At 02:53 PM 8/6/96 -0600, you wrote:
>At 12:33 PM 8/6/96, Bonnie Engels wrote:
>>You should try some of the Kurasawa films. Peckinpah and Kurasawa often
>>"borrowed" effects, etc. from each other.
>I do not believe that Kurosawa "borrowed" any effects from Peckinpah,
>though Peckinpah most assuredly borrowed from Kurosawa (but, then, who
>didn't). Kurosawa's output is drastically curtailed after 1970, precisely
>when Peckinpah, with the success of _The Wild Bunch_ (1969) is at his
Mr. Peckinpah told me himself that he and Kurasowa discussed what they
"borrowed" from each other. Since I worked for him, and he told me many
things not privy to the public, I tend to believe his word. I knew the man.
Even in Osterman Weekend, the slo-mo had it's poignancy. Unfortunately, the
negative was taken by the Producers and cut before Sam had his Director's
cut in. Ergo, the seemingly inconsistencies in the released version as
opposed to what was salvaged in the Director's cut. The message in
Osterman is more relevant today than when it was released.
Unfortunately, many students and the public do not see the Director's cut
(and intent for the film), as opposed to the sometimes pablum or lesser
version that Producer's recut and release as the Director's version. Slo-mo
in Ballad of Cable Hogue, Pat Garrett & Billy the Kid. (The first 5 minutes
of Pat Garrett has not been seen by the public, as well as many other
scenes). Cross of Iron, another example.
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