Latest / Citizen Frame / Unforgiven (1992)

Transcript

Unforgiven (1992) · Citizen Frame

• 0:00
  Ned, you remember that drover I shot through the mouth? His teeth came out the
• 0:04
  back of his head. I think about him now and again.
• 0:08
  He didn't do anything to deserve to get shot. At least nothing I could remember
• 0:12
  when I sobered up. He was one crazy sonbitch, Will.
• 0:17
  Yeah, no one liked me, and the boys all thought I was gonna shoot him out of pure meanness.
• 0:23
  Well, you ain't like that no more.
• 0:26
  Eagle, he hated my guts.
• 0:28
  Bonaparte didn't think too much of me either. Quincy neither, right? No.
• 0:34
  Quincy used to just watch all the time.
• 0:38
  Scared. Well, like I said, I'd like to know more. That's right.
• 0:45
  I'm just a fella now. I ain't no different than anyone else.
• 0:50
  All right, everyone. Welcome back to another episode of Citizen Crane.
• 0:53
  And that's right. This is the third episode that's not a horror film. Shock horror?
• 1:01
  It's pretty good. It's pretty good so far. We promised you we're going to stay
• 1:04
  away from horror for a while.
• 1:06
  So we've kept that promise so far. So we'll see.
• 1:10
  We'll see if we can continue it. Well, it's almost like we're addicts sort of
• 1:14
  trying to wean off, you know?
• 1:17
  You know, day by day, you know, one step at a time.
• 1:22
  Exactly. It's tough to do, guys. It's real tough to do. Yeah.
• 1:26
  But don't worry, we'll definitely get you back in Halloween month.
• 1:31
  Or well before it, I would imagine? Well, it's about time we do get away and
• 1:35
  we talk about the man in charge here, the great, great, great,
• 1:39
  great, the greatest American filmmaker of our time. I don't care if people can
• 1:43
  argue with me all they want. He is by far.
• 1:45
  You got the Frank Capras. You got the, you know, the great Spielbergs.
• 1:50
  You got the Scorseses, but they don't hold a candle that Clintias would.
• 1:54
  This guy is a massive storyteller. He knows how to cast. He knows how to direct.
• 2:02
  He knows where to point the camera. This man is a fucking legend in the business.
• 2:08
  And he finally got the recognition that he was due thanks to this little 1992
• 2:15
  Western, The Unforgiven.
• 2:18
  Yeah i mean clint eastward you know i for
• 2:21
  me anyway i mean you could sit and argue all day about who's you know the greatest
• 2:24
  director living director or you know of all time or whatever you know we sit
• 2:28
  and argue about that all day but to me clint eastward is probably the biggest
• 2:34
  hollywood star of all time i would say yeah.
• 2:40
  Yeah, hands down. I mean, I taught Clint on this podcast a lot and how much I admire him. Yeah.
• 2:46
  We haven't really talked about it. I mean, well, we have talked about it,
• 2:48
  but we haven't talked about his films.
• 2:49
  We're going to be diving into them hard this summer with the Dirty Harry Collection
• 2:53
  and a couple of Westerns coming up.
• 2:55
  So we'll definitely be educating y'all on the man himself, Clint. Yeah.
• 3:01
  Now, this podcast will be a little longer than some just because it's not forgiven.
• 3:06
  And a lot to talk about, but also because I want to talk about Clint for a little bit here.
• 3:12
  And Clint Eastwood is one of the very few, if not the only one,
• 3:19
  to successfully be an actor and a director.
• 3:23
  Now, you did have Richard Attenborough, who went on to become a famous director,
• 3:28
  but he obviously started off being a famous actor as well.
• 3:31
  Yes. So he would be up there, not to take away from any of his work,
• 3:35
  but I certainly think it's Clint Eastwood who's pretty much mastered this.
• 3:39
  I know other people are trying to step, you know, do the same to Tom Hanks,
• 3:42
  I think, try to do it with that thing you do.
• 3:45
  You had, I think Bradley Cooper did Stars Born, if I'm not wrong.
• 3:49
  So I think other people are looking to do that, but there's no way they will
• 3:53
  ever touch the career path that Clint Eastwood has taken.
• 3:58
  And he was a late bloomer, Clint. Clint, Clint, late bloomer.
• 4:02
  He started like Gene Hackman late in his life.
• 4:07
  And his first big outing as a director was...
• 4:12
  Play Misty for me. Yes. Which to this day is with Fatal Attraction and basicating all these, you know.
• 4:19
  Bunny Boiler film. Yeah, exactly.
• 4:24
  They're all there because of Play Misty for me, his first outing.
• 4:29
  And he never looked back. He's pretty much directed everything he's been in
• 4:34
  since. Now, he worked closely with Don Siegel.
• 4:37
  That's his best friend. He put in his films as well. but Don Siegel directed
• 4:41
  a lot of the, uh, some of the Westerns he's done, but he also directed the Dirty Harry's and so forth.
• 4:46
  And in fact, this movie is dedicated to him and Sergio Leone because he,
• 4:52
  he, oh, he believes and he's probably right.
• 4:56
  It's his career to Sergio Leone and Don Siegel.
• 4:59
  Sergio Leone actually, he was famous, Clint Eastwood was famous for,
• 5:03
  you know, Westerns, like TV Westerns. Well also, yeah, yeah.
• 5:05
  Rawhide, I was about to say.
• 5:07
  Yeah. Rawhide. And, yeah, And that terrible musical, Peyton Wagon.
• 5:13
  But he, it wasn't until Suzy Leone got him to agree to do the Man With No Name trilogy.
• 5:20
  And that really catapulted him. Because he wasn't the first choice to play Dirty Harry.
• 5:25
  It was, believe it or not, it was two other people. It was Frank Sinatra,
• 5:30
  right? It was, but he said it was too violent.
• 5:33
  And then it was Steve McQueen, which I could see steamy. but Steve McQueen said
• 5:39
  he just did Bullet and he didn't want to do back-to-back action thrillers.
• 5:43
  So he turned it down and then Clint obviously came around and that's how he got the part.
• 5:48
  But he always, I believe, pretty much pretty much confident he owes his career to those two men.
• 5:55
  He's been his own production company,
• 5:57
  Malpaso, has pretty much been his production company since day one.
• 6:01
  He always works with the same team, the same editors, the same DPs.
• 6:05
  He's very loyal to his team.
