Originally published in Movietone News 60-61, February 1979]
Sam Peckinpah visited Seattle for several days in July, 1978, under the joint auspices of the Seattle Film Society and the Academy of Motion Picture Arts and Sciences. On the evening of July 19 he appeared at the Seattle Concert Theatre to talk with an audience that had just seen, and warmly responded to, his comedy-western The Ballad of Cable Hogue. The following is a slightly edited transcript (from a tape made by Ray Pierre) of that dialogue. For fluency of reading we have kept the [Laughter] notations to a minimum, but the fact is that laughter punctuated the discussion with considerable frequency. -Ed.
[Questions, in italics, were mostly from members of the audience. Richard T. Jameson was moderator.]
Cable Hogue, even though Cable died at the end, was a very upbeat film, which is different from all the other [Peckinpah] films that I’ve seen. Was there a reason that in 1970 or ’69 you made a movie that does not—to me, at any rate—fit very easily with all the rest of your work?
I think it fits very well. I should mention one thing that seems to confuse people: I’ve made three, or maybe I could say four, films that were my own projects; the rest I have done because that was the job that was offered. I don’t really pick and choose. On Cable, Warren [Oates] had given me the property to read, I liked it, I bought it on time, I tried to get together with Van Heflin to make for around $700,000, could not do it. And Ken Hyman was the president of Warner Brothers at that time, loved The Wild Bunch, and I conned him into tying Cable Hogue into it because I wanted to make the film. And that’s it.
I have a question about The Wild Bunch. The first print that was shown in Seattle lasted about seven days. Then it was changed, another print was substituted. Some things were cut, deleted, mainly to conform with some criticisms that Time had about the movie. Who was responsible for the cuts?
Well, Time magazine was not responsible. It was … I was cutting Cable at the time. I got a call from [producer Phil] Feldman; he said they wanted to try it out in one theater—a shorter version. I said “Fine—in one theater.” Next thing I knew, it had been cut to pieces all over the country. So you can thank Mr. Feldman for doing it. And a man named Weintraub, who also was very active at Warner Brothers at the time.