In his long career, filmmaker Steven Spielberg has tackled a number of different genres, from thrillers to adventures and historical dramas.
Yet despite his long-held love of John Ford (as shown in the final moments of semi-autobiographical pic ‘The Fabelmans’), he has never brought us a full-on Western.
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Speaking at a live taping of “The Big Picture” with Sean Fennessey at SXSW (as reported by The Playlist), Spielberg dropped word that he’s finally looking into one, revealing that he’s in development on what he calls a “kick ass” example of the genre.
That’s what we don’t know so far: Spielberg isn’t saying much yet. All he has really said is that it will sidestep stereotypes and tropes, but will still feature horses and guns in true Western style.
There’s also no word on who else might be working on this one, and it’s certainly too early for any casting announcements. But given how strongly Western influences have appeared through the director’s work, it’s certainly an appealing concept.
When will Steven Spielberg’s Western be in theaters?
Steven Spielberg in ‘Mr. Scorsese,’ premiering October 17, 2025 on Apple TV+.
There is no production timeline for this one yet, and the director tends to juggle several projects in development at once.
His latest, alien contact sci-fi thriller ‘Disclosure Day’ will be with us on June 12. Watch the skies! Er… the screens?
Emily Blunt in ‘Disclosure Day’, directed by Steven Spielberg. Photo: Universal Pictures.
Opening in theaters and digital on December 5th is the new Western ‘Frontier Crucible‘, which was based on the book ‘Desert Stake-Out’ by author Harry Whittington and directed by Travis Mills (‘The Five’).
Thomas Jane as “‘Mule’ Charlie McKee” in the western/thriller/drama film, ‘Frontier Crucible’, a Well Go USA film. Photo courtesy of Well Go USA.
Moviefone recently had the pleasure of speaking with Thomas Jane about his work on ‘Frontier Crucible’, his first reaction to the screenplay, the challenges of making a Western, his character, working with the cast, and collaborating with director Travis Mills on set.
You can read the full interview below or click on the video player above to watch our interview.
Moviefone: To begin with, can you talk about your first reaction to the screenplay and the adaption of author Harry Whittington’s novel?
Thomas Jane: Well, Whittington was known as the “King of the Pulps”, and he wrote in the 1950s and’60s. They called him the “King of Pulps”, because I think he’s got the world record for the greatest number of pulp novels ever written by an author. Out of the hundreds of novels that he wrote about six are good, which is a good record. He’s got six strong novels that are worth anybody’s time who loves the Pulp stuff. One of them is ‘Desert Stakeout’, and the screenplay was adapted by S. Craig Zahler who wrote ‘Bone Tomahawk’, and I don’t even know if I’m supposed to say that. Nobody told me not to say it. But he’s an uncredited writer, and he borrowed heavily from the book, and no surprise, Whittington had a knack for great dialogue and great characters. It was really his thing. Every story that he approached, he didn’t come through the plot, he came through the character. So, for adaptations, it’s perfect, and they’ve adapted a few Harry Whittington novels over the years. This one, you read it and you’re like, “Why wasn’t this done like 30 years ago?” It really sings. So, we had a lot of fun. We had a lot to work with. We had great dialogue.
MF: I know you have appeared in quite a few Westerns in the past, what do you enjoy about the genre and what are the biggest challenges of making a movie like this?
TJ: Well, the challenges are always like, we need to make more Westerns, and trying to keep the fan base alive in 2025 is difficult. It’s difficult with all movies, but now, with a good Western, people will watch it. They like it. I produced a Western called ‘Murder at Yellowstone City’, which made it the number one on Netflix. So, if you do a good Western, people will watch it, and there is an audience. It’s just getting a great story. It’s getting people that really know the genre and love the genre. Travis Mills certainly loves the genre, I think he wrote a book where he’s got like 200 Western movies that he reviewed, and now he’s releasing a book on all his Western reviews. So, he’s a real student of the genre. That was fun. It’s always good when your director knows his stuff. I loved that Travis wanted to recreate the way Westerns used to be made in the ’50s and ’60s. This movie has a look that feels like it could have been made in 1965. So that was fun. I’m a fan, in other words. The challenges for an actor are really the positives, the things that I love about Westerns. I love the fact that most Westerns either implicitly or explicitly deal with the civilization of man, and there are laws and are rules, and then the wild West is the lawless land where you must make up these rules. You’re guided by a moral code. Everyone has their own moral code and their own interpretation of the moral code. Like, “Thou shalt not kill”, although that’s negotiable in certain circumstances for some people. That makes it fun.
(Center) Armie Hammer as “Edmund Fisher” in the western/thriller/drama film, ‘Frontier Crucible’, a Well Go USA film. Photo courtesy of Well Go USA.
MF: Can you talk about your character’s gang and creating those relationships with your scene partners, Armie Hammer and Ryan Masson?
TJ: My character thinks he’s a good guy, and I think 98% of him is a decent man. I think some bad things happen to him, and he lost his way a little bit. But the darkness of his heart is revealed by the company that he keeps. You find that’s true with most people in life. It’s the company that you keep that tells you something about who they are, and who they think they are. So, that’s Armie’s role in the thing. He’s the dark heart of the gang, and we’re constantly having trouble reining him in. It’s a lot of fun. Armie had a lot of fun. He leaned into all of that. I really had a good time working with everybody. Armie’s are an intelligent guy, and a soulful guy. He’s done a lot of work on himself, and it shows, he’s stepped up. People step up or they step down and Armie stepped up. So, I’d worked with the guy again in a heartbeat. I think he’s terrific. Everybody else is young. finding their way. We, as the old pros, tried to help them as best we could.
MF: I was not familiar with Myles Clohessy or Mary Stickley’s work before seeing this film. What was your experience like working with them on this movie?
TJ: Myles came from another project (producer) Dallas Sonnier had done, and he certainly looks like a leading man, and he’s learning what that entails. It’s a very different set of rules when you’re the leading man or the leading lady than it is if you’re a supporting character. I like the supporting characters. I’ve gotten a chance to play a lot of leads and I’m grateful for that. But I love the character stuff. It’s what got me into this thing in the first place. Now I’m getting a little older and I’m finding more opportunities to flex those muscles. It gives me a little more freedom. I don’t have the movie that I’m carrying on my back, and I get to have a little more fun.
(Center Foreground) Director Travis Mills behind the scenes on the western/thriller/drama film, ‘Frontier Crucible’, a Well Go USA film. Photo courtesy of Gene Page.
MF: Finally, what was it like collaborating with director Travis Mills on set, particularly in the remote locations that you were shooting in?