• 6:07
  And it's finally nice to see that and and only three westerns have ever won best picture,
• 6:14
  samarin yeah yeah samarin i think it's called 1932 and then he had dancing with
• 6:19
  wolves right before this came out and then of course unforgiven so and he's
• 6:24
  always been loyal for the western but this is his goodbye to the western he'll
• 6:29
  make a couple of independent ones coming up In the recent years here,
• 6:34
  like Cry Macho and even Gran Torino has a Western feel to it.
• 6:41
  But we're not here to talk about them, but this is pretty much his swan song to the Western.
• 6:45
  And what a way to go out because we're here to talk the 1992 multi-Oscar winning Unforgiven. Yep. Yeah.
• 6:53
  I would say well-deserved all of the Oscars. Yes. I mean, this is, we'll get to it.
• 6:59
  That's too bad clinton to get the oscar for acting he never was taken seriously
• 7:03
  as an actor i think and it sucks because we say this a lot,
• 7:09
  There's movie stars and actors, and very rarely both. We talked about that with
• 7:14
  Harrison Ford, especially his performance in Fugitive, where he could do both
• 7:19
  very well. And Clint is that guy.
• 7:22
  We talk about you have this presence on screen.
• 7:25
  Like Arnold Schwarzenegger has a presence on screen or something about it. Star par.
• 7:29
  Yeah, and that's what Clint has. But when you see a film like this playing a
• 7:34
  character who's trying to redeem himself, so depressed and sad,
• 7:40
  it's a wonderful performance,
• 7:43
  all done, all done by not raising his voice.
• 7:46
  He's very soft-spoken, but you know when he's angry, when he catches his teeth,
• 7:51
  and you know when he's upset with his facial expressions.
• 7:58
  He's just because he doesn't
• 8:01
  overact doesn't make him not a good actor and
• 8:04
  I think that's I think that's why people don't
• 8:07
  really treat him as an actor but he
• 8:10
  is he just doesn't over the top it to me Clint Eastwood would be an actor before
• 8:15
  he would be a director just in my own head but I think maybe you know with the
• 8:20
  Dollars trilogy and stuff and you know the man with no name character and stuff
• 8:23
  maybe because they were spaghetti pulp style westerns he maybe wasn't taken as serious,
• 8:29
  but he has certainly over the years, and especially with this,
• 8:33
  proved that he's not just a big star.
• 8:37
  He's not just a big sort of name draw. He also has the acting chops,
• 8:43
  especially here and obviously with other of his later films as his careers went on.
• 8:48
  That's exactly, you nailed it right in the head.
• 8:52
  Clint Eastwood isn't one of these actors, even though we know Clint is badass,
• 8:55
  That's Clint, you know, Dirty Harry and the one-liners and all that crap.
• 8:59
  He's the guy who's always played his age. Yeah.
• 9:03
  You'll definitely see in his next film after this, which we'll definitely be
• 9:07
  getting to eventually, in the line of fire. And...
• 9:10
  He never tries to be the hero. He's always withered. He's always tired.
• 9:16
  He's always got a history behind him that he regrets. Like in every month.
• 9:19
  Yeah, almost. Yeah. And you'll see it with, he did a romance,
• 9:24
  which I really enjoyed, and I hate romances, which is Bridges of Madison County.
• 9:28
  I know of it, but I haven't seen it. And then he did A Perfect World with Kevin Costner.
• 9:33
  He would go on to do Space Cowboys, again, playing his age. He would go on to
• 9:38
  do Absolute Power, but an old-time thief.
• 9:41
  He'd go on to do, I can't speak enough about Million Dollar Baby.
• 9:45
  I can't speak enough about, to me, his best performance of all time,
• 9:49
  which will always be Gran Torino. Yeah. Gran Torino is incredible.
• 9:53
  It's a swan song to every character he's played. We'll have to review it at
• 9:57
  some point. And that's, we'll definitely get to Gran Torino.
• 10:00
  In fact, we're going to hit a lot more of these kind of Gene Hackman,
• 10:04
  all these veteran actors that we haven't talked enough about.
• 10:07
  So we'll definitely be hitting Clint Eastwood and Gene Hackman and Morgan Freeman.
• 10:11
  These are the kind of actors we should be talking about quite a bit more.
• 10:14
  Okay, yep. So out with Silent Night, Deadly Night 2 and in with Clint.
• 10:22
  Now it's more like we're going to go from Make My Day, we're going to go from
• 10:26
  Garbage Day to Make My Day. Yeah.
• 10:31
  But yeah, go for it. Let's jump into it.
• 10:35
  This is written by a long time collaborator David Webb Peoples in the 80s he
• 10:40
  was the man I mean this guy's list he did Blade Runner, Unforgiven,
• 10:45
  12 Monkeys Leviathan which I love and Ladyhawk I love 12 Monkeys yeah,
• 10:51
  then he went with kind of a he went with a cameraman but this guy he's done
• 10:57
  some cinematography but this is his first big outing as a cinematographer he
• 11:02
  was a cameraman at first but he's worked with him all the time as a camera operator with Pale Rider,
• 11:07
  Sudden Impact, Tightrope, Billy was Cop.
• 11:09
  Guy's got some really good street cred. So I had to give a shout out to the
• 11:12
  DP, which is Jack Green because the way this film is shot is absolutely beautiful. It is. Absolutely.
• 11:20
  According to Trevor, anyone can shoot as long as it's nice weather out.
• 11:24
  Well, I mean it's a nice day here while we're recording in North Belfast and
• 11:27
  you know, I could probably shoot something similar to Unforgiven on my phone
• 11:32
  Oh, yeah. Me and Karen on horseback.
• 11:36
  I can see that now. I can see that now. The worst Western ever. And I can see it. Yeah.
• 11:42
  I can see the landscape of Belfast looking like Montana. Oh, yeah, yeah.
• 11:47
  And, I mean, you know, like Monty Python, but not really on horses,
• 11:50
  but pretending to be. You know, Monty Python and the Holy Grail, you know.
• 11:53
  Get some coconuts and clap them together. Yeah, exactly.
• 11:58
  That'd be a great question. we got Clay Deeswood, Morgan Freeman,
• 12:03
  Gene Hackman, Richard Harris, Jimmy Wolvet, Sal Wubinick, Francis Fisher, Anna Thompson,
• 12:09
  And Anthony James, who I'd like to see. We talked about Anthony James. He plays Skinny Dubois.
• 12:15
  He's the one who owns the brothel. Yes, yes. And we talked about him.
• 12:19
  He plays Puppet with quite a few things.
• 12:20
  Yeah, he's a character actor.
• 12:22
  Tom Linkey. We just talked about him in Burt's Offerings. He was the chauffeur
• 12:26
  that always creeped me out.
