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Bullock's Last Stand: Timothy Olyphant on 'Deadwood: The Movie' and David Milch , continued

What's one of the crazier ones that you remember vividly?
Just to name one, I can tell you the whole scene fighting with the Native American guy, all made up on the day. The stunt guys had been working on a fight between me and this Native American dude for a week and they had the whole thing mapped out. Then on the day we showed it to Milch, the guy comes running up, hits me with this tomahawk after my horse has already been hit with an arrow, and then I crawl out and this whole giant fistfight breaks out. David says, "I bought all of it right up until he got hit with the tomahawk." Which is essentially the first moment. And so the whole holding onto the guy's leg while he was dancing and yelling the stuff in his language, that was David just saying, "Hey, do this. Right? You just stand over him and, 'Fuck you. You killed my friend.' " Which was hilarious to me. And me just hanging onto his leg until eventually he foolishly lost his balance and then I beat him with a rock. That was all on the day. And it wasn't even working until this guy that they had cast all of a sudden started doing the thing that you see now that kind of gives you chills, some kind of war song. It was, like, our fifth take or something. David kept trying to talk to him like he was from Brooklyn. All of a sudden that came in. I remember saying to the guy, "What the fuck was that?" He said, "I just remembered this song I learned when I was a kid in camp." It just came to him. He said, "I'll do that." That was just one of these remarkable days, the willingness of David to throw out what was false and to go with his gut.

I can go all day. I remember so many things that he did in terms of direction. The scene where Bullock is beating the shit out of Jack McCall in the mud, and Garret [Dillahunt, who played McCall] is trying to get the fuck out — Milch told us the story about him being in an alleyway and these guys are walking towards him, and he keeps thinking, "Oh, I'm going to beat the shit out of these guys." And now they're kicking the shit out of him, and he's like, "I'm about to pounce because I'm like a leopard. These guys have no idea." And he goes, "Now they've taken all my things and they've set my clothes on fire. Now they're walking away." They're turning down the alley and they're leaving him there. And he says, "These guys have no idea how lucky they are." He tells Garret that story, and he's like, "That's how you would play the scene." And that was so genius.

I remember a scene with Anna. The Bullocks are arguing in the house. We shot it, it was fine, it worked great. Then he comes in and tells me, say your line like that's the last line in the argument, and then walk out the door. But just before you leave, hang your coat up and then walk out. And then she has her next line. And he says, "Now, Tim, come running back in the room, grab your coat as if you're ready to leave and then come running back in. And now say your line, and then hang up your coat and walk out. And then come back in and grab your coat." I must have done it three times, hang up my coat and walk out, walk back in and grab my coat. Hang up my coat and walk out, come back in and grab my coat. It was so funny. I was like, "This guy ..." Then at the end he says, "Do it again." I said, "No. That's it. I don't have any more lines." He said, "OK, put on your coat like a flaming homosexual." I remember thinking very clearly, "Well, so much for that Steve McQueen role you thought you got."

Very rarely do you ever see this in any creative endeavor, and it's the thing that everybody is striving for, which is a man who's completely engrossed, and committed, and well versed, and studied in the subject matter in the world. And in the same breath a willingness to disregard it all and go with whatever gut instinct he has. And I've always felt going forward, I did not graduate first in my class in Yale, but everybody's got a gut instinct, and it's really just about the willingness to go with it, do the work, and then the willingness to fail and just go with your gut. It was literally David on my shoulder going into the Justified writers' room and saying, "You know, what if [Danny Crowe] just fell in a hole?" And they're like, "What the fuck are you talking about?" I was like, "I saw it in a cartoon once. It's going to work." Because it's just a willingness to be like, "Wait. I know what to do here. This would be fun. I saw David do it."

He was famous for writing on the spot.
It was so enjoyable to watch, just a guy with all his toy soldiers in this little sandbox. I remember doing a scene where I'm walking across the road here and he stops and says, "Remind me, what episode is this?" And someone whispers to him. He goes, "It would be wonderful if we could connect this. Are the Chinese here? Do we have the Chinese?" Fucking all three ADs are on the walkie-talkie: "How soon can we have the Chinese? We can have the Chinese here in an hour and a half, Dave." "Great. Is there something else we can shoot in the meantime?" "Well, there's that scene down at the Bullock house you were talking about." "Yes. Perfect. I can get those pages out in a few minutes. Let's go shoot that and come back to this." It was just absurd and wonderful. Exhausting as well. That's what no one wants to admit. It fucking was exhausting.

