everyone is qualified to have an opinion on why do we exist. So, it's worth casting my lure into that part of the lake, even though I'm not sure that there's fish there, I didn't pre fish it. And when that happens, I just do the interview, and then I thank them and tell them it was great. And then I just don't use it, because there's nothing usable in there and it's part of fishing, right? Not every cast brings in a fish. Your Minnesota viewers are going to understand this metaphor. Well, I think fishing's internationally understood. I've never seen anyone do it outside of Minnesota, but I've seen pictures. So, you mentioned, The Nature of Existence. We've talked about Trekkies, you've talked about the relationship documentary. Where do you get your ideas for what to follow? What's going to be your next project? Where does that come from? And how do you know when you, when you have a good fish on the line? Roger Nygard: When you become obsessed with an idea, you have a message that is bursting to get out of you, and so you are compelled to see this through to the bitter end. Because it might take two years, or four years, or seven years.The Truth About Marriage took seven years. Trekkies took one year. Trekkies 2 took 18 months. The Nature of Existence took four years. The idea has to captivate me enough, and obsess me enough, get me there. And then I'm hoping the audience will be just as interested in what I'm obsessed with as I present it to them. That's probably the most important ingredient to the success of a documentary, is your choice of subject matter. What do you mean? Roger Nygard: Because otherwise you might be making a whole movie that's something no one else is gonna be interested in. Or you're doing it for some reason other than you are captivated by it. Because you're the filmmaker, you're the artist. It's your enthusiasm, your excitement that's going to come through and be felt by the audience. But while you're doing that, in your case, you are producing, directing, and editing your projects. When do you know that it's done? I mean, on The Nature of Existence, you said you interviewed, what, 170? How do you know, “Well, that's it, I've got all the pieces?” How do you make that decision? Roger Nygard: Yeah, it's hard sometimes because I had no idea where I was going to end up in with some of these films. I'm sort of like an investigator setting out to solve a crime, and so once I solved the crime, then I know where my ending is and I know how to get there, where to get to. I just have to answer the question. For example, The Truth About Marriage. My question was, Why are relationships so hard for people? That's the mystery I solved. And once I had solved it for myself, by talking to enough marriage therapists, and couples, and married people, and divorced people, a divorce attorney, etc. I had settled in on an answer. And so that's what I present at the end of the film, is what I learned while seeking out that question. That's a concept documentary. With a narrative documentary, it is easier to know your ending because it's a story of someone's life, probably, or a slice of someone's life. Or a trial with a verdict. Okay, the verdict is the ending. Or, maybe it's basketball. And so, do they win or do they lose at the end? That's your ending, and you're working backward from that. If it's a biography, if they've lived a good three act structure in their lives, you've probably got a good documentary there.If they haven't, you either have to manufacture it or find a way to present it. And many documentaries have succeeded despite a lack of a story structure and despite a lack of a solid core question. It's better to have the insurance of a solid story structure, but if you don't have it, you might yet still succeed.Like, I think Trekkies is an example of this. It's a flawed documentary, which does not have a narrative structure. And there's no solid core question asked at the beginning. But it was a grand slam as a documentary because it was so funny. And it had a core group of people that were going to automatically be interested in the film. So, we had those two high cards despite the fact that we didn't have what typically a great documentary has, which is a narrative structure just the same as a screenplay has.It feels like sometimes you're just rolling the dice, not you, but a documentary filmmaker, that you're gonna go into something and something's gonna happen and you're gonna end up with either The Jinx, where he confesses on tape at the end of your documentary, which you certainly could not have put in your pitch if you're that director. Or the folks who were working on the Alec Baldwin documentary about his trial, where the judge threw it out on the first or second day. At that point, you no longer have a documentary.What would you recommend someone do when they're going out to pitch a documentary to investors or the network or whatever on the idea of something? How