• 12:29
  But he just recently passed. I
• 12:30
  wanted to give him a shout. He retired from acting after this film. Right.
• 12:34
  He said he wanted to go out on a high, and he certainly did.
• 12:36
  But he's actually a famous massive
• 12:40
  famous artist right so he's he's
• 12:43
  passed now but his artwork's worth a shitload of money so there
• 12:48
  you go a little side story there for anthony james a little shout out
• 12:50
  yeah so we got 1878 his wife has died of smallpox we get that uh this film takes
• 12:58
  place three years later i found that out 1890 1881 is when this film actually
• 13:02
  takes place this opening shot alone is gorgeous and we'll go back to this opening
• 13:07
  shot because it ends with this kind of shot at the end of the film,
• 13:11
  where it's just him in shadows with the trees in the shadow,
• 13:15
  the houses, little houses in the shadows but he has this bright orange.
• 13:20
  Red background, this lab beautiful color.
• 13:23
  It's sort of saying that he's in this sort of shadow, the twilight of his life, you know?
• 13:28
  Yeah, it's just absolutely gorgeous and that's he's burying his wife is what
• 13:35
  he's doing during the background there.
• 13:38
  But then we get to obviously 1881 which is where the hooker or the prostitute or whoever gets cut up.
• 13:46
  Pretty tough little scene to watch actually in this little town of Big Whiskey.
• 13:50
  I don't know where to go with some of these characters. This is one of the great
• 13:55
  things overall with this film.
• 13:58
  It is I would imagine, obviously I wasn't alive
• 14:00
  back then i didn't live in you know big whiskey the town i didn't live in the
• 14:05
  white west but you wouldn't last five minutes i would i'd be like the gunslinger
• 14:09
  but i'd be more i'd be the gunslinger you know something like you know from
• 14:13
  the quick and the dead but anyway or maybe even the mom and o'gm well but anyway
• 14:17
  more of the more of the more of the dead part i would say that this,
• 14:21
  particular philip is much more
• 14:24
  historically accurate to a depiction of
• 14:27
  what life was back there and then than you
• 14:30
  know a lot of the other westerns which you can still enjoy for their
• 14:33
  you know you know as and of themselves but this
• 14:37
  to me feels like you know tough times and
• 14:40
  you know people were very poor they had very little you know there was brutal
• 14:43
  violence so I think that is reflected I would imagine very accurately in all
• 14:48
  of the characters I mean there's nobody here there's no good guys here but at
• 14:53
  the same time there's no out and out bad guys you know there's just people yeah,
• 14:58
  And that's where I have the problem with the Gene Hackman character.
• 15:03
  Little Bill, because it's such a gray air with him, because he is trying to
• 15:08
  keep justice in his town. Yes.
• 15:10
  He's trying to keep it clean from weapons. Obviously, no guns allowed on the premises.
• 15:15
  He's trying to, you know, he's building his own home terribly,
• 15:19
  but he's building his own home.
• 15:20
  And the first part of this, there's a likability to the guy.
• 15:23
  I don't want to kill these two men for what they just did, but we don't want
• 15:28
  to be killing people left and right. So he comes with agreement.
• 15:32
  The guy who did it actually, Quick Mike you have to pay five horses Davey,
• 15:37
  the part Davey did nothing he's
• 15:39
  got to give two horses so he tries to do a bargaining system with them.
• 15:44
  There's also a very brutal side to
• 15:47
  him that suggests it but again but again
• 15:51
  we can't I'm talking about historical accuracy which
• 15:55
  I believe there is so much of in this
• 15:57
  and it's a case of we can't
• 16:00
  really well we can't judge the past through
• 16:03
  modern eyes if you
• 16:06
  know what i mean you know so yes brutal times
• 16:09
  and certainly from a modern point of view um
• 16:12
  there's a lot of brutality and very violent men here i
• 16:15
  mean pretty much all of them but we can't
• 16:19
  judge the past through a modern lens if you know what i mean and
• 16:21
  i think that this is great at depicting the past well
• 16:25
  i think that's why the film has a lot of gray areas absolutely because if
• 16:30
  you see like if you're playing gene hackman was playing
• 16:32
  this character now in modern time he'd be considered a sociopath yes but here
• 16:38
  i'm thinking is he just an egomaniac really i think that's really what i think
• 16:43
  i'll well certainly with his character and also clint's you know william monite
• 16:49
  i think they are also a lot.
• 16:51
  Character is there a victim of circumstance you
• 16:55
  know of being born at the wrong place at
• 16:58
  the wrong time and maybe if they had been born in a
• 17:00
  different place or time they would have been very different
• 17:03
  men in fact that's definitely especially suggested
• 17:07
  with you know clint's character william money you
• 17:10
  know where he at one point in his life he does get a
• 17:13
  glimpse of a different life and through his wife and he
• 17:17
  does become a different man so it's definitely
• 17:20
  more than suggested here you know that they're definitely
• 17:22
  victims of circumstance you know i would
• 17:25
  in terms of the real world and again i'm not
• 17:28
  going to get too heavy but i would say even the likes of the northern ireland
• 17:32
  troubles were men on both sides committed awful things that perhaps if they
• 17:37
  lived in a different country at a different time they would never ever have
• 17:41
  got involved and things like these so you know it's just really well realized i think.
• 17:48
  No, I mean, that's what I said to begin the podcast. When it comes to Clint
• 17:51
  Eastwood stuff, everything he does is character-driven. Yes, yes. Everything.
• 17:56
  We talk about arcs. Everyone's going to get one.
• 18:01
  And especially the Schofield kid. Oh, well, I would say he has arcs up there with Clint.
• 18:09
  Yeah. The ending he gives, the speech he gives at the end is really soul-destroying for the poor guy.
• 18:14
  Oh, it's heartbreaking. But when I do like when he introduced Willie Money and
• 18:20
  William Money, I say Willie, Will Money, he's a pig farmer now.
• 18:26
  And you obviously got hog cholera going around, which is known as swine flu,
• 18:32
  I believe, or the fever, they call it the fever.
• 18:35
  But, and then this kid shows up, $1,000, that's 500 apiece.
• 18:40
  You will get these two men who cut up this woman. And he obviously exaggerated,
• 18:44
  they cut off her tits and they cut off her ears and they oversell it.
• 18:50
  But that's the way these things happen, certainly in the real world.
• 18:55
  It's like the whole Chinese whispers thing where things get exaggerated.
• 18:59
  And that actually comes into play a lot later on, you know? But yes. Yeah.
• 19:04
  I do like little things where how rusty he is.