Jimmy Smits quit NYPD Blue over it.
Listen, I might have done a small victory dance when [David] told me the show was over. But I at the same time have never been a part of anything quite this special. I always talk about the show and this experience, and the experience of working with David. It's the gift that keeps on giving. My wife's like, "Yeah, but Tim, it was a pain in the ass." And I said, "Yeah, I remember that too." It's nice to come back to it. It's nice to come back to it after having been around the block a few times, and to realize that so much has changed and yet not very much. That's a wonderful realization.

The only thing that's probably better left unsaid is the passage of time, certain people who are no longer with us, others who are not in great health. And I think that the audience may not appreciate the experience at all, but from a personal standpoint it's one of the reasons I'm really glad I said yes, to come back and be with everybody again. Some really, really wonderful people. Wonderful people that made a profound impact on my life. And funny, because it wasn't even that long. Three very intense years.

from:
https://www.rollingstone.com/tv/tv-features/timothy-olyphant-deadwood-interview-835207/

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* Deadwood will acquire the Heritage Award whereas its creator, David Milch, has been chosen for the Occupation Achievement honor at this Saturday's Television Critics Affiliation Awards, to be held in Beverly Hills.

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Ian McShane on 'American Gods' Season 3, 'John Wick 4,' & His Love for 'Deadwood'

By Christina Radish
Jan 17, 2021


You also did fantastic work on Deadwood. That was such a special show and it seemed at so many points, over the years, that the much talked about movie was just never going to happen. What was it like to actually finally get to do that movie and revisit that character?

McSHANE: When Deadwood happened, we had a meeting with me and David [Milch] and Tim [Olyphant] to start making the deals because they had a script and it all came together. I remember 2018 was a very full year. I did John Wick 3, and then we finished Season 2 of American Gods, and then I did Deadwood. It was like an out of body experience. We all went back, and it had been 12 years since we'd done it, but everybody came back exactly the same, we did our best, we finished it, and then it came out and I think they were a little dismissive of it, in terms of I thought they'd give something to David because I think it's his crowning achievement. SAG and all of those other people were very churlish with their awards. So, I was a little sad that David didn't get a little more because I did think the two-hour movie adaptation was pretty masterful, considering how most adaptations ended up disastrous. I thought they did a pretty good job on it.

In comparison to American Gods, which feels different every season, it was amazing how the Deadwood movie seemed to pick right back up where it left off, even though so much time had passed.

McSHANE: It was important to get that same feel. Even though they had a fire and the buildings are made of brick now, the people were still there, going through it. Life was tough. I love the fact that David wrote Al to show that he'd declined, over the years. He wasn't the same. Neither was Tim. Tim was older. We all are. Thank god, they didn't try to pick it up with everybody the same as they were before. The town was the same, but the people had all gotten older and a little bit more mature. It was a wonderful thing to do. The shoot was like, "Wow, we're all here again. Here we are. Let's do it." It was very special.

Does it feel very freeing to play a character like that, where you essentially can swear whenever you want, or a character like Wednesday, who can do whatever he wants to manipulate people? Is there something fun, as an actor, about playing characters like that?

McSHANE: Yeah, absolutely. Deadwood was David Milch's creation of a world maturing. And then, law came in and changed society. If Deadwood had gone on, I think it would have been one of the greatest shows, ever. It would have shown America becoming, after yesterday I won't say civilized, but showing how society changes. We did get the chance to do some of that. So, playing characters like that is very freeing. But then, David Milch is one of the greatest writers of all time on TV. Milch's vision is so extraordinary. At the beginning, you thought Al was a villain, but then you realized there was a little more to it than that. He wasn't just a black hat and black boots. That's the way with all characters now. Up until the '70s and '80s, villains were villains. Not so much in European movies because they've always been much more interesting. In the 2000s, you had The Shield and Tony Soprano. You had the Golden Age of TV, if you like.

from:
https://collider.com/ian-mcshane-american-gods-season-3-interview-john-wick-4/

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Deadwood: Why HBO Canceled the Series

The popular HBO series Deadwood was canceled after three seasons when WarnerMedia and Paramount Television couldn't come to terms.
By Rachel Roth
Published 2/23/2021

A western like no other. The HBO series Deadwood premiered on March 21, 2004, and ran for a total of three seasons. Set in the gold mining town of Deadwood, South Dakota, both before and after annexation by the Territory of Dakota, the series was largely a study about how civilization was nothing but organized chaos as shown through the lives and rivalry of saloon owner Al Swearengen and local justice Seth Bullock. Similar to another HBO giant, Boardwalk Empire, Deadwood combined fiction with historical truth, mixing original characters with real-life members of history, including Wyatt Earp and Wild Bill. Violent and compelling, the series is still considered to be one of the best of all time.