do you sell something that doesn't exist yet, even in anything more than like a one page document? Roger Nygard: The best way to sell it is to make them feel the story in the room. You act it out and you bring the excitement because you're excited by it. And maybe you've done one interview already as a test. That's often where I get the feel when I'm interviewing that person. I feel it. I feel like I've got something here or I feel like it's not going anywhere. I started a documentary about Scott Hanson, local Minneapolis comedian, and we did one interview, and I just didn't feel it, because I think he was trying to present an image of himself. He wasn't willing to be open. And so I didn't get excited, and we didn't really keep going. The first interview, the first footage we shot of Trekkies, we felt it. We knew we had something. The first interview I did about this existentialist question, Why do we exist? I loved talking to people about this the way you do in a dorm room in college when you're talking about the big questions Why are we here? And what's our purpose? And what am I supposed to do with my life? That gets me excited. It gets people excited in life and death talking about death. What happens when you die? Does the soul exist? If so, where is it lodged inside your brain? Is there a compartment? You know, just fun, fun questions So, I knew, I had a sense that that was going to turn out okay, even though I didn't know my ending when I started because the idea was so gripping.I mean, it's gripped people, existentialist philosophers, for centuries. I'm not the first person to ask this question or try to figure it. I'm just one of thousands or millions, who knows? So, I was tapping into something I thought, it felt like to me. I felt it. But when you're in a pitch meeting, as you're asking, you have to make them feel the excitement either through your core question or the character description. If it's a character piece, then you are going to tell a story about this person. Who is this documentary about? I asked Ken Burns about that. How do you make a documentary about things like a bridge? His first film was about the building of the Brooklyn Bridge. And he said, “You can't. You cannot make documentaries about things. It has to be about people.” And so that documentary is about the family, the Roebling family, that built that bridge and their struggle to complete the job through difficulties and challenges and near death experiences. That makes it interesting and exciting.If you love the film— like a film about an octopus, right? It's not as exciting unless you learn about the person who gets infatuated with a particular octopus, and it's his life. Or a documentary about a TV show. It's going to have a limited interest to fans of the TV show. But if you want a wider audience, you do a film about the fans themselves, about the people.The stories are about the people involved. Someone who collects owl figurines like my aunt did. She would have been a great subject. The owl figurines, who cares? You know, it's a five-minute short. Look, a bunch of owl figurines. But the person, the mindset behind someone who thinks they have to fill their house with owls. That's interesting.And it gives you lots of cutaway shots, too, which is nice. Roger Nygard: Always get your cutaways. Yes. For your documentaries, you're directing and editing, but in the case of the Comedy Store series, you were just, I don't mean to say just an editor on it, but you weren't directing it. What is that process like? I dealt with in corporate all the time. I would go out and interview the subjects and I'd bring it back to my editor and say, “Hey, here's my notes, here's the best stuff, have at it.” And he would create something great that wasn't what I had necessarily intended, but he found the best stuff in the footage and turned it into a five minute story.In the case of The Comedy Store, you're probably handed hundreds of hours of interviews with very interesting people and very funny people. What was your process for creating all those segments and deciding, this goes this stays? Because I'm guessing you could probably have done a couple more hours of just stuff that's funny. Roger Nygard: Sure, we could have done more episodes. There was plenty of footage. I was hired by Mike Binder, who I had worked with before. I had edited his feature films in the past. And he had never made a documentary.So, when he first asked me, I was busy. I was cutting Curb Your Enthusiasm. And I said, “I can't do it. But if, you know, if you can wait 11 months, I'll be free.” So, he hired another editor and started on the footage. And when that eleven months was over, they had crap. They had nothing. They had the beginnings of an episode, but he was flailing around trying to figure out what to do.So, I said, “I'm available now, let's do it.” So, I jumped in, and the first thing I showed Mike was my rules for doing interviews. I