• 19:08
  There's a great scene where he goes, takes his pistol out and he tries to shoot the can.
• 19:12
  To try to learn how to shoot again because he hasn't used a gun in 11 years
• 19:16
  I think he says and so he just gives up, goes, grabs a shotgun and blows the shit out of it.
• 19:23
  And also it's not done for, sometimes these films will do these sorts of things
• 19:27
  for comedic effect you sort of feel for him he's the agent, he can't ride the
• 19:31
  horse right he's fallen off the horse and stuff you know what I mean, it's just so,
• 19:37
  realistically played you know, and that he's not the sort of macho man here,
• 19:41
  you know I like to see where Davey and Quick Mike all go back in springtime
• 19:48
  now, and they have to bring the horses back.
• 19:52
  And Mike gives his five horses, and then he gives his two.
• 19:55
  There's an extra one. And he goes, that's not for you, asshole.
• 19:58
  This is for Deliah, who got cut up.
• 20:02
  And he had nothing to do with it. Exactly. They go after him,
• 20:05
  and he's like, oh, she's not a freak. I'm like, well, no offense. He's not a freak.
• 20:09
  I mean, I think I just...
• 20:12
  But the anger in this town is pretty unreal. I mean, it's nuts.
• 20:17
  But I do feel for the Davey character, especially his death.
• 20:20
  Yeah, yeah. Because he is a victim of circumstance. He's innocent. Yep, yep.
• 20:25
  He was at the wrong place at the wrong time. And this poor guy is trying to make amends.
• 20:29
  Mike's not doing anything, just paying what he's paid to do.
• 20:33
  Hey, you know what's funny? You know who Quick Mike was? No. No.
• 20:38
  Quick Mike is an actor called David Mushy. Mushy. Right. I think it was something like that. M-U-C-C-I.
• 20:43
  He was a really bad actor with the huge, thick eyebrows at prom night.
• 20:48
  He's the one who gets his head cut off. Yes. On the stage. Yes.
• 20:51
  We covered prom night. Yeah. Yeah. We did. That's right. We did.
• 20:55
  Prom night. Gonna give you some night.
• 20:58
  Classic. But just to go. How the fuck am I going for that? Just to go.
• 21:01
  I'm forgiving the prom night.
• 21:03
  Just to, well, just to go back to something you said about the anger in the town.
• 21:06
  Well again it goes back to the historical accuracy because
• 21:10
  these were brutal times people had had to
• 21:13
  put the piss in or a window to throw it out there were you know there
• 21:16
  were there was severe poverty you know and especially like the depiction of
• 21:20
  the prostitutes because they're not in any way glamorized and they're tough
• 21:24
  women you know what i mean and because you had to be you had no choice back
• 21:28
  then so yeah the anger and stuff it totally makes sense from a historical context,
• 21:35
  it's weird because anytime because that's where bill is kind of correct where that bill yes he.
• 21:45
  Is there to keep
• 21:49
  the peace and he actually does do that but there
• 21:52
  must be side stories to how he does it because we we obviously
• 21:55
  get a glimpse of it obviously when as things go
• 21:59
  down but anytime he shows
• 22:01
  up on screen the whole town is terrifying well again it
• 22:04
  goes back to it's tough and very violent times so to be a sheriff in reality
• 22:10
  in a town like that you would have to be a bastard now I'm not defending a lot
• 22:14
  of the stuff he's done on and off screen it's heavily suggested later on that
• 22:19
  he was a former slave master and stuff but,
• 22:23
  certainly if you were a sheriff during these times in a very violent time and
• 22:29
  with poverty and all the rest you have to be a bastard to keep the law,
• 22:35
  Are people that walk all over you? Yeah, I suppose. It's a doggy dog world,
• 22:40
  and everyone's wearing milk-goed underwear.
• 22:42
  Especially back then. It's not like nowadays, where people have a fucking breakdown
• 22:46
  if they can't get an internet connection, and that's just caring. I know.
• 22:51
  No, no. I'd be a badass in the Western, man. I'd be so cool.
• 22:55
  I'd be like Billy the Kid. I'd just kill things.
• 22:57
  I would be like Russell Crowe, maybe in The Quick and the Dead, you know? No.
• 23:02
  No, no, don't even go. Not even close. Not even close. You would be Ratsy in
• 23:08
  The Quick and the Dead. The bullshit.
• 23:10
  No, no. I would be either, you know, someone like that. Or Keith David,
• 23:14
  maybe. Or, you know, the Lance Henriksen character.
• 23:19
  The pathological liar. The bullshitter. Yeah.
• 23:24
  Oh, good old Ace. That's what this movie's missing, is Ace. Yeah.
• 23:31
  Or Buford Palin from Back to the Future 3.
• 23:35
  So we he decides he wants to bring Ned on board obviously because this movie
• 23:39
  pretty much is a companion piece yeah it's a road movie,
• 23:43
  it's a road movie it's a journey film between old
• 23:46
  friends and a new one yes and these two new friends these
• 23:49
  two friends these two friends these men who
• 23:52
  were butchers who slaughtered women and children they know what they've done
• 23:56
  and they're trying to redeem themselves they both married Indian women who kept
• 24:01
  them right and And they are now taking this young kid under his wing who they
• 24:09
  know the whole time he's bullshitting. They're not stupid.
• 24:12
  But it's amazing how these two, and I think this is where the film does go.
• 24:17
  Is that they're there to teach this kid not to do what they did. Yeah.
• 24:24
  They don't want him to kill this. They kind of pointed out, you can't see good
• 24:30
  candy at all. or how many people have you really killed?
• 24:33
  It's not overly done in that it's not explicitly done. It's more to do with
• 24:37
  the journey that they go on.
• 24:40
  And the kids, the Schofield kids' journey, as was stated, is particularly harrowing, to be honest.
• 24:48
  And apparently... Yeah, I think their journey, their redemption, is to help this kid.
• 24:54
  Well, I think, yeah. But also, he has the flip side.
• 25:00
  To a redemption arc where the kid wants
• 25:04
  to you know be a tough guy and
• 25:07
  be a killer and he goes to hell and then he realizes that he doesn't want to
• 25:11
  be in hell anymore and apparently there was a scene in the script i don't think
• 25:16
  it was filmed where due to the events of what happened which we'll get to the
• 25:21
  kid actually through guilt commits suicide by drowning himself.
• 25:25
  Which would make it even more, much more heroin. Yeah.
• 25:30
  I think Clint did want to go that route because it was already dark enough.
• 25:35
  Yeah. And it's already sort of suggested anyway, you know?