TJ: Director Anthony Mann did a bunch of Westerns in the ’50s and ’60s, and he says, “Anytime you can get on location, you got to do it”. It brings the show to life, and it brings the actors to life. They feel grounded. They’re in the world that the characters live in, and that was certainly true for this. We had one location, we showed up there every day. We got into our costumes, and we were staying at a hotel. It was about a half hour away and our dressing room was in the hotel. They took a couple of hotel rooms and turned them into a dressing room. So, we would show up, we’d roll out of bed, stumble downstairs, grab a cup of coffee, and then hit the dressing room, where all the actors would change together, which is exactly what you do in theater. There’s one place, it’s called backstage, and that’s where you got into your outfit. So, we had that morning ritual of everybody putting on their costumes, at usually 4:30am because we had to capture the daylight. We had to be out there at the crack of dawn. Then we’d shoot until we couldn’t shoot anymore. So that community, that camaraderie, and the fact that our characters were also stuck together waiting for bad things to happen, that was fun. I got to tell you; it was unique. Normally, you hit set, you hit your trailer, you get your coffee, and you have those moments alone. We didn’t have any trailers on this. Another great thing about making a lower budget movie is the locations. We never would have been able to shoot there if it were a bigger film because there’s nowhere to put all the trucks. You’d have to put them way far away and then shuttle everybody. But we were able to just show up and me and Armie started building fires and making our own coffee over a campfire. We were making cowboy coffee. We would do that all day. We’d keep the fire going, and other actors would come around, and throw wood on the fire. We just had a little fire going all day. So, it was a unique experience. Travis created that. We all signed up. We knew what we were getting into. He’s like, “This is what I want to do.” He wanted to create that period feel to everything and I think he did a darn good job with that.
(L to R) William H. Macy as “Major O’Rourke” and Director Travis Mills behind the scenes on the western/thriller/drama film, ‘Frontier Crucible’, a Well Go USA film. Photo courtesy of Gene Page.
What is the plot of ‘Frontier Crucible’?
In 1870s Arizona Territory, a desperately needed wagon full of medical supplies falls victim to an Apache attack. The only man who can guide it through is Merrick Beckford (Myles Clohessy), but to get there, he’ll need to enlist the help of a trio of dangerous outlaws (Thomas Jane, Arie Hammer and Ryan Masson) hellbent on survival. When they accidentally kill an Apache scout, all bets are off, and survival is the name of the game.
(L to R) Wyatt Russell and Dennis Quaid in ‘Broke’. Photo: Sony Pictures Home Entertainment.
Moviefone recently had the pleasure of speaking with Wyatt Russell and Dennis Quaid about their work on ‘Broke’, if as a former professional hockey player Russell could relate to what his character is going through, why Quaid’s character is so hard on his son, working with actress Mary McDonnell, training for the horse-riding scenes, and how they shot the snowstorm sequence.
You can read the full interview below or click on the video player above to watch our interview.
(L to R) Dennis Quaid and Wyatt Russell star in ‘Broke’.
Moviefone: To begin with, Wyatt, as a former professional hockey player, could you relate to what your character is going through and his passion for his sport?
Wyatt Russell: That was one of the original draws for me, to be honest, the authenticity of what this world brought. I don’t like doing any sports movies. I don’t like watching any sports movies, to be honest, that feel inauthentic. This felt very authentic. I asked the director, “Do you know about this world?” He was like, “Yeah, because this is what I do when I’m not writing or directing movies.” I felt like I was in good hands, and I just knew that so much of what True goes through in the story is what I went through in hockey. I had concussions. Doctors tell you not to play. You feel like you get better, you go back, you have other issues, and you just won’t let them take you off the ice. In this instance, you can’t rip me off the horse, and you just got to keep getting back on. I went through it. I had to finally have someone tell me, “You can’t play anymore,” for me to stop playing and enter a life of the arts. It was just so different from what I was doing. I know it sounds crazy, and people are like, “Well, I don’t understand.” You didn’t do it. I was there doing it. When you must change gears like that, it’s daunting. It’s a whole new life. It’s a whole new you. You must change your identity, and so a lot of that was played into the film.
MF: Dennis, can you talk about your character’s relationship with his son, the tough love that he gives him, and working on that dynamic with Wyatt?
Dennis Quaid: Carlyle, who wrote the script and directed it, just from the first page, it is descriptions, which I say I’d never read except here. He’s so authentic, just the way he describes shooing a horse and what goes through there. Does this guy really know these people? He knew this life, and this world. These are men that don’t even know their own feelings. Forget about expressing them, which is gargantuan. The littlest breakthrough is a big one in a sense. He’s a guy out there trying to make it and trying to pass something important onto his sons, based upon the way he grew up, which is all we ever know. I think a lot of people can relate with that. I had Wyatt to do this with, which we had a good relationship to begin with. He knows what he is doing, and he’s very authentic. So, I wanted to be a part of it.
Wyatt Russell in ‘Broke’. Photo: Sony Pictures Home Entertainment.
MF: Wyatt, what kind of training did you do to prepare for the bronco-riding scenes?
WR: I’ve done a lot of movies where I had to have horse training. I always would talk to the horse guys and be like, “Can I come out again?” Because it’s fun to learn. They’re always amazing people too. We had the eight-time national cutting champion, and I was like, “Can you teach me how to do stuff?” They’re free lessons. This was something I got to be able to go do and do a little bit of what I think is exciting to do on horseback. With Carlyle, we worked on roping skills, which was a big one because that wasn’t something that I was comfortable doing. I hadn’t done any of that. There was a lot of little things that we worked on, just the little details, so it didn’t look like I didn’t know what I was doing, or I hadn’t done that before. But you can tell when someone gets up on a horse immediately whether they’re a rider. I like being able to be authentic in things, and it was what I felt I could bring to this because I did have some ability.
MF: Dennis, had you ever worked with actress Mary McDonnell before and what was it like working with her on this project?
DQ: No, that was really a first. Gosh, she’s good. She made it seem so real to me as well, those people who live out there and what their life is like and what they endure. It really felt like a marriage, with a history to it.
Dennis Quaid in ‘Broke’. Photo: Sony Pictures Home Entertainment.
MF: Finally, Wyatt, can you talk about shooting the snowstorm scenes, and were you as cold and miserable as it seemed like you were while you were shooting them?
WR: We made this movie for very little money, and we had to have a snowstorm. We shot it in two seasons, obviously, but we had to have a snowstorm. It had to happen. It wasn’t happening. But suddenly, boom, we get a cold snap. It was a negative 35 degrees in Wisdom, Montana. There’s no service up there. We had a skeleton crew wherever we were. There were two days, one where I had to go in the river, which is gnarly. The other one was where I had to bury myself in snow and pop up out of it. I had to be under there for a few minutes, until they set the camera up, and then I hear, “Okay, action.” Then I pop up, and I’ve got snow everywhere. I had a little snorkel. We didn’t have anything. My trailer was a rental car. We didn’t have any money. I was producing the movie. I was like, “Hey, get used to being uncomfortable”. I’m in a jean jacket and jeans, and let’s go. I’d come home, and I’d take a cold shower. I learned this. I would come home, and I would take a cold shower every night, because getting comfortable made it way worse. So, for that two-and-a-half weeks, I tried to stay as uncomfortable as possible because the more comfortable I got with being uncomfortable, the easier it became. Not so horrible. The weather was too gnarly to get warm and cozy.