said, “Mike, you gotta just shut up. Ask the question and shut up. Let them fill the space. Especially when it's awkward. That's great. They'll come up with things they wouldn't have said if you had just been quiet.” That's number one. Number two, each episode needs a theme. And this is the biggest problem that I've seen, the biggest mistake that documentary filmmakers will make, is they don't know what their theme is. What is a theme? It's the idea or the premise behind the moral of the story. It's the idea you're trying to express.And each of the five episodes has a different theme. One is called The Wild Bunch. And it was about the wildest comedians who ever performed at The Comedy Store. And we used some footage from the movie The Wild Bunch. Once it had a theme, then I knew what to cut, and how to link things together.And once Mike started revising his outlines with that in mind, they started to take shape. And cutting the episodes made sense. You need to know your theme. I would write it down on a piece of paper, put it on the wall, because that's your roadmap. That's where you're going, and every scene should be connected to that theme in some way. Or if it doesn't, it probably doesn't belong in that episode or in the movie.And it actually probably made it a whole lot easier to edit, because you could just immediately go, nope, nope, yep, nope, nope, nope, nope, yep. Roger Nygard: It's your road map. Otherwise, you're just surrounded by a forest of footage and what do you do? I mean, there are tricks, like you start putting like with like and grouping them in your bins. And eventually you might start connecting like segments with like segments as you're building scenes. But when there's a narrative, it's easiest. There's an episode that's about the comedy strike, which happened. And so that gave us a very specific timeline of what's happening and who caused the strike and what they were asking for. Now we've got protagonists and antagonists. The antagonist is the owner of the store, Mitzi Shore, who doesn't want to pay them what they want as comedians. And that makes it easier from a narrative perspective, because what is a narrative, right? You have a protagonist, or a small group of protagonists, and an antagonist, or a small group, and a goal.The protagonists have a goal, and there's obstacles to that goal. Now we watch to see how they succeed or fail. That made that episode much clearer. One part of the book that I found just fascinating and I'm wondering if the publisher gave you any pushback on it, because it is sort of its own mini book right in the book. Which is the whole process of coming up with a distribution deal for Trekkies. It's a long segment, but it disabuses you of any glamour of Hollywood of, “Oh, we went to Sundance and they loved the film, and we signed it, and two months later it was in theaters. This is pages and pages and pages of the process of taking what you know to be a valuable asset and getting it to the right people and getting it out. So, first question is, did the publisher push back on that at all? Roger Nygard: No, they were remarkably compliant, helpful. Because I'd done one book with them already, and they felt pretty happy about me doing a second one in a similar vein, and I had case studies in that book also.But not like this, this is four chapters.Roger Nygard: You're right, the four chapters after, I say at one point, at the end of chapter 10 or whatever it was, “Okay, the how to make a documentary part of the book is over. The next four chapters are, once you have finished, here's a case study in trying to sell your documentary.” Because it took us nine months. From our first distributor screening to sign a contract. There is no immediate, you know. I mean, Sundance turned us down. And so, you have to persevere despite these problems toward a sale. The Sundance mega sale is like winning the lottery. And you're not likely to win the lottery. So you need backup strategies and backup plans. And we had tried lots of things, and it took us a long time and a lot of difficulties in fighting amongst ourselves to finally get to a point where we succeeded and got such a successful sale. Those chapters—I mean, the whole book is great for anyone who wants to make a documentary—but it's also really good for anyone who wants to make a thing. Particularly a film or a TV show or something.You're trying to make a pilot, you're trying to do something. It's unvarnished as to what it takes to do these things, and then you get to those four chapters, you realize this is for anybody who's got a film under their arm, whether it's a short or a feature, here's what you need to be prepared to face.I've always said that the problem with independent filmmaking is that we only see the successes. It's like having a cancer study where they don't tell you about the ones who died. We only tell you about the ones who lived. And this is a great, because look at this: this is what they