• 25:38
  Yeah. Yeah. There's some, there's just, there's no, the great thing about it,
• 25:42
  when they're doing their journey to get to the town, it was just a little one-liners
• 25:47
  that, and there's not, there's not a lot of data dumping here,
• 25:51
  believe it or not. I could subtly, don't. There's just like one.
• 25:53
  Yeah. Yeah, like there's a line where Clint just says, remember that man I shot
• 25:58
  back and blah, I shot him in the mouth, and his teeth went through the back of his head? Yeah.
• 26:03
  And he paused, and he says, he didn't deserve that. I know, I know.
• 26:07
  And those kind of things is where, those kind of lines, those little ones that
• 26:13
  drop in here and there, show the pain that these men are going through because
• 26:18
  of the pain they've inflicted on others.
• 26:21
  It's so subtly done. And also whenever William Money is delirious with the fever,
• 26:27
  he's actually starting to see sort of the faces of his own victims,
• 26:31
  you know, like, you know, as part of his sort of delusions and stuff.
• 26:34
  And, you know, it's all just little, it's very sort of well-paced and just,
• 26:41
  you know, thrown in at the right time and just brilliantly performed as well,
• 26:45
  of course, by Clint and Morgan.
• 26:49
  English Bob. Yeah.
• 26:53
  I don't know how to take this guy because, again, all these characters are gray areas.
• 26:58
  There's not really... They're fun to watch, but they're not likable. Nope.
• 27:02
  And I think that's the best way to describe these characters.
• 27:05
  They're fun to watch, but they're not likable. Yeah.
• 27:09
  And I don't know where to go with English Bob because you're supposed to kind
• 27:14
  of feel sorry for him, but no, he's a prick. He's a fraud?
• 27:17
  Yeah he's a fraud but he kills he has a thing against Asians he kills them yeah he also,
• 27:24
  has this thing about the queen and king are more superior than the president
• 27:27
  blah blah blah yeah gets in a couple fights over him well the thing he's not
• 27:31
  just a fraud in terms of the bullshit
• 27:32
  stories he's telling you know to the writer guy the actor Saul yeah.
• 27:38
  Bojan yeah who's also in True Romance as the film producer Donnie Donowitz who's
• 27:44
  been brilliant in that but yes But not only is he bullshitting and embellishing
• 27:48
  his stories to the writer, his biographer,
• 27:51
  he is also pretending to be upper-crust English, which he's not.
• 27:55
  And we find that, you know, whenever he's basically kicked out of town,
• 27:58
  he's pretending to be, like, you know, some upper-class, posh,
• 28:02
  gentleman, adventurer type. But he's not.
• 28:05
  He's just a fucking, he's a thug. so
• 28:08
  he is and actually whenever he's being running a turn by Gene
• 28:12
  Hackman you know in his final scene he actually
• 28:15
  reverts back to his real sort of more sort
• 28:18
  of working class Cockney accent you know
• 28:20
  Richard Harris is getting the role so he
• 28:23
  is but yeah he's just a he's a he's a fucking he's a white boy a fraud and you
• 28:30
  know even the writer guy you know but shop I think his name is in it you know
• 28:35
  what I mean he's a dark side as well so he does and he's also a mercenary because
• 28:39
  he's happy to jump ship for where he can get the best book out of you know.
• 28:45
  I just felt when he starts beating the shit out of him,
• 28:51
  during the day and the Talons folks are watching in shock,
• 28:55
  I didn't get to go I didn't want
• 28:57
  to go with that I mean he deserved it I guess well again it's a nuance,
• 29:02
  which is there's so many nuances right across the board here
• 29:05
  where it's played i wouldn't
• 29:08
  go as far as saying documentary style i don't be going too far
• 29:11
  but it's played where you don't know there's no good guys and bad guys here
• 29:15
  no out and out good guys and bad guys you don't and even with scenes like this
• 29:19
  you know does he deserve it yeah i suppose he does a bit but again gene hackman
• 29:24
  i think goes a bit too far in real world context but this is the wild west you know,
• 29:31
  from the lines where Gene Hackman tells the writer, Bochamp,
• 29:36
  I don't like assassins or men of low character or cowards and so forth,
• 29:41
  which is not wrong, I guess.
• 29:43
  But then he goes into Clint Eastwood and the gang show up.
• 29:51
  And Ned and the kid are talking to Alice, the prostitute, about getting the
• 29:58
  money and how is it going to work.
• 30:00
  And little bill shows up with this team and
• 30:03
  he's just a hypocrite because here he is here's a man just
• 30:06
  sitting there quietly and he's obviously
• 30:10
  sick you can tell and he beats the shit out of yeah and it's
• 30:13
  like well he's defenseless he even tells you there's no bullets in the gun because
• 30:17
  the gunpowder will get wet little bell so i don't have there's no there's no
• 30:22
  bullets in the gun he still beats the shit out of him and there is where i i
• 30:26
  finally got somewhere where i said you know oh, this guy's a piece of shit.
• 30:30
  Because at first we were dealing with the two thugs, or the one thug in the beginning.
• 30:38
  Then you're dealing with English Bob, all ugly characters.
• 30:43
  But now we're with a guy we've been journeying with.
• 30:46
  We know his journey and where he's been through. And he shows up and beats the
• 30:51
  show of a defenseless man.
• 30:52
  So everything that this man preaches, he doesn't do himself.
• 30:56
  Yes, and he's also, I would say, on something of a power trip,
• 31:00
  and he's ultimately a bully.
• 31:03
  He's an ego maniac. Yeah, he's a ego maniac. Yeah.
• 31:06
  Even his house, it's a piece of shit. Everyone's making fun of it. It's leaking. Yes.
• 31:10
  And he's building his own house. He's bragging about it, but he's not doing
• 31:13
  it right. It's terrible.
• 31:14
  Well, even the writer says to him whenever he's jumped ship about writing about
• 31:19
  Little Bill's biography instead, even the writer says to him,
• 31:22
  hang the carpenter. And he goes, what?
• 31:24
  You know, he just turns on him. He goes, what'd you say? you know what I mean
• 31:26
  so yeah he's a he's a narcissist ultimately an egomaniac like you said.
• 31:32
  So when Ned leaves with the kid and they leave him to get fixed up and we got
• 31:40
  Delilah, who's helping him get fixed up and get, you know, he's got,
• 31:44
  he's got the cold, the fever, whatever he's got. I got to bet more than the cold.
• 31:48
  Kieran, this isn't like one of your colds, you know?
• 31:53
  My colds are, my mom was worse, man. Oh, yeah. Oh, okay.