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What is the plot of ‘Broke’?
A bronc rider (Wyatt Russell) in denial about his fading rodeo career battles against brain injury and a sudden blizzard while reflecting on how it became so difficult to achieve his dreams.
David Fincher on the set of ‘Mank’. Photo: Gisele Schmidt/Netflix.
Preview:
David Fincher is reportedly aboard a new western called ‘Bitterroot’.
Michael Gilio wrote the script, which appeared on the 2008 Black List
Netflix has yet to confirm Fincher’s attachment.
It’s fair to say that the Western is having a mixed time in terms of success at the moment. While Taylor Sheridan’s modern-day take on the genre ‘Yellowstone’ (and its period set prequels) have been doing great business, Kevin Costner (who effectively left the parent ‘Yellowstone’ series to pursue his passion project) has seen giant Western saga ‘Horizon’ stumble at the box office, with theatrical plans for the second film in the franchise currently on hold.
Despite that, it appears David Fincher may be ready to try his hand at an oater, with What’s On Netflix reporting that he’s on board for a Western called ‘Bitterroot.’
‘Dungeons & Dragons: Honor Among Thieves’ from Paramount Pictures and eOne.
Michael Gilio, who also wrote the script draft that got ‘Dungeons & Dragons: Honor Among Thieves’ into development, crafted ‘Bitterroot,’ which hit the 2008 Black List when it was originally titled ‘Big Hole.’
The movie’s premise apparently concerns an elderly rancher whose life savings have been stolen.
He sets out to get his money back by robbing banks and hunting down the thieves — all while being pursued by his son, who is the sheriff. Compelling, eh?!
Comparisons have been made to Clint Eastwood classic ‘Unforgiven,’ so even with the riskier marketplace, this is a script that will surely be mad at some point. And it’s perhaps not surprising that given its long lifespan in the Hollywood marketplace, there has been at least one previous attempt to bring it to screens. Blind Wink Productions and Aversano Films were working on it with Gilio on board to both write and direct and Gore Verbinski to produce back in 2011.
We’ll caution at this point that Netflix has yet to officially comment on the possibility, though this appears –– according to What’s On Netflix’s sources –– to be coming together quickly, with casting offers out to potential stars.
What else is Fincher developing?
(L to R) Gary Oldman and David Fincher on the set of ‘Mank’. Photo: Miles Crist/Netflix.
The ever-busy filmmaker, who last directed ‘The Killer’ for the streaming service, has a couple of other irons in the Netflix fire.
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There is a US version of ‘Squid Game’ that is awaiting approval from the company (budget issues are reportedly a sticking point, though you’ve got to imagine Netflix would look to get this made given the original series’ popularity).
And also? Fincher has been circling a ‘Chinatown’ prequel series that would follow the story before the classic movie.
On the movie front, the director has an untitled crime thriller at an early stage of development, but details are naturally scarce.
(L to R) David Fincher and Gary Oldman on the set of ‘Mank’. Photo: Miles Crist/Netflix.
(L to R) Juliette Lewis and Peter Dinklage star in ‘The Thicket’.
Moviefone recently had the pleasure of speaking with Peter Dinklage and Juliette Lewis about their work on ‘The Thicket’, their first reaction to the screenplay, their approach to their characters, the challenges of making a Western and working with director Elliot Lester.
You can read the full interview below or click on the video player above to watch our interviews with Dinklage and Lewis, Leslie Grace, Levon Hawke, Gbenga Akinnagbe and director Elliot Lester.
(L to R) Peter Dinklage in ‘The Thicket’. Photo: Samuel Goldwyn Films.
Moviefone: To begin with, Peter, can you talk about what attracted you to the source material, your first reaction to the screenplay and your approach to playing this character?
Peter Dinklage: Well, yes, selfishly, I am an actor and that Reginald Jones, when I read the book, I had to put his boots on. He really spoke to me in an environment in which I am not a part of, but who would I be a couple hundred years ago in that universe? Would I be Reginald Jones, or would I be a survivor? You got to put yourself in the shoes of that character and any commonality you have with that character. I know how to navigate a room like Reginald Jones does. I don’t really knock anybody sideways and stab them in the leg to get out of the room, but I’ve had the urge to, occasionally. But it’s that. It was just, Joe (Lansdale) has such a gift for, and I say this in the best possible sense of the word, I love pulp novels, so it has a pulp feel to it. I’m a huge fan of all those types of books, and it was such a fast read and so suspenseful that I really thought this could work as a film. So, David Ginsberg, my producing partner and I sought out the rights and everything started to fall into place. Ten years later, Juliette Lewis and I are sitting here talking to you.
Juliette Lewis in ‘The Thicket’. Photo: Samuel Goldwyn Films.
MF: Juliette, when you first read the script, did you recognize right away that this would be a fantastic role for you to play in particular?
Juliette Lewis: For me, it was a dream part. It was a part of a lifetime and what I was striving for was something spectacular. What I mean by that is by not trying. I wanted to make it so believable. The writing, the ingredients that I was given was so helpful and it just pops off your imagination in a very special way, and so I was very excited by it. But there’s a description about her voice being mangled, because she’s called Cut Throat Bill and that people mistake her for a man, and that she’s so savage. So, when someone tells a story like that, I really want to bring it and you believe the folklore of this character. So, I was very pleased when I placed my voice lower, and I could do it for long periods. I was like, “Oh, this might work. There might be a character here.” I showed it to Elliot, and he approved of that direction. Because you usually need your director to give you a little encouragement and say you’re going in the right direction. It’s really a special project for me.
(L to R) Peter Dinklage and Gbenga Akinnagbe in ‘The Thicket’. Photo: Samuel Goldwyn Films.
MF: Peter, is it fun making a Western or is it physically demanding? What were the conditions like making this movie?
PD: I love to be demanded of physically. We’re actors. Sometimes we spend too much time in the trailers, where it’s warm. There’s something about putting rocks in your shoes and being out in the cold. I say that proverbially. We didn’t put rocks in my shoes, but that feeling of the discomfort a character would have in this environment. It really does most of the acting for you when you’re freezing your bum off. You don’t have to act cold. So, there you go, it makes our job easier in a weird, ironic way.
(L to R) James Hetfield and director Elliott Lester on the set of ‘The Thicket’. Photo: Samuel Goldwyn Films.
MF: Juliette, what was it like collaborating with director Elliot Lester on set?
JL: (He was) just passionate. He came to the table with this vision, and like Peter said, he came on board. They’ve been wanting to create it for quite a while. So, he had a strong vision of the thing. They assembled such a great team, from the cast to the wardrobe, to the horse wranglers, to the prop department. I mean, everybody was just the top for this film. So, that was exciting. But Elliot’s super passionate. So, it was exciting. But I got to say, the scene with Peter, the centerpiece in the movie there, is a highlight of my career, what we got to do in this movie, next to (Robert) De Niro in ‘Cape Fear’, this scene with him was special. It’s amazing.