did and they all lived, but there's so many that died because people don't understand the process. And that's what I love about that section of the book: it really just says this is not easy and you need good people on your side.Roger Nygard: And persistence. It's a marathon. You need to make sure your film sells. No one else is going to have the motivation to push your film over the finish line more than you. You gotta be in training to be that strong. You gotta make your short films, you gotta suffer a little bit, and that just makes you stronger.We were motivated to succeed. Despite being turned down by Sundance and Telluride and Toronto and the New York Film Festival—all the big ones at the beginning of the season turned us down. We finally got some success with the Hamptons Film Festival and the AFI Los Angeles Film Festival, and we were able to use those to help us get where we wanted to go. But boy, it would have been so much nicer if we got into Sundance, and it was the rave of Sundance, and it was easy.But here's a plan for those where that doesn't happen: There's a film agent I interview in the book, Glenn Reynolds, who said, “I don't need film festivals to sell your movie. Filmmakers like to go to film festivals, but there's just buyers, and it comes down to the product.Is it good? Who's in it? What's their social media reach now? And, oh, okay, you did a film festival. That's great. That doesn't hurt necessarily, but these first three, and the poster. What's the hook? What's the marketing going to do? Those are more important than how many film festivals.” We did 50 film festivals. The buyers don't really care. But if you picked up some rave reviews, and won some awards, that shows that someone else has validated your work. And so that's what you're hoping for. And you're not doing that in a vacuum. If I remember the timeline, you're working on your feature Suckers in there somewhere as well, that's happening at the same time.You once said to me something like, “It's good to have a lot of irons in the fire, you just don't want to have too many because you'll put the fire out.” You don't remember saying that? Roger Nygard: I do, yes. That sounds like me. Yeah, it is you. It was you. And I've remembered that ever since. And have tried to have a number of irons in the fire, but not too many. I think you sort of just say it in passing, in that section, that you're also working on Suckers, and that's happening. But you've always had sort of multi paths happening at the same time. How has that helped your career as both a documentary filmmaker, and a TV director, and a TV editor, and now an author?Roger Nygard: Yeah, you need to continually reinvent yourself and be trying new things and have multiple projects and have the stamina to, to work on them all and push them forward. Because that's who you're competing with. You're competing with people who are like that. They're working just as hard as you are.I mean, a workaholic is just someone who works harder than you do, right? If you accuse someone of being a workaholic, that means you're probably a little lazier than they are. Okay, that's fine. Maybe you can make what you need out of life, not working as hard, and my hat goes off to you. But that doesn't work for me. What works for me is—maybe it's that Scandinavian work ethic I picked up growing up in Minnesota—I feel like a complete loser if I haven't put in my work during the day. By the end of the day, I better have pushed that ball down the field some more, or I'll feel, you know, guilty. And so that helps motivate me. So, I work every day on something. Whether it's writing the book, or making a documentary, or editing a feature, or editing—right now I'm editing a Netflix series. Doing all those things. And my delayed gratification carrot is hanging there for me: Once I finish, I'm gonna go to Bali. So, I go to Bali every year once I've earned it.And now you might say, “Oh, you're crazy! No one should work that hard. I'm tired.” Well, it's a very competitive world, and so you need to work just a little bit harder than the one you're competing against. Yes. I believe it was William Goldman who quoted a basketball coach saying to their player, “Anytime you're not practicing, the guy you're going to go up against is, so you need to get out there and practice.”Roger Nygard: It's no different in the film business. Film business is the same, if not even more cutthroat. Okay, two last questions on this, and then I'm going to let you go. So, what's the biggest mistake that you think someone starting out as a documentary filmmaker is likely to make?Roger Nygard: One of them is to give up your ownership. You should always keep, if you can, own your projects. Own your product. Because it's a property. And if you own it, then you can continually relicense it over your lifetime. I know a filmmaker who made the biggest mistake you can make, which is he sold his movie in perpetuity to a