• 31:58
  Kieran, what I can't go to my, I, I had, I had to have crackers. and soups. Whoa, whoa.
• 32:04
  I mean, like, what you've been through is actually much worse than what people
• 32:09
  went through in those times, you know, back in the 1800s.
• 32:14
  Exactly. Exactly. I'm a badass. Sitting there wrapped up in your,
• 32:17
  I don't know, Jason Voorhees onesie. You know what I mean?
• 32:22
  Oh, I love my onesies. With your mug of, you know, chicken soup.
• 32:28
  What do you mean, chicken, you fucker? Go fuck yourself. and my good Hallmark
• 32:34
  movie. That's a good remedy.
• 32:36
  That would give me the fever. 513th Monsie, cup of soup, and a good Hallmark
• 32:40
  movie. I'd rather have a fever.
• 32:44
  Yeah, there's some nice dialogue here. She's telling him the men are taking
• 32:50
  advances. They're getting yum-yum time.
• 32:54
  He's like, would you want a free one? And he says, no, thank you. Oh, I know I'm ugly.
• 32:59
  I felt sorry for her. So she goes, no, it wouldn't be with me because I'm all
• 33:02
  cut up. It would be another beautiful woman.
• 33:04
  And he tells her, no, no, it's not. You are a beautiful woman.
• 33:07
  It's because of my wife. Yeah.
• 33:10
  And later she's told that, well, his wife died. She never put the pieces together
• 33:14
  that he's still loyal to his wife. Yes.
• 33:16
  So she thinks he was just lying to her, which is kind of sad because he never
• 33:20
  did fully, she never did get the knowledge that, well, it's just because he's still loyal to his wife.
• 33:28
  So she always went on the impression that he was lying to her.
• 33:31
  But he was never lying Was that?
• 33:35
  I think it does click with her Eventually, especially at the end Where she brings
• 33:38
  it up again But yes, certainly for this scene She thinks it's because Oh, he does? What's that?
• 33:46
  She does bring it up again? Yes. At the end, you know, saying,
• 33:50
  which is talking to the other prostitutes, I believe, is saying that,
• 33:53
  you know, he basically, I offered him a freebie, but he wouldn't take it because.
• 33:58
  No, no, no. That's what I'm saying. Because they say, what do you mean,
• 34:02
  his wife? His wife's been dead for years. Yeah.
• 34:04
  So she just went, oh. So she didn't understand that.
• 34:08
  Now she thinks he was lying to her because he didn't want to sleep with her
• 34:11
  because his wife's dead. But what he was saying was, I can't cheat on my wife,
• 34:14
  even though she is dead. Yes.
• 34:16
  I just, don't want to do that. That's what he meant, but now she takes it a
• 34:19
  different way. Yeah, well. That's what I'm saying.
• 34:21
  Yeah, I thought more. So her self-esteem gets, so her self-esteem gets shot again. Yeah.
• 34:26
  Not by his means, or even anybody's means by any chance, by any standards,
• 34:31
  but it's you get it. Yeah, no, no, I know what you're saying.
• 34:34
  Yeah, although, yeah, I thought, yeah, I think it's more like she didn't get
• 34:39
  it, then she got it, but then whenever the other prostitute say,
• 34:42
  his wife's been dead for years, then she's sort of, she's back to square one,
• 34:46
  where shoes oh yeah he didn't want to sleep with me because i'm ugly
• 34:49
  type thing that's exactly what i'm saying that's exactly what i'm saying yeah so
• 34:53
  we go to the scene we're seeing what's in the tough little watch where they
• 34:56
  shoot davy yeah the one who didn't deserve it and there's
• 35:00
  clint finally raising his voice for the first time would you get him some goddamn
• 35:03
  water we're not going to shoot and ned freezes ned's ned complete the one that's
• 35:10
  a nice little character moment there because of all the group that we have here.
• 35:16
  Ned was the most confident.
• 35:18
  And all of a sudden, Ned freezes and he can't take a shot. He's done. He can't do it.
• 35:23
  I would also say that what I really like about this scene in particular is how
• 35:28
  it's anti-Hollywood action scene in that they're making all sorts of mistakes
• 35:34
  left, right and center both sides.
• 35:35
  It's not like Young Guns where it's like a blaze of glory and it's all very
• 35:39
  well choreographed and stuff.
• 35:41
  Obviously this is choreographed but in a different way I like how it's more
• 35:44
  grounded if you know what I mean how maybe a gunfight like this would actually
• 35:49
  play out in a real world yeah I mean well it.
• 35:54
  Because of all this ugliness we're seeing, you had to have some kind of humanity in this film.
• 36:01
  And this is the scene really where they do it because he shoots him,
• 36:06
  doesn't want to, but he has to, obviously, he's there to do that,
• 36:09
  shoots him, but he doesn't want him to suffer. Yes.
• 36:12
  So that's why he says, guys, listen, no one's going to shoot anybody.
• 36:15
  Just go help your friend. See, this is a great thing about this film.
• 36:19
  There's so many gray areas and so much conflict, you know, within the film,
• 36:23
  but also watching it as an audience member.
• 36:25
  It's like, you know, he sort of, his humanity's there where he doesn't want him to suffer.
• 36:30
  Go get him a drink of water, for God's sake, type thing.
• 36:35
  But at the same time, he's still
• 36:37
  prepared for a little money to go out and kill this guy and his mate.
• 36:41
  So, you know, there's so much conflict, but again, it's just,
• 36:44
  it's great to watch, you know, and take in.
• 36:48
  Yeah, it's a good scene. Yeah. I think one of the best scenes in the film,
• 36:52
  actually. I don't know, Manny. It really sums up.
• 36:55
  It sums up all of them. And then Ned says, I can't do this anymore. I got to go.
• 37:01
  And he goes, okay, don't worry. You'll get your share of the money, blah, blah, blah.
• 37:06
  So this is the big scene. This is where you've got the kid is going to take
• 37:10
  a shot at prom night. Yes.
• 37:13
  And on the shitter. Yes. Best way for that piece of shit to go, pardon the pun.
• 37:18
  Yeah. Just an ugly fucking character of everyone. He was the one I couldn't
• 37:23
  stand the most. But at the same time, did he deserve to die?