(Left) Juliette Lewis in ‘The Thicket’. Photo: Samuel Goldwyn Films.
MF: Finally, Peter, what was your experience like working with Juliette on this project?
PD: It’s incredible. I feel the exact same way working with (Juliette). It was a joy. I was so excited when Juliette said yes to the film, because I knew we were going to get something very, very specific and so lived in, and I didn’t know what it was going to be. I just had that gut feeling, and it was so exciting to hear her for the first time.
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What is the plot of ‘The Thicket’?
An innocent young man, Jack (Levon Hawke), goes on an epic quest to rescue his sister Lula (Esme Creed-Miles) after she has been kidnapped by the violent killer Cut Throat Bill (Juliette Lewis) and her gang. To save her, Jack enlists the help of a crafty bounty hunter named Reginald Jones (Peter Dinklage), a grave-digging alcoholic son of an ex-slave (Gbenga Akinnagbe), and a street-smart prostitute (Leslie Grace). The gang tracks Cut Throat Bill into the deadly no-man’s land known as The Big Thicket — a place where blood and chaos reign.
Who is in the cast of ‘The Thicket’?
Peter Dinklage as Reginald Jones
Juliette Lewis as Cut Throat Bill
Levon Hawke as Jack Parker
Esmé Creed-Miles as Lula Parker
Leslie Grace as Jimmy Sue
Gbenga Akinnagbe as Eustace Howard
Andrew Schulz as Hector
James Hetfield as Simon Deasy
(L to R) Leslie Grace, Gbenga Akinnagbe, Levon Hawke and Peter Dinklage in ‘The Thicket’. Photo: Samuel Goldwyn Films.
Heather Graham as Pandora in the horror/thriller, ‘Place of Bones’, a The Avenue release. Photo courtesy of The Avenue.
Moviefone recently had the pleasure of speaking with actress Heather Graham about her work on ‘Place of Bones’, her first reaction to the screenplay, her strong character, working with Tom Hopper, collaborating with director Audrey Cummings, making a Western and more.
You can read the full interview below or click on the video player above to watch the interview.
Heather Graham as Pandora in the horror/thriller, ‘Place of Bones’, a The Avenue release. Photo courtesy of The Avenue.
Moviefone: To begin with, what was your first reaction to the screenplay and why did you personally wanted to be a part of this project?
Heather Graham: Well, when I read the script, I thought it was surprising. I didn’t know where it was going. We had a screening last night, and actually, a few of my friends said, “I really had no idea where this movie was going. I had no idea what was going to happen”. I just think it was a great character. As an actress, you want to find a juicy role, and it was fun to play this tough badass woman who’s super smart and gets to shoot bad guys with a gun. I think that you feel drawn into the story. You care about the characters. As an actress, you want an interesting role. For me, it’s doing something different where I feel like I get to play this tough badass character who can outsmart these bad guys. That was very fun.
MF: Without giving anything away, were you surprised by the direction that the script goes in?
HG: Yes, the ending is a super surprising ending that I was totally shocked by, but I like that, when I feel like I’ve never seen this before. It’s a different way of telling this kind of story.
Heather Graham as Pandora in the horror/thriller, ‘Place of Bones’, a The Avenue release. Photo courtesy of The Avenue.
MF: Pandora is a strong, independent, and resilient character. Can you talk about your approach to playing her?
HG: I think my character’s had a hard life, so I basically have decided I’m going to keep my daughter safe. I’m going to keep her away from the rest of society because I don’t want anything to happen to her that happened to me. This fierce independence, I love that about my character. I’m flawed but I’m also a good mom in some ways. I think I have a lot of anger and bitterness and maybe I’m protecting her too much, but at the same time, I can understand why she would do that.
MF: Pandora has spent a long-time away from civilization, can you talk about how she feels when these strange men approach her home?
HG: I think a lot of bad things have happened to my character and my husband died, and I think I’m just incredibly resourceful. I think I read a lot of books. I think I know how to do a lot of things, so I know how to survive in the most difficult circumstances.
(L to R) Heather Graham as Pandora and Corin Nemec as Calhoun in the horror/thriller, ‘Place of Bones’, a The Avenue release. Photo courtesy of The Avenue.
MF: Can you talk about the unlikely alliance that Pandora makes with Calhoun?
HG: I think it’s an interesting relationship that we have. It’s not your typical movie relationship, but he’s likable and unlikable. He’s a good guy and a bad guy, and I think that I see who he is, and I don’t let him fool me, like he probably is a smooth talker. Even though he’s kind of a bad guy, he’s complicated and he shows up at the end being more of a good guy. I like that I don’t ever really trust him. Everybody’s really complicated in this movie, and nobody’s perfectly good except for maybe the daughter, but she’s pretty screwed up, too.
MF: Brielle Robillard plays your daughter, can you talk about working with her?
HG: Yeah, she’s awesome. She’s new, she’s young. She is so good. I just watched the movie on the big screen last night for the first time, and she did such a great job and she’s so real. The whole story for me is about how much I love my daughter and want to protect her and help her to have a better life than I had.
(L to R) Heather Graham as Pandora and Brielle Robillard as Hester in the horror/thriller, ‘Place of Bones’, a The Avenue release. Photo courtesy of The Avenue.
MF: Can you talk about preparing for the action sequences?
HG: The gun shooting is fun. I had to do a stunt where I’m shooting at this guy and then I fall over, and they had a stunt woman there for me, but I ended up doing it myself. Then everybody clapped, and the stunt people were like, “Great.” So, I felt like I got cred with the stunt department. That was cool.
MF: I know you only have a few scenes with him but what was it like working with Tom Hopper?
HG: We have a big scene at the end where he’s so scary. He’s so cool. He’s so nice. He’s super cute. Him and his wife, they eat healthy. He was showing me this food that he cooks that looks amazing. He’s kind of the opposite of this character, but in the movie, he’s terrifying and horrible. The thing is, you take this guy whose so movie star handsome, and you want to like him because he’s just so handsome, but then his character is so horrible.
Tom Hopper as Bear John in the horror/thriller, ‘Place of Bones’, a The Avenue release. Photo courtesy of The Avenue.
MF: What’s Audrey Cummings like to work with as a director on set?
HG: It’s awesome. I love working with a female director, and she’s cool. She loves genre movies, and it’s just fun. I think we both related to the Pandora character, so we had a great time together.
MF: In general, what are you looking for from a director when you’re working on set?
HG: I think you want to work with someone who’s supportive, who believes in you, but also helps you bring out your best work. I think Audrey really helped ground me and make me more natural and real in the movie, which I really appreciated.
(Right) Director Audrey Cummings behind the scenes of the horror/thriller, ‘Place of Bones’, a The Avenue release. Photo courtesy of The Avenue.
MF: What’s it like making a western and are you a fan of the genre?
HG: It’s a mixture of being very beautiful, and it was freezing. It was so cold, I was dying. It was very uncomfortable. I like Westerns, but I sometimes feel like there’s not enough female energy or female characters in them, so I felt like this was exciting because it told a little bit more of a female story.