distributor. Now it's gone. He'll never get it back again. So you want to license whatever you've made to a distributor for two years, four years, five years, seven years. With Trekkies, we had a 20 year license, 25 if unrecouped. But that's because they paid us so much money, they bought that many years, but it was still a license.And so Trekies came back to us a few years ago and so we restored it to HD. It had never been released in HD yet, and we've licensed it to a new company for another period of time. You did the same thing with Suckers, didn't you? Roger Nygard: I did it, I bought it, yes. The company, the same company that I made Trekkies with made Suckers with me. And they set up a corporation to own the film, which is typically what they do, every film has a corporation that owns that film. And that's where the money from the investor goes. And that's where the profits, if any, come out of. And in that case, Sucker's never reached profit while they owned it. It cost about a half a million to make, and it probably made back $250,000 from an HBO sale and an IFC sale and home video. And we had a distributor that went bankrupt who, so we had to chase them.But at the end, probably like 15 years after we made the film, the company that I worked with, Neomotion Pictures, they were going to close their doors. They were retiring or going off to do different things, and they were shutting down the company they had made that owned the film. So, if they just shut down the company, then suddenly it goes into the public domain, because there's no ownership. The entity that owned it no longer exists. Nothing owns it. Meaning everybody, anyone can own it. So, I said, Wait, guys, sell it to me,” which they did, “And I will restore the film,” which I did. I paid for the restoration. I collected what elements remained, some had been thrown away, but enough of the key elements still existed, so I was able to re-scan it and remix it and marry it together and find a distributor. And actually I put it on, it's on Amazon Prime. I put it there myself. So, I collect the money directly now, after putting my money into it. So, be an owner. Own your films. And if you can't, be a co owner. So at least you're part of where the money goes first. I mean, ideally you want the money to go to you and have all your profit participants chase you for the money, instead of you chasing them for the royalties. Okay, one last question. Someone has read your book, they've properly packed all their gear, they're going off to begin shooting. What's the one last piece of advice you'd give them before the door on the airplane shuts?Roger Nygard: Buy a copy of The Documentarian for everyone on your crew. That's the first part of the advice. And have them all read it. Be prepared for your interview, practice at home before you get there, set up your camera and your audio and do a practice interview so that it's second nature by the time you get there. Maybe do a test interview on, on someone who's not your main interviewee so that you have done a dry run and you've tested all the equipment, you've tested your questions, you've refined your approach. And so you're ready for the big day. Well, this has been great. Roger, is there anything I've forgotten to ask you? Roger Nygard: Yes, the names of all my projects. The last book was Cut to the Monkey, about editing and comedy. And this book is called The Documentarian. And I am working on another book, and I will probably, until the day I keel over. Hopefully I'll die fishing up in Canada. And they won't find you for days and days and days.Roger Nygard: It would be only fair if I fell in the water and the fish ate me after I've been eating them for years.

EPSIODE #426-- We celebrate the dusty dregs of the summer with the epochal revisionist western THE WILD BUNCH (1969). Directed by Sam Peckinpah and staring literally every "that guy!" from the 1950's and 60's, it's a psychotic shooting spree sent straight from hell. It's great. Listen to it. Go watch it. Maybe not in that order.  We also talk about Ridley Scott's GLADIATOR (2000) and, well, the Olympics (RIP). Kind of a slow week unless you just want to hear me talk about Jack Elam or whatever. Join the cause at Patreon.com/Quality. Follow the us on Twitter @kislingtwits, on Bluesky at kislingconnection.bsky, on Instagram @kislingwhatsit, and on Tiktok @kislingkino. You can watch Cruz and show favorite Alexis Simpson on You Tube in "They Live Together." Thanks to our artists Julius Tanag (http://www.juliustanag.com) and Sef Joosten (http://spexdoodles.tumblr.com). The theme music is "Eine Kleine Sheissemusik" by Drew Alexander. Listen to DRACULA: A RADIO PLAY on Apple Podcasts, at dracularadio.podbean.com, and at the Long Beach Playhouse at https://lbplayhouse.org/show/dracula And, as always, Support your local unions! UAW, SAG-AFTRA, and WGA strong and please leave us a review on iTunes or whatever podcatcher you listened to us on!