• 37:28
  Again you know for what he did yes oh no he he did deserve to die well i mean
• 37:34
  but but again this film actually the way he dies and the fact that it's the
• 37:38
  kid does it and the way the kid kills him,
• 37:40
  even the kids like you know again one of the things
• 37:43
  i love about this film how you know by in a lot of the action
• 37:46
  films we watch are i would say the majority of westerns
• 37:50
  killing and especially horror films as well killing and
• 37:53
  people getting killed it's so easy and it's just done in
• 37:55
  a blink of an eye the great thing about here is it actually
• 37:58
  takes so serious the actual act of
• 38:01
  taking another man's life and it
• 38:04
  does it so well yeah well it it
• 38:07
  shows it in the next scene yes when him and clint are
• 38:10
  sitting by the tree yes and the kids just drinking a bottle and
• 38:13
  he keeps saying oh i saw him i saw him dead really good he's giggling
• 38:16
  and laughing like the joker yeah but then he starts breaking down crying yeah
• 38:19
  exactly and he says what have i done yeah what have
• 38:22
  i done he's crossed the line and again yeah you know usually
• 38:25
  and say another type of film you'd be saying yeah yeah kill
• 38:28
  that bastard he deserves it you know you'd be tearing it on but
• 38:31
  it's just in the execution pun intended here it
• 38:35
  is just it brings home the reality what it would actually be like to actually
• 38:39
  take another person's life whether they deserved it or not well then you also
• 38:44
  put the fact and then you also put that he's defenseless yeah exactly he's on
• 38:49
  the shitter literally he's on the shadow. There's nothing he can do.
• 38:52
  He can't defend himself.
• 38:54
  But fuck it, he deserved it.
• 38:57
  And he should have got it for his bad acting, probably.
• 39:02
  If anything. And his dance movie was the farm night. Yeah, remember his dance movie?
• 39:07
  Well, yeah, he deserved it for this dance, and I would say. Yeah.
• 39:10
  I would say. And he had that one eyebrow.
• 39:14
  That fucking thick eyebrow. Yeah, yeah. Well, so yeah, he deserved it for that, alone.
• 39:19
  Yeah. Exactly. I.
• 39:23
  So yeah, and this is where the tension just finally comes full on,
• 39:26
  where this whole film, Clintus was reserved, trying to teach this kid to calm
• 39:33
  it down a bit, wanting to kill something,
• 39:35
  dealing with his friend Ned, and his friend Ned has to go, and as this kid's
• 39:39
  confessing and breaking down, and he's trying to console them,
• 39:43
  and when the prostitutes show up with the money,
• 39:48
  and he goes, are you guys going to be splitting Ned's?
• 39:51
  And he goes, no, make sure you give Ned his half.
• 39:55
  What do you mean? Ned's dead. Yeah. They didn't know that Ned was dead.
• 39:58
  They whipped him to death. I hated that scene, man. Yeah, well,
• 40:00
  yeah, that's the scene where it sort of suggested that possibly Little Bill
• 40:04
  was a former slave master, you know.
• 40:07
  But, yeah, again, apparently, who knows, you know, because it's done off screen.
• 40:13
  You know, his death is off screen. The original weapon isn't.
• 40:16
  But you know and he certainly intended to hurt him really bad but it's sort
• 40:21
  of said here maybe it's a bit of sort of cover-up by the townsfolk for little
• 40:25
  bill but it said here oh he didn't mean to kill him you know that sort of thing
• 40:29
  but yet still his body's paraded out the front,
• 40:31
  as a warning to would be assassins yeah yeah even the young actress who gives
• 40:38
  her that gives them a speech of what he did to him yes and how he wasn't saying
• 40:41
  he wasn't giving him any of her information but he eventually did but he said
• 40:45
  you're actually William Bonney,
• 40:47
  Money the man who killed women and children at the blah blah blah he blew it
• 40:50
  up with dynamite I think yeah.
• 40:52
  And just tells the whole story kind of who he was because we don't really know.
• 40:57
  Who he was so the kid decides I'm fucking off I'm going I don't even want the
• 41:03
  money I just want to go and that's where maybe the side story is where he kills
• 41:07
  himself we don't know what happens to him it's so tragic I'm glad they did it
• 41:11
  I'm glad they didn't Yeah, that'd be too much, maybe.
• 41:15
  And it's just such a great take on, you know, the reality of,
• 41:21
  you know, be careful what you wish for in terms of bravado or being a sort of
• 41:24
  big guy, because the reality of it is very ugly and very tough to deal with.
• 41:30
  This film's about so much, basically about trauma, so it is,
• 41:34
  you know, and trauma through violence.
• 41:37
  To piggyback on what you said, this really isn't a Hollywood Western.
• 41:40
  So it's, it's not too, or you're in Pale Rider, Clint's older stuff,
• 41:44
  outlawed, Joshua Wells.
• 41:46
  Yes. It's a lot more subtle, especially with the finale. This isn't a big gunfight.
• 41:50
  You hold down, I'm hiding behind the saloon doors, blah, blah, blah.
• 41:53
  This is one man. He just walks right in. He basically.
• 41:56
  And he says, let me finish, please. He points the gun.
• 42:00
  Right to Gene Hackman. So no one's going to shoot him because he's got his rifle
• 42:06
  pointed to Gene Hackman.
• 42:08
  And then he turns, who owns this bar?
• 42:11
  And he goes, that's Skinny. So he blows Skinny away.
• 42:14
  And he goes, you coward, you just killed an unarmed man.
• 42:17
  And Clint says the best line. He goes, well, he shouldn't have armed himself.
• 42:21
  And he was going to decorate.
• 42:24
  And he shouldn't be decorating his saloon with my friend. Yeah.
• 42:28
  Because that's why he killed Skinny. I didn't get that the first time.
• 42:30
  Film because he's the one who's putting his dead friend in front of a civil war.
• 42:36
  And that's why Scooby got killed. I would say the finale here verges a little
• 42:43
  bit more into sort of, essentially Clint's basically the Terminator here.
• 42:50
  Yes, a grounded Terminator, obviously, but he is full on badass and it does
• 42:54
  100% work, but this is more of a sort of a return to sort of,
• 43:00
  you know, It's like Clint's final stand, if you know what I mean.
• 43:04
  Well, no, no. The whole point is it's reverse character arc.
• 43:09
  The whole thing was about a journeyman where you've got Ned,
• 43:13
  who's kind of the badass the most, but can't fire the weapon at anybody now.
• 43:17
  Yeah. He just froze. So he's gone.
• 43:19
  Then you got the kid who has a breakdown after killing somebody.
• 43:22
  He's gone. And the one guy who couldn't shoot straight, he is rusty,
• 43:28
  11 years, who won't touch a drink, won't do anything.
• 43:32
  He'll respect his wife. Even though she's dead, he won't sleep with another woman.
• 43:36
  He's got all these journeys he's taking to the right direction, and then they're gone.