However, while Deadwood was beloved by both fans and critics, no amount of praise could save it from getting canceled. The series got the official ax in August of 2006, and the reasons for its abrupt end are as frustrating as one can possibly imagine.

Unlike most shows that suffer from poor ratings or drama from the set, the problems Deadwood faced came from higher up. The show was notoriously expensive, with set design alone taking up a big chunk of change. Showrunner David Milch was also a perfectionist, needing everything to look as authentic as possible. In order to make the show work, WarnerMedia, a subdivision of HBO, had to partner up with Paramount Television to properly produce the series, but the two networks could never get along. Contract disputes and disagreements over profit caused a troubled relationship, and the two finally split before Season 4 could get the green light.

It wasn't just network disputes that got Deadwood off the air, though. Milch the perfectionist wouldn't settle for anything less than what his vision demanded, and refused the initial olive branch the two companies offered him. Unable to reach a satisfying agreement with Paramount, HBO was ready to cut their losses and move on. Instead of a full 12-episode season order, Milch was offered a six-episode final season to wrap up the remaining plotlines, which he quickly turned down.

Milch finally agreed to wrap things up in a two hours series finale in the form of a TV movie, and after many delays, Deadwood: The Movie premiered on HBO on May 31, 2019, providing some much-needed closure for fans. Most of the main cast returned to reprise their roles, with the exceptions of Powers Boothe, Ricky Jay and Ralph Richeson, who all sadly died before production began, and Titus Welliver, who was busy filming Amazon's Bosch.

Deadwood: The Movie picks up a decade after the events of Season 3, with South Dakota celebrating its newly acquired statehood. While not the ending many had envisioned for the series, this final outing did enough to finally lay to rest many of the lingering questions fans had when the series was canceled.

from:
https://www.cbr.com/deadwood-why-hbo-canceled/

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What Deadwood Changed About The Real Al Swearengen

Deadwood's saloon owner Al Swearengen is based on a real person, but the series changed his background and personal life to make him more sympathetic.
By Robert Hutton
07.19.2021

Ian McShane's Al Swearengen in Deadwood is one of the most memorable characters in TV history and, like many characters on the show, he was based on a real-life resident of the historic frontier town. The real-life Swearengen was, like his fictional counterpart, the owner of the Gem saloon and brothel in Deadwood. That said, series creator David Milch and the other writers made several changes to the historic figure to make him a more compelling and sympathetic character.

Al Swearengen is often considered to be one of the complex antiheroes who defined the 2000s TV "Golden Age", alongside Tony Soprano or Walter White. He is established very early on in Deadwood as a conniving, ruthless businessman with a taste for profanity that borders on almost poetic. The complex role established McShane as a major actor and won him a Golden Globe and an Emmy nomination.

As Deadwood's story unfolds, Swearengen frequently butts head with Timothy Olyphant's Seth Bullock and his business rival Cy Tolliver (Powers Boothe). He also acts to help bring the camp together and develop into a more organized society, holding the first-ever town council meeting in the Gem and bribing legislators to legally recognize Deadwood. As the series progresses, Swearengen becomes more of a heroic figure, fighting to protect the town from the big money of George Hearst. In similar historic narratives like The Aviator, Deadwood also changes some key elements of Swearengen's life for dramatic purposes. These include his background, the timeline of his years in Deadwood, and the amount of influence he had. Deadwood made similar changes to most of the characters that appeared; for instance, both Trixie and Doc Cochrane were composites of multiple real-life people. Ultimately, the changes to Swearengen made him a more dramatically compelling figure.

The Real Al Swearengen's Life

Al Swearengen was born in 1845 alongside his twin brother Lemuel in what was then the Iowa Territory. He reportedly led a homebound life until the age of 30, when he moved to Deadwood and his first business was a saloon called the Cricket. In 1877 he closed it down and opened the Gem Theater, which despite its name was a dance hall, saloon, and brothel. This rough nature is depicted in Deadwood, where The Gem is not exactly Cheers. The Gem was a successful business, sometimes making as much as $10, 000 in one night.

