He's as good with a pot and pan as he is with a gun, which comes in handy on a dangerous trail drive beset with rustlers, hostile Indians, ornery weather, and deadly stampedes. Mac can hold his own with any cowboy twice his age. At least until the real showdown begins. It's the dawn of a new century.
But on the vast Sugarloaf Ranch not much has changed since legendary gunfighter Smoke Jensen and his wife Sally tamed the land two decades ago. Raising cattle is still a dangerous business - and just as deadly as ever. When Smoke is injured swapping bullets with some cow thieves, Sally puts out a call for help to Matt, Ace, and the rest of the Jensen clan. But time is running out. The bloodthirsty rustlers are ready to strike again - and there are lots more of them. And the Sugarloaf's last defense is Smoke and Sally's next of kin Crater City, New Mexico, is a bustling mining town brimming with the stench of men hungry to get rich the old fashioned way - by killing the competition.
Dennis Conroy is the owner of the biggest saloon in town, and he needs a few good sharpshooters to help protect surveyors laying out a route for a spur line before his rival Hugh Thornton beats him to it. Joe Buckhorn's handy with a gun, so he takes the job. Against his best advice, he'll also take a liking to the boss's daughter.
Worse, Buckhorn starts wondering exactly what kind of man he's working for. Turns out, Indians might be the least of the problems for the trio, soon to be known as the Jackals. The loot's stolen property of the vengeful Hawkin gang, and these prairie rats are merciless, stone-cold killers. Meet Hunter Buchanon, a towering mountain of a man who learned how to track prey in Georgia, kill in the Civil War, and prospect in the Black Hills of Dakota.
Now he's trying to live a peaceful gun-free life - but fate has other plans for him. When Hunter Buchanon rescued a wounded coyote pup - and named him Bobby Lee - he had no idea the cute little varmint would grow up to be such a loyal companion. The first story in a fiery new series about the west's most dangerous boomtown, and the reformed outlaw who risks his life to keep it safe In the dark shadow of the Prophecy Mountains lies the ramshackle town of Rattlesnake Wells, where dreamers come to make their fortunes, and desperados come to die.
The streets of this little settlement are slick with mud and stained with blood, and it will fall to Bob Hatfield to sweep them clean. The town marshal, Hatfield, has a young man's face, but his eyes are those of a killer.
He is a good man, but he has a secret that weighs on his soul. After a lifetime of robbing banks and holding up trains, Jimmy "Slash" Braddock and Melvin "Pecos Kid" Baker are ready to call it quits, though not completely by choice. Sold out by their old gang, they have to bust out of jail and pull one last job to finance their early retirement.
The target is a rancher's payroll train. Catch is: the train is carrying a Gatling gun and 20 deputy US marshals who know they're coming. Caught and quickly sentenced to hang, their old enemy - the wheelchair-bound, bucket of mean, Marshal L. Bledsoe - shows up at the last minute to spare their lives. Thirty years later, McMasters lives a peaceful life in the Arizona Territory, raising a family and running cattle.
These days, he needs eyeglasses to hit a distant target. But that doesn't stop his wife and four children from buying him a special present for his 50th birthday: a beautiful new Remington shotgun. Turns out, he's going to need it The Butcher gang has come to town. By the time McMasters learns of their arrival, they've invaded his ranch and slaughtered his family. When Zach Connors and his pa left their Kentucky homestead in the summer of to see the Rocky Mountains, he didn't realize he would never see his childhood home again or that he would find love, friendship, fame, and a new home in this wild and harsh wilderness.
After a grizzly kills his pa, Zach struggles to survive a cold and brutal winter alone. After killing a rouge grizzly and fighting hostile Indians on his own, he becomes known as Grizzly Killer and is respected throughout the West.
Along with his dog, Jimbo, whom the Indians call the Great Medicine Dog, he finds Running Wolf, an injured Ute warrior, and together they fight off a hostile war party. They rescue two Shoshone sisters from the brutality of a French trapper and take them as wives. The Buckskin Line tells of Texas' chaotic early years, when a ragtag group of irregular volunteers fought to defend the far edges of settlement from incursion by Indians and frontier outlaws.
In time, they would become known as the Texas Rangers. Long John O'Malley is only 19 years old, but he's no greenhorn. The oldest and boldest of the O'Malley brothers, Long John cut his teeth tangling with Comanche at the tender age of He risked his life to rescue a group of captive women settlers - and forged his own destiny as a hero in the making. After pursuing a cold-blooded murderer all the way to Nevada, Texas Ranger Emmett Strong is returning home to San Antonio - but not alone. He's found a girl he longs to marry.
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Finding someone to tie the knot for them is proving to be a challenge, however, owing to the fact that she's the daughter of Chinese immigrants. Along the way, there's a ruckus in El Paso's Wild Hog Saloon, and by noon the next day, folks are convinced it was Emmett and his compadres who robbed the saloon owner and beat him unconscious. They want Emmett on the end of a rope.