• 43:42
  Well, yeah. Because he's back to the man he once was.
• 43:46
  And that's why he's that Terminator-esque, because no one's going to fucking
• 43:50
  touch him. But also- He's going to kill every man who comes after him.
• 43:53
  And that works for me. Yeah, no, and also, if you notice, just before he enters
• 43:58
  the town for this final showdown and to basically shoot them all up he's back on the drink,
• 44:04
  So there's a big sort of commentary here on alcoholism as well.
• 44:12
  And also, you know, he can change, but can you ever really change?
• 44:16
  You know, that old sort of dark side will always be deep within you.
• 44:19
  You know, just busting to get out. Yeah. Yeah.
• 44:22
  And when he kills, when he kills Little Bill, it's brilliant.
• 44:28
  It's fucking just brilliant. There is a catharsis with that.
• 44:30
  And he takes off his men out. I thought what was going to happen was his men
• 44:36
  would just leave because I thought the bar would be clear because they want him dead. Yeah.
• 44:41
  I, that was the impression I was getting. Yeah. Kind of like the Gene Hackman
• 44:44
  character we're about to get in the quick and the dead.
• 44:47
  And some of them, I thought that's where they're going to go with it. Yeah.
• 44:51
  What was that? Some of them are either too scared to like, because you know,
• 44:55
  Clint is such a badass here to, to the only, the only people that don't leave
• 44:59
  are his, are, are, are his deputies. Mm.
• 45:03
  So they all get killed. Yeah. Yeah.
• 45:06
  Even the one with no one arm. Yeah. He actually shoots him twice.
• 45:13
  But, yeah, and at the end, it goes back full circle. He's back to being a pig farmer.
• 45:17
  We've had that beautiful shot again, and that's pretty much where the film ends, where it began.
• 45:24
  Now he's back home, I guess, maybe at peace with himself. We don't know.
• 45:28
  I love, no. I think the whole point of the story is a man, and Ned himself these guys can't go back.
• 45:39
  They're never going to be a peak they can't ever they can change in ways but
• 45:46
  they can't ever escape their past there are no easy answers there are no full
• 45:51
  redemption arcs ultimately as the title says you will always at least in some part be unforgiven,
• 45:58
  Even the line that little Bill gives him before he shoots him,
• 46:03
  I'll see you in hell with your money.
• 46:05
  And he just says, yeah. Yeah.
• 46:08
  Because he knows that's where he's going. Yeah, exactly. You can't escape your past.
• 46:13
  Yes, you can sort of make amends. You can become a different person and stuff.
• 46:18
  But it'll always be, it's actually quite a very fucking bleak,
• 46:22
  basically, thing to take from it.
• 46:24
  But yes, it's saying that basically, obviously
• 46:28
  we're talking about extreme cases you know violence and murder and
• 46:31
  stuff here but it's basically saying that
• 46:34
  it'll always be with you it will always haunt you personally but also
• 46:37
  with those that were affected by it directly you know and maybe it's something
• 46:42
  deep within you that is always trying to escape and sometimes it just needs
• 46:47
  something like alcohol to bring it to the fore although of course with little
• 46:50
  Bill is that an alcoholic that's exactly that's exactly what I go through every
• 46:55
  time I record a podcast with you.
• 47:00
  I gotta get a drink By the way, by the way listeners I was out in town yesterday
• 47:05
  And I texted Cairn to see what he was up to He said,
• 47:08
  oh I'm just very busy running some urns And you know where he was,
• 47:11
  in the fucking bar He was in the saloon I was having an afternoon beer You're
• 47:17
  making it look like I'm this big bar fly I just happened to be in town He was
• 47:20
  in the saloon Fucking idiot,
• 47:23
  So I had to get ready for a gunfight Yeah, yeah then you show up and then oh
• 47:27
  god here he comes here comes shoot up,
• 47:32
  he's ratsy no yes people get that one the next yeah the next podcast guys this is a i mean who
• 47:41
  doesn't i don't i don't i don't know anybody who doesn't like unforgiving uh
• 47:45
  i i you wouldn't be you wouldn't be you wouldn't you wouldn't be forgiven if
• 47:50
  you didn't like well yeah yeah i mean this is real cinema you know let's be
• 47:53
  honest here this is real storytelling right across the board you know it basically yeah ticks all the boxes,
• 48:01
  There you go. Classic Unforgiven. Best Picture.
• 48:05
  Best Supporting Actor Award for Gene Hackman. So.
• 48:11
  But as it is good as Silent Night, Deadly Night 2?
• 48:16
  Me taking a piss is better than Silent Night, Deadly Night 2. Jesus. Oh. Speaking of.
• 48:26
  So, yeah, we recorded Gladiator and Gladiator 2 back to back.
• 48:31
  So I never got to correct something that Trevor is wrong.
• 48:37
  So I messed up. I switched him. I thought for sure I was right that Russell
• 48:42
  Crowe got the Oscar for A Beautiful Mind the year after being nominated for Gladiator.
• 48:47
  But it's reversed. He got the Oscar for Gladiator, but didn't get it for A Beautiful
• 48:52
  Mind where he should have.
• 48:53
  To be fair, I got it wrong as well, where I'd said it one or two years in a
• 48:58
  row, which he didn't, obviously.
• 49:01
  So that that was my mistake like i said i'm
• 49:04
  the bigger person here this is karen's redemption arc bigger person speaking
• 49:09
  of usher crow we're gonna be talking to him again in his first american
• 49:12
  outing with the quick and the dead and we're going back to gene hackman pretty
• 49:16
  much playing the same character he's playing now but more of a comic book version
• 49:21
  of it i guess you could say and join us then for the quick and the dead we're
• 49:26
  gonna wrap this one up we want to I appreciate you guys for listening in.
• 49:30
  And give us a shout if you like, you know, you want us to do more Westerns.
• 49:34
  We definitely got to do some more. We'll definitely do some more Clint's.
• 49:36
  And then we'll do some more. The Dollar Trilogy.
• 49:38
  Tombstone. We got to get. Yeah, we got to get Tombstone. But we're going to
• 49:42
  be doing the Hitcher and Bone Collector.
• 49:45
  So, and the Bone Collector was a request. So, see how classy we are?
• 49:49
  Yeah. Let's just do something. We'll do it. Yeah.
• 49:51
  So, there you go. You're a podcast for the people.
• 49:55
  That's right. You can certainly reach out to us on Facebook at Citizen Frame
• 49:58
  or, of course, at Citizen Frame on this decor podcast on Instagram.
• 50:03
  Give us a shout. You guys take care of yourself.
• 50:21
  Music.