Unforgiven (Warner Bros., 1992), AKA: Whores' Gold/ The Cut-Whore Killings/ The William ...

Description

Unforgiven (Warner Bros., 1992), AKA: Whores' Gold/ The Cut-Whore Killings/ The William Munny Killings. Early Production Draft Script with Working Title, Plus Manuscript Casting Notes and Extensive Pre-Production Documentation. Original studio mimeo script by David Webb Peoples, dated April 23, 1984, screw-post bound in green leatherette, with title in marker taped to spine, measuring 9" x 11.25". Dating from the period when Francis Ford Coppola and Zoetrope controlled the option (as shown on title page) who, thanks in large part to the financial debacle of his previous epic One From the Heart, was unable to secure financing, leaving it to Clint Eastwood to pick up the ball and turn the flailing project into a multi-Oscar winning classic of Western cinema. Unforgiven, released on August 7, 1992, was Clint Eastwood's 16th movie as a director and his 34th as a lead actor. He was nominated for three Oscars (a first for all three): Best Actor, Best Picture, and Best Director. He took home the last two. Offered here is an early production-draft script, under one of its several working pre-release titles, Whores' Gold, written as an original work by David Webb Peoples (and not, as previously incorrectly stated, from a novel by W.W. Beauchamp, who is actually merely a character in the film). Peoples also wrote the Oscar-nominated film The Day After Trinity and co-wrote Blade Runner with Hampton Fancher. The concept for the film dated to 1976, when it was developed under the titles The Cut-Whore Killings and The William Munny Killings. The script was originally optioned by Francis Ford Coppola, who failed to raise the money to develop the project any further. By Eastwood's own recollection, he was given the script in the "early 80s", although he did not immediately pursue it, because according to him, "I thought I should do some other things first". In 1984, Sonia Chernus, Eastwood's long time story editor at Malpaso Productions, sent him a scathing memo after reading the script stating that "it doesn't deserve my time or yours" and is "an insult to this company" and that Eastwood should "get rid of it FAST". Unforgiven shares many parallels with Homer's Iliad, in characters and themes. "In both works, the protagonists - Achilles and William Munny - are self-questioning warriors who temporarily reject the culture of violence, only to return to it after the death of their closest male friend, in which they are implicated." Munny and Achilles have the same dilemma between fate and counter-fate. They know that their fate is being a warrior and likely dying that way; however, they both try to reject it for at least some time. Munny continually claims he has changed and "ain't like that no more", referring to his warrior-like hitman past, whereas Achilles continually refuses to be a soldier in the Greek army since he condemns Agamemnon for stealing his captured bride as war spoil. Neither wants to kill for causes from their past (Munny being an outlaw, Achilles being a warrior-king) since they find them unjust. Both are committed to a "higher" cause-Munny to his children and his wife's wishes, and Achilles to the injustice of women-stealing and to Briseis, who at one point he would have had to sacrifice to Agamemnon to stop the war. Lot also includes an extensive Fred Roos/ Coppola/ Zoetrope file of pre-production documentation, cost analysis, casting notes, signed Peoples' letter to "Fred and Francis" concerning how happy he is to be embarking on this (ultimately failed, then elsewhere resurrected) project, and more, the majority of which refers to the project as The Cut-Whore Killings. Script exhibits only traces of handling or age, and documentation shows minor handling, occasional staining, torn punch-holes, and other storage and production wear. The poster is for reference only and is not included with this lot. Comes with a COA from Heritage Auctions. From the Estate of Fred Roos.

More Information: Vintage original studio mimeo script by David Webb Peoples, dated April 23, 1984, screw-post bound in green leatherette, with title in marker taped to spine, measuring 9" x 11.25". Dating from the period when Francis Ford Coppola and Zoetrope controlled the option (as shown on title page) who, thanks in large part to the financial debacle of his previous epic One From the Heart, was unable to secure financing, leaving it to Clint Eastwood to pick up the ball and turn the flailing project into a multi-Oscar winning classic of Western cinema. Unforgiven, released on August 7, 1992, was Clint Eastwood's 16th movie as a director and his 34th as a lead actor. He was nominated for three Oscars (a first for all three): Best Actor, Best Picture, and Best Director. He took home the last two. Offered here is an early production-draft script, under one of its several working pre-release titles, Whores' Gold, written as an original work by David Webb Peoples (and not, as previously incorrectly stated, from a novel by W.W. Beauchamp, who is actually merely a character in the film). Peoples also wrote the Oscar-nominated film The Day After Trinity and co-wrote Blade Runner with Hampton Fancher. The concept for the film dated to 1976, when it was developed under the titles The Cut-Whore Killings and The William Munny Killings. The script was originally optioned by Francis Ford Coppola, who failed to raise the money to develop the project any further. By Eastwood's own recollection, he was given the script in the "early 80s", although he did not immediately pursue it, because according to him, "I thought I should do some other things first". In 1984, Sonia Chernus, Eastwood's long time story editor at Malpaso Productions, sent him a scathing memo after reading the script stating that "it doesn't deserve my time or yours" and is "an insult to this company" and that Eastwood should "get rid of it FAST". Unforgiven shares many parallels with Homer's Iliad, in characters and themes. "In both works, the protagonists – Achilles and William Munny – are self-questioning warriors who temporarily reject the culture of violence, only to return to it after the death of their closest male friend, in which they are implicated." Munny and Achilles have the same dilemma between fate and counter-fate. They know that their fate is being a warrior and likely dying that way; however, they both try to reject it for at least some time. Munny continually claims he has changed and "ain't like that no more", referring to his warrior-like hitman past, whereas Achilles continually refuses to be a soldier in the Greek army since he condemns Agamemnon for stealing his captured bride as war spoil. Neither wants to kill for causes from their past (Munny being an outlaw, Achilles being a warrior-king) since they find them unjust. Both are committed to a "higher" cause—Munny to his children and his wife's wishes, and Achilles to the injustice of women-stealing and to Briseis, who at one point he would have had to sacrifice to Agamemnon to stop the war. Lot also includes an extensive Fred Roos/ Coppola/ Zoetrope file of pre-production documentation, cost analysis, casting notes, signed Peoples' letter to "Fred and Francis" concerning how happy he is to be embarking on this (ultimately failed, then elsewhere resurrected) project, and more, the majority of which refers to the project as The Cut-Whore Killings. Script exhibits only traces of handling or age, and documentation shows minor handling, occasional staining, torn punch-holes, and other storage and production wear. Provenance: Obtained directly from the Estate of Fred Roos. Comes with a COA from Heritage Auctions.


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