Our story today involves a member of the infamous Wild Bunch, Butch Cassidy's gang. Known as the wildest of the bunch, Harvey Alexander Logan, better known as Kid Curry, was a force to be reckoned with. After a successful train robbery put a bounty on their heads, the gang members went their separate ways to wait for things to cool off.  Curry chose Knoxville, Tennessee, as a hideout in December, 1901. There he got into a brawl with another man, leading to a violent confrontation with the police and Curry's desperate escape attempt.Listen to the Stories podcast on Apple Podcasts, Spreaker, Spotify, Player FM, or your favorite podcast app. You can also support our storytelling journey and access exclusive content by becoming a patron on Spreaker here:https://www.spreaker.com/podcast/stories-of-appalachia--5553692/support  Thanks for listening!  

The Great American Western is having a resurgence - from Yellowstone and Bass Reeves on TV, to Beyoncé's acclaimed country album Cowboy Carter. Kevin Costner is back in the director's saddle too, with his Horizon: An American Saga Chapter 1 - the first in a planned series of epic Westerns - recently riding into cinemas.But has the cinematic Western adapted to the modern age or is it trapped in a one-sided history of the past? Ellen E Jones and Mark Kermode examine the enduring popularity of a genre that refuses to die.Mark speaks to cultural historian and Spaghetti Western obsessive Christopher Frayling about the genre's 19th century roots, and about the impact of films like The Searchers and The Wild Bunch. And he talks to prolific independent director John Sayles, whose 1996 film Lone Star was nominated by the American Film Institute as one of the Fifty Best Westerns of all time. Meanwhile, Ellen explores the history of Black cowboys on screen with Mia Mask, author of Black Rodeo: A History of the African American Western. And she speaks to Jeymes Samuel - the galvanising force behind films like recent biblical epic The Book Of Clarence and 2021's all-Black, all-star Western, The Harder They Fall. Jeymes tells Ellen why he was drawn to the genre - and why Quentin Tarantino's Django Unchained might be due a reassessment.Producer: Jane Long A Prospect Street production for BBC Radio 4

One of the Pacific Northwest's famous manhunts for possible Wildbunch man. Make sure your posse is as drunk as possible. T-Shirts by How the West was Fucked Podcast | TeePublic How The West Was Fucked | Podcast | Patreon #howthewestwasfucked #htwwf #americanhistory #oldwest #wildwest #wildbunch #holeinthewallgang #washingtonhistory #oregonhistory #analroberts

Front Row Classics is taking a look at one of the most groundbreaking films of the late 60s. The Wild Bunch marked the end of an era for the classic American western. Brandon is joined by Jay Hoffman of Front Row Flashbacks to discuss Sam Peckinpah's violent revisionist take on the Old West. The hosts discuss the legendary cast including William Holden, Robert Ryan and Ernest Borgnine. We also discuss the many themes that include sense of duty, loyalty and aging.

The Wild Bunch Front Row Classics is taking a look at one of the most groundbreaking films of the late 60s. The Wild Bunch marked the end of an era for the classic American western. Brandon is joined by Jay Hoffman of Front Row Flashbacks to discuss Sam Peckinpah’s violent revisionist take on the Old … Continue reading Ep. 222-The Wild Bunch →

The Wild Bunch (1969; Dir.: Sam Peckinpah) Canon Fodder Episode 17 Aging cinephile Daniel and Corky face off against Sam Peckinpah's violently apocalyptic western classic. But did the film drive your hosts wild, or did it get their panties in a bunch? THE WILD BUNCH FACTS & FIGURES […] The post The Wild Bunch – Canon Fodder Episode 17 appeared first on Dare Daniel & Canon Fodder Podcasts.

