Mr Challeron <76420.1471@compuserve.com> asks:
> How do you WRITE stuff like that?
> How long did it take to find actors who could PLAY scenes like
> that?

Thanks.

Implying more than one sees is something that you kinda have to
learn over time. It can be very effective, as here.

You just have to kinda put yourself out on a limb, as a writer
or as an actor.

This scene *should* be very affecting. It goes to Joe's Theory
of Violence on TV. To wit...that we need more of it, but it has to be
realistic violence. It has to show consequences. You glorify or
desensitize violence when you shoot somebody, and they just go down, no
yelling in pain, no sobbing as their guts fall out onto the street.
It's just gunfire, loud noises, excitement and fun. If you're going to
show violence, then show it for what it *is*, and show it the way
people would react to it. Make the audience understand that this is a
*person*, not one in a series of body counts.

(There's also Joe's Theory of Button-Fly Jeans, btw...which
holds that when you use the men's room, you only actually *have* to
unbutton the first three buttons...the fourth one is just for show.)

jms

Gary Weinfurther <71521.2352@compuserve.com> asks:
> Is it fasten then button, or button then fasten?

You're right; UNFORGIVEN is just incredible, his best work.

jms