Swearengen was ruthless in his pursuit of profit and was particularly cruel to the women he employed, controlling them through physical and psychological abuse. He was frequently arrested for assault and disturbing the peace. He deceived many young women as to what their work would be like when they came to Deadwood, before forcing them into prostitution. Interestingly, one of Swearengen's first dancers was Martha Jane Cannary, who would later become known as Calamity Jane. Jane is a major character in Deadwood portrayed by Robin Weigert, but the series doesn't explore her connection to Al in detail. The real Swearengen also had a turbulent personal life, going through women almost as fast as Don Draper. He married a woman named Nettie, who came with him to Deadwood in 1876 but quickly divorced him, citing spousal abuse. Swearengen married twice more while living in the frontier town, with both also ending in divorce. The Gem burned down in 1879 but was rebuilt as a larger and more extravagant saloon. In 1899, however, it burned down again and was not rebuilt.

After the final fire, Swearengen left Deadwood and married Odelia Turgeon. He died in 1904 in Denver at age 59. There are conflicting reports of his passing, with some stating he died penniless trying to hop a train. However, recently rediscovered newspaper accounts suggest Swearengen was murdered, dying of a head wound. If Deadwood had continued into the 20th century, it could have had a much more violent ending than the elegiac final minutes of Deadwood: the Movie.

The timeline of Al Swearengen's life is very different in Deadwood compared to the real-life figure. The series changes Swearengen's background, making him English instead of Dutch to match actor Ian McShane's British heritage. As part of this change, in the series Al is short for Albert instead of Alfred. The stories that Deadwood's Swearengen tells as part of his famous monologues suggest a much more colorful backstory than the real man - although perhaps Al shouldn't be taken at his word. The TV series also changes the chronology of Al's ownership of the Gem. The first season of Deadwood includes the famous events of 1876 that made the town notorious, including the killing of "Wild" Bill Hickock. This incident has been depicted in film numerous times, with everyone from Cary Grant to Jeff Bridges playing Wild Bill.

However, while Deadwood depicts the Gem as being an established saloon during this period, in reality, it didn't open until 1877.  The series likely exaggerates the extent of Swearengen's political powers and ambitions too. The real Swearengen was indeed able to navigate the rough-and-tumble world of the Dakota territory, which likely included its fair share of bribes and dirty deals. The Gem was one of the few establishments that was able to avoid the real-life Seth Bullock's attempt to "clean up" the camp. There's little evidence of Al being the kind of community leader and mastermind he was in Deadwood.

Like canceled shows such as Veronica Mars, Deadwood received a revival in the form of a TV movie. It moves further from history, avoiding the topic of the Gem burning down and being rebuilt during the gap between the series and the film, which takes place in 1889. It gives Swearengen, on the verge of death from liver failure, a graceful departure, promising to leave the Gem to Trixie. As noted, the real Swearengen lived for another fifteen years and had no sentiment towards the women who worked for him. These changes show how Deadwood made Swearengen more sympathetic.

How Deadwood Made Al Swearengen A More Compelling Character

The real Al Swearengen was by all accounts, a brutal man and abuser who took advantage of desperate women and men. Early episodes of Deadwood don't shy away from this, showing Al beating Trixie, ordering the murders of multiple men and encouraging attacks on local Indigenous groups. However, he transitions into more of an antihero, a trajectory followed by many villainous characters like the MCU's Loki. This is especially true towards the series' end as he works to defend the community from Hearst's moneyed interests.

The real Swearengen may have had his own sentimental side and inner troubles, but it's hard to tell from the historical record. Milch's writing and McShane's performance flesh out a historical bully into a rich character who is motivated as much by trauma and fear as by greed. The tension between Swearengen's frequent brutality and coarseness and his more vulnerable care for his community makes him a compelling figure. This fits in with Deadwood as a whole, which showcases the tender and optimistic moments of forming a community alongside the brutality of the Old West.

Al Swearengen captivated viewers of Deadwood and helped propel Ian McShane on to more major roles in John Wick and American Gods as well as a cameo in Game of Thrones. The character had a real historical basis but Deadwood changed many elements to make for a more compelling narrative. Ultimately, it was the series' writing and McShane's performance that made Al Swearengen so memorable.

from:
https://screenrant.com/deadwood-al-swearengen-true-story-comparison-differences/

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Mud, blood and a f---load of swearing: Is Deadwood the best Western ever?

