The day-by-day inside story of the making of Tombstone (1993) as told to the author by those who were there—actors, extras, crew members, Buckaroos, historians and everyone in between. Historical context that inspired Kevin Jarre’s screenplay is included. Production designers, cameramen, costume designers, composers, illustrators, screenwriter, journalists, set dressers, prop masters, medics, stuntmen and many others share their recollections—many never-before-told—of filming this epic Western.
Not Thinkin'... Just Rememberin'... is a tour de force. This manuscript is very thorough and exhaustively researched. The sheer size of the manuscript might seem intimidating, but what else should one expect when The Alamo and John Wayne are the subjects? Of course, The Alamo is no ordinary movie, so the telling of the making of the movie is no small feat. Mr. Farkis is an adept writer. He knows his subject extremely well. His knowledge is intensive and extensive. It's quite easy to tell that, while he is a scholar, he is also a fan of both The Alamo and John Wayne. He does a great job of keeping the retelling of this information entertaining and interesting. The story of the making of the Alamo is told chronologically. This is the best way to tell the story because this allows for several other sub-stories to be told while the main story is unfolding. The tone and writing style is very approachable and open. It works well for this manuscript. There are many lighthearted moments that help anchor the overall manuscript, and they serve as counterpoints to the weightier discussions about politics, disagreements, and money issues that surrounded John Wayne's ambitious endeavor.
This is the HARDBACK version. Not Thinkin'... Just Rememberin'... is a tour de force. This manuscript is very thorough and exhaustively researched. The sheer size of the manuscript might seem intimidating, but what else should one expect when The Alamo and John Wayne are the subjects? Of course, The Alamo is no ordinary movie, so the telling of the making of the movie is no small feat. Mr. Farkis is an adept writer. He knows his subject extremely well. His knowledge is intensive and extensive. It's quite easy to tell that, while he is a scholar, he is also a fan of both The Alamo and John Wayne. He does a great job of keeping the retelling of this information entertaining and interesting. The story of the making of the Alamo is told chronologically. This is the best way to tell the story because this allows for several other sub-stories to be told while the main story is unfolding. The tone and writing style is very approachable and open. It works well for this manuscript. There are many lighthearted moments that help anchor the overall manuscript, and they serve as counterpoints to the weightier discussions about politics, disagreements, and money issues that surrounded John Wayne's ambitious endeavor.
NOT THINKIN' ... JUST REMEMBERIN' Alamo Journal, William Chemerka: "John Farkis' Alamo Village is the ideal companion to Not Thinkin' ... Just Rememberin': The Making of John Wayne's The Alamo, the author's impressive and comprehensive work about the 1960 big-screen epic. Updated from its first edition in 2005, Alamo Village has been greatly expanded with detailed information, fascinating insights, interesting interviews and numerous photographs about the important Texas film site." Amazon: "Not Thinkin' ... Just Rememberin' ..." is a tour de force. This manuscript is very thorough and exhaustively researched. Mr. Farkis is an adept writer. He knows his subject extremely well. His knowledge is intensive and extensive." True West Magazine, Stuart Rosenbrook: ..". the definitive book on the making of the classic Western..." Texas Monthly, Stephen Harrigan: "Not Thinkin' ... Just Rememberin'..." is all about (I mean all about -- it's 900 pages long) Wayne's obsessive quest to direct his 1960 epic The Alamo.
Updated from its first edition in 2005, Alamo Village has been greatly expanded with detailed information, fascinating insights, interesting interviews and numerous photographs about the important Texas film site.
Interest in John Foxe and his hugely influential text Acts and Monuments is particularly vibrant at present. This volume, the third to arise from a series of international colloquia on Foxe, collects essays by established and up-and-coming scholars. It broadly embraces five major areas of early modern studies: Roman Catholicism, women and gender, visual culture, the history of the book and historiography. Patrick Collinson provides an entire overview of the field of Foxe studies and further essays place Foxe and his work within the context of their times.
The day-by-day inside story of the making of Tombstone (1993) as told to the author by those who were there—actors, extras, crew members, Buckaroos, historians and everyone in between. Historical context that inspired Kevin Jarre’s screenplay is included. Production designers, cameramen, costume designers, composers, illustrators, screenwriter, journalists, set dressers, prop masters, medics, stuntmen and many others share their recollections—many never-before-told—of filming this epic Western.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.
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