MF: Finally, and again, without giving anything away, the film mixes the Western genre with other genres, can you talk about that?
HG: Yeah, it’s got aspects of being a thriller, it’s got aspects of being horror, and then I feel like there’s a lot of humor in it, which I was surprised last night at the screening. A lot of people were laughing in a lot of places, so it’s kind of disturbing, but also it makes you laugh. It’s not so much horror that you can’t sleep at night because of your nightmares.
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What is the plot of ‘Place of Bones’?
On a remote ranch, a mother (Heather Graham) and her daughter fight for survival when a wounded outlaw (Corin Nemec) seeking refuge brings a notorious bank robber (Tom Hopper) and his ruthless gang, all desperate to reclaim a stolen fortune, right to their doorstep in this action-packed horror Western.
(L to R) Corin Nemec as Calhoun and Heather Graham as Pandora in the horror/thriller, ‘Place of Bones’, a The Avenue release. Photo courtesy of The Avenue.
(L to R) Viggo Mortensen and Vicky Krieps talk ‘The Dead Don’t Hurt’.
Moviefone recently had the pleasure of speaking with filmmaker and actor Viggo Mortensen and actress Vicky Krieps about their work on ‘The Dead Don’t Hurt,’ developing the screenplay, the characters, Krieps’ experience being directed by Mortensen, working with the crew and why Westerns are fun to make.
You can read the full interview below or click on the video player above to watch our interviews with Mortensen, Krieps, Danny Huston and Solly McLeod.
Viggo Mortensen in ‘The Dead Don’t Hurt’. Credit: Marcel Zyskind.
Moviefone: To begin with, Viggo, can you talk about developing the screenplay and the themes you wanted to explore as a director?
Viggo Mortensen: Well, I started out writing this. It was during the pandemic 2020, and then it took, as it always does with independent films, some years to find the money to shoot it. But I started writing a story about a strong independent woman and then decided to place it in the west, turned into a Western, which I like the idea of. I’ve been in some, and I grew up like most kids in my generation, seeing them on TV and going to the movies and seeing them. Themes, I did want to explore, for example, the character of Vivienne played by Vicky. She is our central character, which is unusual to have a woman be the central character in a Western, and even more unusual to stay with her when her male partner goes off to war or on an adventure of some kind. That’s what we do. It’s really her story.
Vicky Krieps in ‘The Dead Don’t Hurt’. Credit: Marcel Zyskind.
MF: Vicky, can you talk about your approach to playing Vivienne?
Vicky Krieps: Well, I’m a strong independent woman in a particular time. I think maybe that is why it was not so difficult to play because reading his script, I was really reminded of society today and how it’s all coming back and how everything is finally built on the structure of the western world, the western town. We’re still dealing with fighting over land. We’re still pushing borders. We’re still fighting our neighbor for being someone else. So, I really felt reminded of today. Playing her, I really was reminded of myself. I must fight myself a lot to try and become the woman I want to be, even if today it’s supposed to be easier, but I’m still struggling with the same preconceptions. If you’re a woman, you’re supposed to be this, and if you’re a mother, you’re supposed to be that. If you’re an actress, you’re supposed to be this. So, I struggle myself with this a lot. I think playing Vivienne was the first time I was able to let myself go in acting and let it happen and let it be close to myself.
(L to R) Solly McLeod and Viggo Mortensen in ‘The Dead Don’t Hurt’. Credit: Marcel Zyskind.
MF: Viggo, director John Ford once said, “If they knew how much fun it was to make a Western, they wouldn’t let us do it.” Do you agree with that? Is it fun making a Western and what do you love about this genre?
VM: Well, it was a lot of work, but like Vicky, I knew how to ride horses before working on this movie. I think we both loved being in those landscapes and in that place. It was hard work, early mornings, long days of work, most scenes were outdoors, but getting to be on horseback and those landscapes was a treat. It was special.
MF: Vicky, what was it like working with Viggo as both an actor and director?
VK: So, it was my first time. I know we are all multiple people, but it was interesting because I always had to be on my toes and I always had to remind myself who I was responding to, not so much depending on if Viggo would be different or talk different. It was more me and myself, what I was expecting. What are my expectations, what am I projecting? What am I projecting onto the director to be and onto the actor to be? I always had to come back to reality or to the moment and connect with the true thing in that moment, which was if he was the actor in that moment, what did my actor partner just say to me and not think about what is the director maybe thinking about? If that makes sense. So, it was a great school.
Director Viggo Mortensen on the set of ‘The Dead Don’t Hurt’. Credit: Marcela Nava.
MF: Finally, Viggo, can you talk about working with your cinematographer to set up shots? Did you storyboard your scenes before shooting?
VM: No, I don’t storyboard, but I do make shot lists and I’m careful about that. I mean, I think that’s what I’ve learned from the good directors I’ve worked for. Women and men who are very different and make different kinds of movies, but they all prepare. Even if you prepare perfectly, there’s always something more you can do and there’s going to be something that happens. Each day is going to be a problem, little ones, big ones. Making movies is about solving problems all the time and for everybody. The other thing is to just make sure everybody on the team, the crew, the actors, that they know that it’s clear from the beginning that their ideas matter, what they feel about things. I can disagree, but I want to hear it because a good idea can come from anywhere and we have one shot to make the scene. We have one shot to tell this story and let’s try to do it together. It makes people feel like it’s not just another job. It may be difficult, but we’re in it together and it’s special. It’s a special story, and their opinion is valued. It doesn’t matter who you are. So, we had a great experience in that regard. It was a good team.
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What is the plot of ‘The Dead Don’t Hurt’?
Vivienne Le Coudy (Vicky Krieps) and Holger Olsen (Viggo Mortensen) begin a life together on a homestead outside the town of Elks Flat in 1860s Nevada, but a fateful decision by Holger leaves Vivienne alone to fend for herself against the insidious, corrupt men of the town.
(L to R) Mario Van Peebles and Mandela Van Peebles in ‘Outlaw Posse.’ Photo: Quiver Distribution.
Moviefone recently had the pleasure of speaking with Mario Van Peebles and Mandela Van Peebles about their new Western, developing the screenplay, returning to the genre, if it is a sequel to Van Peebles’ 1993 movie ‘Posse,’ playing father and son on screen, working together on set, putting together the terrific cast, preparing for their roles, and if Allen Payne’s final line is a ‘New Jack City’ Easter egg.
You can read the full interview below of click on the video player above to watch our interviews with Mario and Mandela Van Peebles, as well as John Carroll Lynch, William Mapother, Jake Manley, and Amber Reign Smith.
(L to R) Mario Van Peebles and Melvin Van Peebles in 1993’s ‘Posse.’ Photo: Quiver Distribution.
Moviefone: To begin with, Mario, can you talk about returning to the Western genre with ‘Outlaw Posse,’ and do you consider it just a companion piece or an unofficial sequel to 1993’s ‘Posse’?
