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Ransohoff and Peckinpah agreed that Tate's timidity and lack of experience would cause her to flounder in such a large part, and she was rejected in favor of Tuesday Weld.
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Ransohoff and Peckinpah
Before filming started, producer Martin Ransohoff began to receive phone calls about the Major Dundee ordeal and was told Peckinpah was impossible to work with.
Ransohoff and agreed
Ransohoff insisted that Polanski cast Tate, and after meeting with her, he agreed that she would be suitable on the condition that she wore a red wig during filming.
Ransohoff and experience
Ransohoff gave Tate small parts in Mister Ed and The Beverly Hillbillies to help her gain experience but was unwilling to allow her to play a more substantial role.
She continued to gain experience with minor television appearances, and after she auditioned unsuccessfully for the role of Liesl in the film version of The Sound of Music, Ransohoff gave Tate walk-on roles in two motion pictures in which he was producer: The Americanization of Emily and The Sandpiper.
Ransohoff and her
In 1963 he introduced her to Martin Ransohoff, director of Filmways, Inc., who signed her to a seven-year contract.
In late 1965, Ransohoff finally gave Tate her first major role in a motion picture in the film Eye of the Devil, co-starring David Niven, Deborah Kerr, Donald Pleasence, and David Hemmings.
Polanski urged Tate to end her association with Martin Ransohoff, and Tate began to place less importance on her career, until Polanski told her that he wanted to be married to " a hippie, not a housewife ".
Ransohoff and part
Ransohoff was part of the team at George Washington University Hospital that successfully operated on White House Press Secretary James Brady after the Secretary was shot in the 1981 Reagan assassination attempt.
Ransohoff and she
She was considered for the role of Billie Jo Bradley, on CBS's sitcom, Petticoat Junction but Ransohoff believed that she lacked confidence and the role was given to Jeannine Riley.
Ransohoff and was
" Mr. Ransohoff didn't want the audience to see me till I was ready ", Tate was quoted in a 1967 article in Playboy magazine.
Polanski was planning The Fearless Vampire Killers, which was being co-produced by Ransohoff, and had decided that he wanted the red-headed actress Jill St. John for the female lead.
An edited version of The Fearless Vampire Killers was released, and Polanski expressed disgust at Ransohoff for " butchering " his film.
The blacklist was lifted when producer Martin Ransohoff and director Norman Jewison gave him screen credit for writing 1965's The Cincinnati Kid.
Their lawyer was a guy named Steve Ransohoff, whose father was Martin Ransohoff – who was Ray Stark's friend and partner.
" Neurosurgeon Joseph Ransohoff was a medical consultant for the show and may have influenced the personality of the title character.
Dr. Joseph ' Joe ' Ransohoff, II ( July 1, 1915-January 30, 2001 ) was a member of the Ransohoff family and a pioneer in the field of neurosurgery.
Ransohoff was born in Cincinnati, Ohio, son of Dr. Joseph Louis Ransohoff II, a surgeon who himself was the son of a surgeon.
Ransohoff and .
* 1915 – Joseph Ransohoff, American neurosurgeon ( d. 2001 )
After four days of filming, which reportedly included some nude scenes, Ransohoff disliked the rushes and immediately fired him.
Also, in the inaugural 1962 / 63 season ( episode 31 ) of The Beverly Hillbillies Backus basically plays the same character, this time it's the eccentric millionaire Martin von Ransohoff.
* 30 – Joseph Ransohoff, 85, American neurosurgeon.
Peckinpah and agreed
It was in this state of mind that Peckinpah agreed to make Pat Garrett and Billy the Kid ( 1973 ) for Metro-Goldwyn-Mayer.
United Artists agreed to pay Peckinpah to write the script but he told Baum that he did not want any money for it because he owed him one.
According to Leone, Sam Peckinpah agreed to direct the film after Bogdanovich's departure, only to be turned down for financial reasons by United Artists.
Peckinpah and lack
While Rhys-Davies was an outspoken critic of the writers and their lack of creativity ( and intelligence ), Fox supported him while Peckinpah was the only one who wanted him out.
Peckinpah and experience
He was asked to stay on another year, but Peckinpah began working as a stagehand at KLAC-TV in the belief that television experience would eventually lead to work in films.
Critics complained that the film was incoherent, and the experience soured Peckinpah forever on Hollywood.
McQueen had just worked with Peckinpah on Junior Bonner and enjoyed the experience.
Peckinpah and would
While shooting Jinxed !, a comedy drama starring Bette Midler and Rip Torn, Siegel asked Peckinpah if he would be interested in directing 12 days of second unit work.
Peckinpah also used violence as a means to achieve catharsis, believing his audience would be purged of violence by witnessing it explicitly on screen ( one of the major inspirations for his violent sequences in The Wild Bunch ).
Peckinpah had wanted an editor who would be loyal to him.
" Peckinpah used violence as catharsis, believing his audience would be purged of violence, by witnessing it explicitly on screen.
Columbia relented -- mainly because of a promise made to them by star Charlton Heston that he would never work for the studio again if they didn't let Peckinpah edit the film the way he wanted -- and acceded to some of Peckinpah's demands, but the finished product was still not satisfactory to him and he disowned it ).
The film's producer made a deal with Paramount Pictures ' production chief Robert Evans who allowed Peckinpah to do his personal project if he would first direct The Getaway.
Fielding would work with Peckinpah on two additional films, Bring Me the Head of Alfredo Garcia ( 1974 ) and The Killer Elite ( 1975 ).
One newspaper critic remarked, " If filmmakers Woody Allen and Sam Peckinpah had collaborated on Jonny Quest, it would have come out a lot like this.
Sam Peckinpah and Monte Hellman were the two directors Warren would work with anytime anywhere.
Panzer and Davis were hoping that Peckinpah would go back and re-edit the film himself, as they did not desire to antagonize him any further, but the director refused to make changes.
When Woo could not explain what he wanted with a shot to cinematographer Russell Carpenter, he would resort to simple statements such as " this will be the Sam Peckinpah shot " to get his message across to Carpenter.
Peckinpah would make just one more film, The Osterman Weekend in 1983, before his death the following year.
Peckinpah would remark, " I made a film where nobody got shot and nobody went to see it.
" 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 largely discarded this, and began making the movie into a complex character study about Dundee, making him a glory-hungry officer who would do anything to gain fame and recognition.
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