Ep. 14 – Teachers That Make a Difference - “The Funny Life Podcast” - William Lee MartinIn this podcast episode: o    Why Do Grandparents have to go to all functions now?o    Top 5 Blankety Blanks – “Reasons your kid didn't get an award in elementary award”o    Progressive Schools of the 1970s o    I knew I was Poor in the 6th gradeo    Teachers are true saints and deserve an award Join comedian, writer, songwriter, actor, family man, William Lee Martin along with the Wild Bunch, tour manager, Lisa Bruce and producer Ron Phillips as they dive into life in and out of show business. Take us in the car, on a walk or watch on your phone while lying in bed or hiding out in the restroom at work!  After all, all our lives are funny...let's talk about it. And we will do it in about 30 minutes.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-funny-life-with-william-lee-martin--5894622/support.

The Trip Hop music scene out of Bristol made its way to the U.S. in the mid-90s with artists like Portishead and Tricky, but once Massive Attack's Mezzanine arrived in early 1998, it brought with it an unexpected sensual awakening as I exited my teenage years. This week we explore why this album in particular splintered Massive Attack, how it all began with a Wild Bunch, and how Elizabeth Fraser is the tear that hangs inside Jeff Buckley's soul forever. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Sam Peckinpah's film, standard Western tropes – outlaws, heroes, beautiful landscape – are used to interrogate an exhausted genre. He knows spectacular gunfights are problematic but did the cut version shown in Ireland convey Peckinpah's intent?The Wild Bunch, dir Sam Peckinpah, starring William Holden, Ernest BorgnineSupport us and Merch! Hosted on Acast. See acast.com/privacy for more information.

 Amy Harmon grew up in a remote Utah valley, very close to where the famed outlaw Butch Cassidy really lived. Quite a few years before her, of course. The folklore surrounding his Robin Hood reputation has always fascinated her. She's far too young to have seen the famous movie starring Paul Newman and Robert Redford first time round, but she's excavated the history and shed a whole new light on the story and her latest book, The Outlaw Noble Salt. Hi, I'm your host, Jenny Wheeler, and in this week's Binge Reading episode, Amy talks about the mystery surrounding Robert LeRoy Parker, better known as Butch Cassidy, the American outlaw, train robber and leader of a gang called The Wild Bunch. It's officially recorded that he died in a shootout with local authorities in Bolivia in 1908. But did he really? Amy's book is a fascinating and heart-touching re-imagining of the story. Mystery and Thriller Giveaway Our Giveaway this week - We always have free books to Giveaway -. is Mystery Thriller And Suspense Freebies. MYSTERY, THRILLER & SUSPENSE FREEBIES And the range is huge with something to suit every taste ,from historicals like Poisoned Legacy, Book One in my Of Gold& Blood Gold Rush romance series through to cozies and contemporary psychological thrillers. Find the link to download these books in the show notes for the episode on the website. The Joys Of Binge Reading.com. DOWNLOAD FREE BOOKS Before we get to Amy, a reminder. You can help defray the costs of the production of the show by buying me a cup of coffee at buymeacoffee.com/jennywheelx. And if you enjoy the show, leave us a review, so others will find us too. Word of mouth is still the best recommendation and the way for others to find the show and discover great books they will love to read. Links to items mentioned in the show Movie: Butch Cassidy and the Sundance Kid: https://www.imdb.com/title/tt0064115/ Folklore: https://en.wikipedia.org/wiki/Butch_Cassidy Eliot Ness: https://en.wikipedia.org/wiki/Eliot_Ness Gladys Knight: https://en.wikipedia.org/wiki/Gladys_Knight Books Amy has loved in the past or is reading now: Louise L'Amour - Western classics: https://www.louislamour.com/ Lucy Maud Montgomery: https://lmmontgomery.ca/about/lmm/her-life