Mario Van Peebles: I would say companion. Like you saw Clint Eastwood in multiple spaghetti Westerns, this one has its own thing. Now, let me just say this, when I did ‘Posse’ 30 years ago, my first Western, my dad (Melvin Van Peebles) was around, and my son wasn’t born yet. When I did ‘Outlaw Posse’ recently, my dad wasn’t around, and here Mandela is. When I wrote the script, I was thinking about that Johnny Cash song, ‘A Boy Named Sue,’ about a boy who has got a challenging relationship with his pop. I thought, “Who better to play my onscreen son than Mandela here?” So, here we are again.
(L to R) Mario Van Peebles and Mandela Van Peebles in ‘Outlaw Posse.’ Photo: Quiver Distribution.
MF: Mandela, what was it like for you to be directed by your father?
Mandela Van Peebles: It was a lot of fun. We have a relationship where we get to wear many different hats, and this time around, we got to wear cowboy hats, ride horses, and basically enjoy life in Montana together. So, the experience was great. We’ve been father-son on set before, where he’s directed. We’ve been father and son where we’ve both been acting. This was one of the ones where we got to do both together, and that’s a lot of fun. The stunts, doing that was also a blast, because it’s an indie. So, a lot of the effects, a lot of the things you see on screen were as practical as can be. ‘Outlaw Posse,’ it’s a Western, but the genre is very much still relevant to what’s going on today, as far as the issues we’re touching on in the film.
Mario Van Peebles in ‘Outlaw Posse.’ Photo: Quiver Distribution.
MF: Mario, can you talk about developing the screenplay and the themes that you wanted to explore as a director?
Mario Van Peebles: One of every three cowboys was Black. The very named cowboy, they gave to Black guys as sort of a derogatory term, and they used to give them the dirty jobs. They said, “Take care of the horses, boy. Take care of the cow, boy. Where’d those cowboys go?” The white guys liked being called Rough Riders, which is a cool name. But once Hollywood started to glorify cowboys, then they brought in white actors to play them and even to play Native Americans. So, the Westerns we grew up on were more whitewashed than the reality of what the West was. Before women could vote, you had Stagecoach Mary, who’s a badass sister with a rifle and a stagecoach and a deal with the US Postal Service. She’s played by Whoopi Goldberg and played well. At the end, you go, “Wow, she looks like the real Stagecoach Mary.” So not only do you see the real diversity of the West, but you see the pictures of the real people that we’re portraying at the end. I always love that, truth is stranger than fiction, right? When I did ‘Heartbreak Ridge’ with Clint Eastwood, he talked about the incredible diversity, which is why, in ‘Unforgiven,’ he put Morgan Freeman right there, because that was the ratio of cowboys. It’s fun to get it out there and say, “This is more the reality than what we’ve been seeing, and we can learn from it.” As the French say, the more things change, the more they stay the same.
(L to R) Mandela Van Peebles, Mario Van Peebles and Amber Reign Smith in ‘Outlaw Posse.’ Photo: Quiver Distribution.
MF: Mario, can you talk about what it means to you personally to have had this opportunity to work with your son, as well as putting together the rest of the talented cast?
Mario Van Peebles: Well, working with him is fun. It’s a dream come true. We wrestle, we play, we laugh, we agree sometimes, we disagree sometimes, but I think, when I’m directing him, he knows that it’s coming from a place of love. Because when you hit the ground running, you want to know that everyone knows their part. Well, one thing I know, he knows how to play my son and I know how to play his dad. So, we’ve been practicing that for a few years. But also, what I try to do as a director is I like to give the foot rub I want to get. What does that mean? That means that John Carroll Lynch is going to get a great introduction as the big guy with the little bird. No animal’s ever lied to him yet. Whoopi Goldberg’s going to great and M. Emmett Walsh and Neal McDonough. So, you’re going to get great actors in even just cameo roles that are going to come in. I like to look at an actor and know that they know way more than they need for that character, that there is an intelligence there that I get. I think, when you’re that kind of filmmaker, and you say, “My own ego can get out of the way, because I don’t care about that. I want the movie to be great. If you can bring some great secret sauce and we can collectively bring the generosity, let’s do that and let’s get in the saddle and make it happen.”
Mandela Van Peebles in ‘Outlaw Posse.’ Photo: Quiver Distribution.
MF: Mandela, can you talk about preparing for this role?
Mandela Van Peebles: Yeah, the prep work was fun. We spent, what was it, around two months, just being in that environment, being in the wardrobe, seeing that landscape and that just puts you in the head space to make a Western. The wranglers, who helped us out, they were great and professional. We got plenty of time to basically, I like to call it free riding, but practicing. I got to ride horses as much as I wanted, and that’s a win for me. I had a great time. The stunts were fun. We did our own stunts. It was all kind of great stuff. Shooting a lot of the old guns is very different than modern guns.
(Center) Allen Payne in ‘New Jack City.’ Photo: Warner Bros. Pictures.
MF: Finally, Mario, actor Allen Payne’s last line in ‘Outlaw Posse’ is a callback to his famous line from ‘New Jack City,’ “Am I my brother’s keeper.” Was that line originally in the script, or was it a ‘New Jack City’ Easter egg that was improvised on set?
Mario Van Peebles: Totally. No one’s gotten that yet, but there’s a lot of things that, if you watch this movie, there’s some layers, even from the Native American brothers and sisters that are in this movie. But yeah, when I brought Allen in and we talked about that, I was like, because what we were saying is that, in that tunnel, when we all dropped the peyote, and again, in Westerns, you don’t typically see that, but I was like, “Oh, I always loved that scene in ‘Easy Rider,’ where they get stoned, and you see this different side of them.” So, Allen Payne’s character sees his mother alive, and his mother said to him as a kid, “A Black man will never get any respect, unless he’s got money, unless he’s got gold.” So, he has this whole thing, and yet, Chief has respect from a multiracial group of people, which is kind of a mindblower to him. Then, he’s like, “But you’re supposed to be my keeper.” So, Allen and I were unpacking that character and saying, “Let’s bring these levels.” So, I’m glad you noticed that.
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What is the Plot of ‘Outlaw Posse’?
In 1908, Chief (Mario Van Peebles) returns from years of hiding in Mexico to claim stolen gold hidden in the hills of Montana. In his quest, he reunites an ensemble of fresh & familiar faces – together they fight off Angel (William Mapother), whose rationale to the gold leaves a trail of deception and dead bodies.
Moviefone recently had the pleasure of speaking with series creator Chad Feehan about ‘Lawmen: Bass Reeves,’ the historical figure it is based on, his research, production challenges, and working with Taylor Sheridan.
‘Lawmen: Bass Reeves’ creator Chad Feehan.
You can read the full interview below or click on the video player above to watch the interview.
Moviefone: To begin with, how familiar were you with Bass Reeves and his legend before beginning this series?