Meanwhile, a bested enemy, set on revenge, hires the notorious fast gun "Three-Finger" Ned Cage to dispatch Strong, his amigos, and even his girl. When the only way out of trouble is to head smack-dab back into the middle of it - beautiful young woman in tow - a cool-headed pistolero like Emmett Strong becomes a force to be reckoned with.
But will the vicious array of enemies prove to be too much this time, even for Strong? I Liston to a lot of Audiobooks as I work hour weeks and a lot of Westerns. Hutchenson is not just a good writer, he's a Great writer. Hats Boss of the Plains. The only problem I see is there's only two in this series and I want more. Much more. What disappointed you about Strong Suspicions?
The performer was almost non-coherent. It was like listening to an old, mumbling man attempting to recall the events of a time far, far away. What could GP Hutchinson have done to make this a more enjoyable book for you? We had to update it for the 21st century. He actually went to high school with Scott.
How did it all come together? We all read those magazines as teenagers. So I really understood the aesthetic of Accident Man. This is what you should really be reading.
Your humor, your language. But he has to keep up pretenses because of the workplace environment. Scott probably worked on it for 15 years or so on and off — more concertedly in the last year year-and-a-half with Stu and Erik Kritzer at Link Entertainment — and found a way to get it made. Sony got involved, and then I was the final part of the puzzle. I helped develop the script a little bit, not much. There were two scenes I felt were just going too far, tweaked and brought those back.
He was extraordinarily hands on — wanted to see my shot list every day, wanted to discuss how I was going to cover things, wanted to know how we were going to film it. His references were Snatch, Layer Cake , those kinds of films. Very intent upon me watching those. I was nervous, because everyone and his brother copied Snatch when it came out.
They even came up with programs for editing systems based on the Snatch graphics and editorial style. Dangerous material to try and mimic in any way. But I tried to put my spin on it as much as possible, and we were really very careful with this one and discussed a lot about how it should be shot.
A short schedule and not a vast amount of money, but when you go in with a cohesive plan that everyone is a part of, it does make it easier. Where you see me are the flashback scenes between Ray and the young Mike Fallon. Which I felt, along with Ray Stevenson, have almost a New Wave feel about them — though I should stop digging at myself with talking about these references in relation to an action movie. Ray is a force of nature. There is literally no rehearsal. You set up the cameras, you better be ready.
But you better have everything correct and right technically, because if you ask him to do another one you better have a good reason. I absolutely loved that way of working, it keeps you on your toes and you are forced to really think. We worked with a particular camera style much closer to my style, which is where you basically weight down the camera as heavily as possible. I was always nervous, because it looked a little old fashioned, that particular style, but then you see something like Sicario or No Country for Old Men and realize that style is actually timeless.
But it takes planning, it takes a good team and experience, and a good idea of what the day is going to have to deliver. David Lynch used to put sandbags on his dolly to weight it down. There are so many great movies out there, I just have be really careful. When The Matrix came out, so many other movies looked just like it, and the same with Pulp Fiction and with Snatch.
I know it makes me sound like a Luddite. We had a limited budget. They are very specific about where they want to put the camera to catch the hit, they are very specific about how the hit has to look and what the technique is. That kind of filmmaking simply does not interest me. So I gave the 2nd unit, meaning the fight scenes, to Tim. I would throw the first punch, and then Tim would come in to shoot the fight scene all the way through the last hit, which would be me.
The flashbacks, for example, the introduction of the characters. The film worked very well in that aspect. Literally just the fight scenes were his work. We have a mutually respectful relationship. Would they have been the way I would have directed them? No, not really at all.
I like the big wide angles; with me there would have been a lot more flowing, push-in for the tights, a slightly different way. They really worked very hard. I could hear them on the set next door, smacking the ground, hitting the walls, screaming, yelling. We basically did the same thing on Triple Threat as well. I would tell him what I wanted story-wise, how I wanted it to end.
Iko would have his Silat, Tiger would have his traditional kung fu, and Jaa would have his very brutal style of Muay Thai that he enjoyed. The guys would fight and counter with their particular styles.
On that one it was complex; we had to make sure the actors were happy, they were always giving their 10 cents. On Accident Man Tim and Scott had a little bit more of a free reign, they were the bosses. I think they did great in the amount of time we had. Johnson: Savage Dog was just under three weeks, which is very nerve-wracking. Things move quickly, but there has to be a very cohesive plan that has be translated, sometimes in two different languages.
Having said that, the Thai crew is very efficient if they know what they have to do, all about prepping for the next one and the next one. But you have such great resources there: have to feed extras, built a Bridge on the River Kwai- kind of village we ended up blowing up, and elephants. In Debt Collector we went back to considerably less than a month [laughs]. You approach all of them the same way: with a very cohesive plan, as logistically as possible, with a view to allowing actors as much freedom as possible.