Anne of Green Gables: https://www.britannica.com/topic/Anne-of-Green-Gables Baroness Orczy: https://en.wikipedia.org/wiki/The_Scarlet_Pimpernel Paullina Simons The Bronze Horseman: https://www.goodreads.com/author/show/47499.Paullina_Simons Susanna Kearsley: susannakearsley.com Poets: William Butler Yeats: https://en.wikipedia.org/wiki/W._B._Yeats Emily Dickinson: https://www.britannica.com/biography/Emily-Dickinson Introducing author Amy Harmon Amy Harmon: re-imagining the Burch Cassidy story But now here's Amy. Hello there, Amy, and welcome to the show. It's great to have you with us. Amy Harmon: I am so excited to talk to you, Jenny. Jenny Wheeler: You've written more than 20 books and the most recent one is The Outlaw Noble Salt, and it retells the Butch Cassidy and the Sundance story, The Wild Bunch Story. If we are of a certain age, we saw the movie years ago, so it's well known. What did you feel you could bring new to it? Amy Harmon: I have always been drawn to the story, and I think it's because I grew up in a valley, just north of the valley where Butch Cassidy, who wasn't known as Butch Cassidy in his early years, he was Robert Parker, lived. He was born very close to where I was born, a hundred years apart. We were born in small town Utah at the end of the Wild West era. He was the last of this very short time period that defined in the West. And I have always been interested in him. I've always felt a connection to him. Beyond just of course, the movie which came out in 1969, which predates me a little bit. I didn't grow up with the movie, but it was very much the Western lore that is part of this place...

Yeeeeeee-haaaaaaw! Me and Ben Volchok look at a newie this time around, the 2023 Western Butch Cassidy and the Wild Bunch, based on the adventures of... guess who? Prepare y'allselves for several film ideas bound to make us millionaires, as well as a litany of terrible puns. Yonder! 

Often called 'The Wildest of the Wild Bunch', Harvey Logan (aka Kid Curry) and his two brothers rode for Sam Ketcham's Band and Bunch Cassidy's Wild Bunch, robbing trains and banks with regularity and hiding out when the law got too close. Part one tells the story of Harvey Logan, who had a penchant for killing lawmen who were tracking him, and the hold ups he helped pull off, including one great story about the Winnemucca Nevada bank robbery from nevadagram.com that will have you holding your sides. Sources: Gibson, Elizabeth, Kid Curry, The Wildest of the Wild Bunch; Butch Cassidy and the Sundance Kid, Wyoming Tales and Trails; The Gunfighters, James D. Horan; Old west.org, 11 Reasons; Harvey Logan, History.net Learn more about your ad choices. Visit podcastchoices.com/adchoices

Born in Texas to immigrant parents in 1855, Charles Siringo lived a fascinating life from the very start. At the age of twelve Charlie went on his first cattle drive, and then spent decades working as a cowboy. Along the way crossed paths with legendary Old West figures like Bat Masterson, Billy the Kid and Pat Garrett. He was in Chicago during the Haymarket Riot, protected famed attorney Clarence Darrow from a lynch mob, and as a Pinkerton detective pursued Butch Cassidy and the Wild Bunch for years. And he was also an author, writing multiple books about his many adventures. In the last years of his life he went to Hollywood, where he acted as as advisor to filmmakers churning out early 1920s westerns. My guest is Nathan Ward, who has written the definitive biography of Charlie Siringo, called "Son of the Old West: The Odyssey of Charlie Siringo: Cowboy, Detective, Writer of the Wild Frontier." More about the author here: https://www.nathanwardwriter.com/ This episode is sponsored by Hello Fresh. Order here and get 50% off plus free shipping! http://www.hellofresh.com/50notorious This episode is also sponsored by BetterHelp. Visit BetterHelp and get 10% off your first month! https://www.betterhelp.com/notorious Learn more about your ad choices. Visit megaphone.fm/adchoices