Chad Feehan: I was familiar with the mythology of Bass Reeves. I grew up in Texas, I heard stories about him, but those stories were the gun slinging law man pursuing the most hardened criminals in the Wild West. This sort of iconic Black law figure from the era. They sort of implanted themselves in my brain and never left, and they would get reactivated periodically. Recently, Texas Monthly did a big spread on Bass Reeves. Damon (Lindelof) obviously paid a little homage to Bass Reeves in ‘Watchmen,’ but it wasn’t until I first sat down with David Oyelowo, and then based on that conversation scoured the internet, that I really began to understand the breadth of the man’s life and why his legacy deserves to be told in this fashion.
David Oyelowo as Bass Reeves in ‘Lawmen: Bass Reeves’ streaming on Paramount+, 2023. Photo Credit: Emerson Miller/Paramount+.
MF: Can you talk about the research you did for this series, and did you learn anything that surprised you?
CF: A lot of things. With the pilot, for example, I didn’t know that Bass was forced to accompany George Reeves into various battles in the Civil War. That was quite surprising to me. I didn’t know that he escaped enslavement and lived amongst American Indians and Indian territory for several years. The notion of reconstruction, that era of American history was a little nebulous to me. So, learning more about that was surprising. So, there were surprises at every turn.
(L to R) David Oyelowo as Bass Reeves and Shea Whigham as George Reeves in ‘Lawmen: Bass Reeves’ streaming on Paramount+, 2023. Photo Credit: Emerson Miller/Paramount+.
MF: How much of the show is based in facts and how much creative license did you take?
CF: We know that he was married to Jenny Reeves. It’s been reported that she was the love of his life. We knew that he had a plethora of children. Unequivocally, we know that he spoke native languages. David Oyelowo and I are both dedicated husbands and fathers, and what we tapped into that we were able to also understand about Bass to a degree, is by the nature of our professions, we often must leave our family for months on end. It’s extraordinarily painful to do, and it can cause heartache not only for you, but for your loved ones. So, we wanted to dramatize that because we felt as if Bass may have experienced that same heartache of, you have to leave your family for two months.
(L to R) Lauren E. Banks as Jennie Reeves and David Oyelowo as Bass Reeves in ‘Lawmen: Bass Reeves’ streaming on Paramount+, 2023. Photo Credit: Emerson Miller/Paramount+.
MF: As a showrunner, can you talk about the challenges of making a Western series?
CF: I was involved in every single sort of decision, whether it be picking a location, the design of the Reeve’s house, the wardrobe, the horses. But I had the most incredible collaborators. The wranglers that Taylor Sheridan has accumulated to train these actors and to manage these horses, they’re remarkable talents at what they do. So, I was deeply involved in every step of the way, but at the same time, I had these incredible collaborators and craftspeople who, my job was to tell them the intent and get out of the way.
(L to R) David Oyelowo as Bass Reeves and Dennis Quaid as Sherrill Lynn in ‘Lawmen: Bass Reeves’ streaming on Paramount+, 2023. Photo Credit: Emerson Miller/Paramount+.
MF: Finally, what has your experience been like working with executive producer Taylor Sheridan?
CF: I’m incredibly grateful to Taylor for entrusting me with this opportunity. He gave me an enormous amount of freedom and autonomy to craft this narrative and then lead the production. At the same time, there was enormous peace in knowing that I had this backstop behind me, somebody as talented and as successful as he is. So, he would read a script and he would say, “Hey, what about adding a scene like this here?” Not surprisingly, it took a script that sang and made it really sing. During production, he’s built this machine that’s so efficient that makes his shows, and I was a beneficiary of getting to experience that machine and have that machine come on board this show. I don’t think we could’ve come close to doing what we did if this crew that has made all these great Westerns together weren’t at our disposal. Then in post, again, he sprinkled some of that magic storytelling dust that seems endless for him, that he can do time and time again. So, I felt enormous pressure, not only to honor Bass, but to live up to the Taylor Sheridan universe. But I also had great comfort in knowing that that backstop was there to support me.
David Oyelowo as Bass Reeves in ‘Lawmen: Bass Reeves’ streaming on Paramount+, 2023. Photo Credit: Emerson Miller/Paramount+.
What is the plot of ‘Lawmen: Bass Reeves’?
‘Lawmen: Bass Reeves’ reveals the untold story of the most legendary lawman in the Old West, Bass Reeves (David Oyelowo). The anthology series follows the journey of Reeves and his rise from enslavement to law enforcement as the first Black U.S. Marshal west of the Mississippi. Despite arresting over 3,000 outlaws during his career, the weight of the badge was heavy, and he wrestled with its moral and spiritual cost to his beloved family.
Premiering on MGM+ beginning October 15th is season 2 of the popular series ‘Billy the Kid,’ which was created by Michael Hirst (‘Elizabeth’).
What is the plot of ‘Billy the Kid’ Season 2?
Based on the real life of legendary American outlaw Billy the Kid, and following the events of the first season, season two sees Billy (Tom Blyth) and his allies squaring off against his oldest friend Jesse Evans (Daniel Webber) and the corrupt powers of the Santa Fe Ring. When shots are fired, the conflict erupts into the bloody Lincoln County War. Amidst the fighting, Billy will struggle to hang onto his soul—and to the love of his life.
Who is in the cast of ‘Billy the Kid’ Season 2?
Tom Blyth in ‘Billy the Kid’ season 2. Photo: Metro-Goldwyn-Mayer Studios Inc.
Moviefone recently had the pleasure of speaking with show creator and executive producer Michael Hirst about season 2 of ‘Billy the Kid,’ what fans can expect from the new season, why making Westerns are so much fun, working with actor Tom Blyth, casting Linus Roache, Billy and Tunstall’s relationship, and why we as a public are still fascinated by the legend of Billy the Kid.
(Right) Tom Blyth in ‘Billy the Kid’ season 2. Photo: Metro-Goldwyn-Mayer Studios Inc.
You can read the full interview below or click on the video player above to watch the interview.
Moviefone: To begin with, war is coming to Lincoln County in season 2 of ‘Billy the Kid.’ Can you talk about that and where we will find the characters when the new season starts?
