1876. DeadWood Pionír tábor az USA hatóterén kívül ahol a helyi kocsma tulaja Al Swearengen sütögeti pecsenyéjét a \"boldogabb\" jövő érdekében.
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pitymallat #61 Ikább bemásolm az egészet... :)
Milch's End to 'Deadwood': I Don't Believe in Endings
By Roger Catlin on November 20, 2008 9:34 AM | Permalink | Comments (3)
To wrap up the 19-disc, 36 hour "Deadwood: The Complete Series," show creator David Milch is asked to go out into the boarded up set of the lauded HBO Western saga and say how it would have all ended had there been a fourth season.
In a segment called "The Meaning of Endings," the Yale professor turned TV writer is plainly uncomfortable walking the streets of the undressed set, possibly because it's blazing hot and he's wearing black.
"I find this all infinitely depressing, I must say," he mutters in the middle of his address, to be released as part of the boxed set of the complete series, hitting stores Dec. 9.
The abrupt end of "Deadwood" was something "quite unexpected and something I was unprepared for," he said.
And while he still didn't rule out the idea of a couple of movies still to come to keep telling the tale of "Deadwood" as he envisioned it, his thoughts on the ending of "Deadwood" is essentially: Endings are overrated.
"The whole idea of an ending as something being its source of meaning is something I find problematic," he says at the outset.
Still, he says, "I have been asked to talk about what my intentions had been for the characters had the series continued," he says, and to give "a forecast of what the future would hold."
And yet the 23 minute segment mostly has him walking through the now-empty set, pointing out its landmarks and giving the fate of characters according to what happened to the historical figures of the same names on whom they were based.
Al Swearengen's Gem Saloon, once the dark heartbeat of the community, would be wiped out by fire, shortly before the town is hit by a flood. It's rebuilt, but the saloon and its owner never do dominate the town the way they did before.
Seth Bullock goes on to become a figure of stature both in Deadwood, then in the territory then in the nation.
Calamity Jane buys a plot next to Wild Bill Hicock's and is buried there 20 years hence, and so forth.
Milch does say that he had hoped to introduce a couple of new characters in the never-made fourth season, one of which was based on the sojourning father of John D. Rockefeller who passed himself off as a medicine man who was both a fraud (dispensing mostly alcohol as medicine) and bigamist. He'd be accompanied by a native medicine man whose tactictics were about the same. As it was it could only introduce a bit of their stories in season three.
He seems as dismayed by the series' end as the fans. He talks briefly of plans for "Deadwood" films in the same breath of planned "Deadwood" dirigibles and "Deadwood" jockstraps (which were problematic, he said, because some thought it would infer inpotence).
Still, he adds, "It's a child who believes that such things go on for ever. It's a child also who believes you can't start over. But you can and you have to."
(As it was, he started on a series, "John from Cincinnati," which ran one season and was over, and is busy working on a new series for HBO about New York police in the 70s, "Last of the Ninth").
For himself he says, "every episode is an ending of sorts" and imports meaning into one of the final murders by Swearengen, in which he cleans up the blood after.
Still, he rails against "the idea of an end of a thing as inscribing the final meaning."
Endings that supposedly "fixes the mark and meaning of any experience is one of the lies agreed upon that we use to organize our lives," he says. A bigger lie, he says, is that "we were entitled to a meaningful and coherent summarizing of something which never concludes."
Milch says he hopes viewers enjoyed the series keeping in mind its meant to "import no truth beyond itself."
His thoughts come as a part of two hours of extras in the DVD box, some of which look at the actual stories of Deadwood and the fate of the town itself (where a historian says the detailed HBO series has made the city better caretakers of its history -- and that people seem freeer to cuss up a storm when they visit).
Milch mentions too the modern day reinacting of the murder of Wild Bill Hicock 14 times a day in the tourist town, itself "an argument against continuing stories past the point of their utility."