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Peckinpah accepted the job but reportedly hated the convoluted screenplay based upon Robert Ludlum's novel ( which he also disliked ).
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Peckinpah and accepted
He suggested Peckinpah as the director and producer Charles B. Fitzsimons accepted the idea.
Peckinpah immediately accepted, and his earnest collaboration, while uncredited, was noted within the industry.
Like McQueen, Peckinpah was in need of a box office hit and immediately accepted.
But in spite of his distaste for the project, Peckinpah immediately accepted the job as he was desperate to re-establish himself within the film community.
Peckinpah and job
Peckinpah became Akkad's mentor in Hollywood and hired him as a consultant for a film about the Algerian revolution that never made it to the big screen, but he continued to encourage him until he found a job as a producer at CBS.
Peckinpah and reportedly
His experiences in China reportedly deeply affected Peckinpah, and may have influenced his depictions of violence in his films.
Intimidated by the size and scope of the project, Peckinpah reportedly drank heavily each night after shooting.
Much of the criticism centered around Amy's complicated and lengthy rape scene, which Peckinpah reportedly attempted to base on his own personal fears rooted in past failed marriages.
Peckinpah reportedly loved this sketch and enjoyed showing it to friends and family.
Peckinpah was reportedly thrilled and told Lombardo: " Let's try some of that when we get down to Mexico!
The character was reportedly based on Peckinpah himself.
Peckinpah and hated
According to Foster, Peckinpah and MacGraw got along well but she was not happy with her performance: " I looked at what I had done in it, I hated my own performance.
According to the commentators on the film's special edition DVD, Peckinpah hated Ludlum's novel and he did not like the screenplay either.
Peckinpah and screenplay
Sam Peckinpah's nephew is David Peckinpah, who was a television producer and director, as well as a screenplay writer.
Peckinpah claimed to have done an extensive rewrite on the film's screenplay, a statement which remains controversial.
By most accounts, the low-budget film shot on location in Arizona was a learning process for Peckinpah, who feuded with Fitzsimons ( brother of the film's star Maureen O ' Hara ) over the screenplay and staging of the scenes.
Unable to rewrite the screenplay or edit the picture, Peckinpah vowed to never again direct a film unless he had script control.
Peckinpah did an extensive rewrite of the screenplay, including personal references from his own childhood growing up on Denver Church's ranch, and even naming one of the mining towns " Coarsegold.
Filming began without a completed screenplay, and Peckinpah chose several remote locations in Mexico, causing the film to go heavily over budget.
In addition, Peckinpah decided to shoot in black and white and was hoping to transform the screenplay into a social realist saga about a kid surviving the tough streets of the Great Depression.
By the fall of 1967, Peckinpah was rewriting the screenplay into what became The Wild Bunch.
Produced by Daniel Melnick, who had previously worked with Peckinpah on Noon Wine, the screenplay was based on the novel The Siege of Trencher's Farm by Gordon Williams.
Peckinpah entirely rewrote the existing screenplay, inspired by the books African Genesis and The Territorial Imperative by Robert Ardrey, which argued that man was essentially a carnivore who instinctively battled over control of territory.
Eager to work with Peckinpah again, Steve McQueen presented him Walter Hill's screenplay to The Getaway.
Based on the screenplay by Rudolph Wurlitzer ( who had previously penned Two-Lane Blacktop, a film admired by Peckinpah ), the director was convinced that he was about to make his definitive statement on the Western genre.
Peckinpah rewrote the screenplay, establishing Pat Garrett and Billy the Kid as friends, and attempted to weave an epic tragedy from the historical legend.
A project in development for many years and based on an idea by Frank Kowalski, Peckinpah wrote the screenplay with the assistance of Kowalski, Walter Kelley and Gordon Dawson.
Producers also refused to allow Peckinpah to rewrite the screenplay ( for the first time since his debut film The Deadly Companions ).
Working with James Hamilton and Walter Kelley, Peckinpah rewrote the screenplay and screened numerous Nazi documentaries in preparation.
The screenplay was by Peckinpah and Walon Green.
By the fall of 1967, Peckinpah was rewriting the screenplay and preparing for production.
It was originally planned to be directed by Stanley Kubrick from a screenplay by Sam Peckinpah but studio disputes led to their replacement by Brando and Guy Trosper.
Peckinpah handed in a revised screenplay on 6 May 1959.
It has been suggested that Slow Fade was influenced by Wurlitzer's time with director Sam Peckinpah on the set of Pat Garrett & Billy the Kid, for which he wrote the screenplay.
With the screenplay completed they went looking for a director, and an offhand comment led them to Sam Peckinpah, the controversial and troubled man who had helmed The Wild Bunch ( 1969 ) and Straw Dogs ( 1971 ).
" Stinging from the failure of Junior Bonner but eager to work with Peckinpah again, McQueen presented him Walter Hill's screenplay to The Getaway, which they would film months after completing Junior Bonner.
Peckinpah and based
" He based the character of Steve Judd, a once-famous lawman fallen on hard times, on his own father David Peckinpah.
It was based upon an episode of the 1960 Sam Peckinpah television series The Westerner called " Line Camp ," which was also written and directed by Tom Gries.
The war film, Cross of Iron ( 1977 ), directed by Sam Peckinpah, is based upon this novel.
The Osterman Weekend is a 1983 suspense thriller film directed by Sam Peckinpah, based on the novel of the same name by Robert Ludlum.
The screenplay, by Harry Julian Fink, Oscar Saul, and Peckinpah, was loosely based on historical precedents.
Before the film's production, Peckinpah had been working on a Custer project, based on the novel by Hoffman Birney The Dice of God, but later abandoned it for this film.
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