Michael Hirst: So in a way, the first season of ‘Billy’ is a preparation for the Lincoln County War, because in Billy’s life that was pivotal. It was where he became famous around America and ultimately famous around the world. Strangely enough, I loved Billy when I was a kid of eight years old growing up in the north of England. He was a hero, but I didn’t just want to write about a cliche. I didn’t want to write about an outlaw, someone who just comes in the room shooting everyone, and who many people would regard as probably a pathological killer or there’s something wrong. The more research I did about him, I just discovered this really sensitive, young boy brought up by a mother who told him great stories, but was a very profound Catholic, and gave him a moral compass. That his father kind of stepped out of the family and couldn’t cope with America. The family, they were immigrants, and they were sent by the American government to one of the wildest, most dangerous parts of the country at the time. So, I wanted people to know that story. I wanted to dramatize that story. I wanted people to empathize with him. I was also, of course, introducing along the way other characters like Jesse Evans and the sheriff, who we’re going to crop up later. So we get to the Lincoln County Wars, and this is obviously where the stuff hits the fan. I mean, this is what you might call a real Western because there’s a shooting of a sheriff. There’s a lot of violence and brutality, and all centered around this commercial rivalry between two outfits, one of whom is Murphy’s Store, which has always had a monopoly of trading in that area of New Mexico because they were attached to this thing called the Santa Fe Ring, this group of very rich American businessmen who ran everything in New Mexico. They’re being challenged by an Englishman called Tunstall. Tunstall has problems with his father too, but then he comes to prove himself, but he doesn’t realize what he’s getting into. But he’s happy to hire Billy to be on his team because Billy already has a certain reputation. There are wanted posters for him, and everyone who works for Tunstall really says, “Look, who’s joining us now.” His ex-friend Jesse Evans, is with the House. So we are in a different world now, and it’s darker. It’s edgier. It’s still about the things that Billy cared about when he was growing up, that is to say immigrant issues. He sees what’s happening to the Mexicans. He always identifies with the underdogs. He has a profound sense of the injustices of the world and America at the time, as he was 19, which a lot of young people do. I hadn’t thought about that when I started, I was just concentrating on Billy. But these issues are contemporary. They resonate. They’re real issues now. The Lincoln County Wars, which killed about over 20 people in this nowhere town in New Mexico, became the scene of these horrific and insane murderous acts by people. I mean, the value of life was so low at that point. Billy takes a leadership role in these events, even though he’s 19, and goes through a terrible experience basically. So second season, we’ve upgraded in many ways. It’s a great production, great cast who love the show. It’s a very friendly company of people. But we don’t work at a studio. It’s all on location, and it’s all with real cowboys because Calgary, where it’s shot, is a center for cowboys. They have rodeos there. So our young cast has been riding with real cowboys. It’s just been a blast for them.
(L to R) Tom Blyth and Linus Roache in ‘Billy the Kid’ season 2. Photo: Metro-Goldwyn-Mayer Studios Inc.
MF: Director John Ford once said, “If they knew how fun it is to make Westerns, they wouldn’t let us do it.” Do you agree with that? Is it fun making a Western?
MH: Well, it is fun making a Western, partly because of your sense of tradition. I don’t feel that I work in genres, and I don’t feel this is a traditional Western particularly. But you are aware of the tropes, and some of the relationships are what I would call sort of classical Western relationships that people have. So all that’s fun. The energy that goes into it and the fact that there are always horses, cattle, and crows on the set all the time, that everyone’s dealing with these things, and it’s very real. The cowboys are teaching the actors how to lasso cows and everything. So it’s incredible.
Tom Blyth in ‘Billy the Kid’ season 2. Photo: Metro-Goldwyn-Mayer Studios Inc.
MF: Can you talk about working with Tom Blyth and his charming yet vulnerable performance as Billy?
MH: It’s been magical. It’s been wonderful. This is his first big role, and he’s only, I think, a year out of college. He was one of the first people to throw his hat into the ring. But I think we saw 400 people for the role. Obviously initially, we thought it’s got to be an American. The very first thing, of course, was he sent us a picture of himself or his agent did, and he looked like Billy. That was really weird. It’s like, “Whoa, wait a minute. This is too good to be true.” So we were going through all these young actors, and of course, many of them were very good, but they didn’t quite have what he had, which you sort of mentioned in a way. It’s a kind of steeliness and a sensitivity that you can tell is going on at the same time. His eyes are steely, but you know he’s sensitive, and I wanted that desperately. As I say, the last thing I wanted was a pathological killer. I wanted someone who was very human, but was capable of doing the things that he actually did. But it went on for quite a while, this process. I was throwing rocks in a way, because this guy, we didn’t know much about him at all. So I would say things like, “You know that Billy was actually famous for singing. He had a beautiful voice, and could play the guitar. He sang and he danced. Who knew?” So the next thing I know, Tom sends me a tape in which he’s playing his guitar and singing beautifully. I said, “All right.” We did go for him, and that was one of the best, obviously, decisions we’ve made in the whole thing, because it’s about him, and he has to carry it. Certainly, in the first season, he was just about in every scene. I mean, that’s quite something.
Linus Roache in ‘Billy the Kid’ season 2. Photo: Metro-Goldwyn-Mayer Studios Inc.
MF: Can you talk about casting Linus Roache as Tunstall and the father/son relationship he creates with Billy?
MH: That was a big decision at the end of season one, mainly because I knew that meeting Tunstall was going to be a monumental thing for Billy. It was going to change Billy’s life forever. So the relationship between Billy and Tunstall had to be very deep and significant, and we didn’t have long to build it up. We liked the guy who played Tunstall in season one, but he was too young to be the surrogate father. You wouldn’t believe it. And Linus and I actually are great friends. He was in ‘Vikings.’ He played a big role in ‘Vikings.’ We’re great friends, and we talk all the time. I wanted him on the show desperately. I wanted him for many roles in the show, but actually Tunstall fitted him like a glove. It was mainly the fact that he could talk to Billy sensitively, and he could talk about his own family, his father and all the things that concerned Billy, and his sisters and all that. That Billy, whose father just walked out of his life and died because he couldn’t cope with America, had really missed having a father. He saw his mother working herself to death because there was no father. So he did become Billy’s surrogate father. I knew Linus could bring that off. I knew that in the few scenes he had with Billy, they could establish a huge and deep rapport because Linus is a great and understated actor. He was a Shakespearian actor initially. He was so extraordinarily brilliant in ‘Vikings’ that I’ve felt myself very lucky that he came back and was in ‘Billy.’
(Center) Daniel Webber in ‘Billy the Kid’ season 2. Photo: Metro-Goldwyn-Mayer Studios Inc.
MF: Finally, there have been countless movies and TV programs over the years based on the legend of Billy the Kid. Why do you think we as a public are so interested in this outlaw’s story?
MH: Yeah, I’ve thought about this. It may be because he’s not Jesse James. He’s a much younger guy, and he doesn’t rob banks. He’s not actually a conventional outlaw at all. As I say, he doesn’t want to be an outlaw. He wants to go straight. I mean, all the other famous outlaws chose to be outlaws, like Jesse Evans does in the show. He’s a born outlaw. He doesn’t ever want to go straight. Billy desperately wants to go straight. Everyone who knew him absolutely loved him. So I’ve been reading a book by someone who rode with him and repeats some of the things that Billy said. When you hear the voice in your head, you could say, “I like that guy. That guy’s really interesting and nice.” I think there are lots of reasons. That there is something incredibly attractive about a very young guy who can do phenomenal things. Let’s just take it as a Western. He could ride unlike anyone else. He could shoot unlike anyone else. He was as brave as anything. I don’t think he knew fear. There was no jail that could hold him. All those things are true about him, and they make a good myth. But what’s also true about him is, I think, he was very human and a nice guy, and I would’ve liked to meet him.
Tom Blyth in ‘Billy the Kid’ season 2. Photo: Metro-Goldwyn-Mayer Studios Inc.