By Karl Quinn
August 25, 2021

David Milch's down-and-dirty Western, which ran over three seasons from 2004 with a standalone movie in 2019, might just be the finest example of world building ever committed to screen. It's not just that its setting is so brilliantly conceived and meticulously detailed – it's that the gold-mining town of Deadwood, South Dakota (it was a real place) emerges before our very eyes as the series progresses.

As Deadwood grows from tents to timber shanties to a proper town, it's like Sim City made flesh. Though with its obsessive focus on actual human flesh and the many ways it can be corrupted, perhaps that should be Sin City.

Amid a multitude of magnificently realised characters, the chief protagonists are two: the brothel-owning, murder-dispensing, expletive-dripping Al Swearengen (Ian McShane), one of the greatest screen villains ever, and the trigger-happy lawman Seth Bullock (Timothy Olyphant). Both are based on historical figures, though series creator David Milch fleshes them out with great flourishes of lurid imagination.

At first glance the two men appear to represent diametrically opposed world views and moral positions, but on closer inspection it's clear they are really just different expressions of the same dynamic. Swearengen is drifting towards regulation, despite his predilection for havoc, while Bullock's professed commitment to the rule of law is in constant struggle with his impulse to summary violence. Together, they represent the tension between order and chaos that pertains in any society inching its way towards ostensible civilisation.

(In case all this relentless and wanton violence seems a bit far-fetched – hell, it's almost as dangerous as some of those quaint English villagers beloved of Inspector Morse and co – it's worth noting that legend has it that the real Deadwood hosted a murder a day at the height of its lawlessness in the late 1870s.)

But it's not just the world building that makes Deadwood so special – it's the words too. Milch came of age on Hill Street Blues, and co-created NYPD Blue (with Steven Bochco). Those shows were renowned for their gritty realism, but Deadwood steps it up a notch. It is the fullest, purest, foulest and most fast-talking expression of Milch's take on human struggle.

(For an insight into his life, which includes heroin, alcohol and gambling addiction, and his creative process, which includes dictating dialogue as it comes into his head, check out Mark Singer's superb 2005 profile of Milch in The New Yorker).

Al's almost-Shakespearean approach to cussing (Swearengen by name, swearing by nature) and his propensity for monologues delivered while being fellated or surrounded by topless brothel workers arguably paved the way for Petyr Baelish's similarly X-rated dissertations in the early seasons of Game of Thrones. At any rate, it's frequently hilarious, if your ears can withstand the battering.

That Deadwood never received anything like the attention or acclaim it deserved is a bit of a travesty, but it's not too late. For those brave enough to visit, a whole world of blood, mud and foul language awaits. Saddle up and git; there's gold in tham thar episodes.

from:
https://www.smh.com.au/culture/tv-and-radio/mud-blood-and-a-f-load-of-swearing-is-deadwood-the-best-western-ever-20210813-p58ihf.html

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Imagine a "Deadwood" Musical With Music by Tom Waits? It Almost Happened.
Sing a song of Swearengen? Sweet!

By Tobias Carroll

In early 2004, HBO debuted a high-profile television series in the timeslot just after the show that had solidified the channel's reputation for original programming. Watching another great episode of The Sopranos immediately followed by the instant-classic Western Deadwood pretty much solidified TV's "golden age." Both shows have also had notable followups in the years since: Deadwood got a two-hour movie that tied up some loose ends from the series, while The Many Saints of Newark offered an expanded look at the history of several Sopranos characters.

There's one big difference between the two shows, however — The Sopranos never had a high-profile Broadway adaptation. To be fair, Deadwood didn't, either — but apparently, we were a lot closer to seeing one than anyone knew. Even more intriguing was the prospect of who might have written the music for it: none other than Tom Waits.

This nugget of information comes from culture writer Matt Zoller Seitz, who has covered Deadwood for pretty much as long as Deadwood has existed — and who has an expansive new book on the show due out later this year. It was while discussing the book on Twitter that Seitz revealed the musical version of Deadwood that almost was.

"[A]ccording to the family, at some point after the cancellation of the show, David Milch talked to Tom Waits about doing a musical version for broadway," Seitz wrote.

Seitz later clarified that Milch talking with Waits was as much as he knew about the project. But one can only imagine what might have been — and, after all, it's not like Waits hasn't done work for the stage before. "Swearengen's Wild Years," anyone?

from:
https://www.insidehook.com/daily_brief/television/deadwood-musical-music-tom-waits

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Timothy Olyphant Says 'Deadwood: The Movie' Reminded Him How Much He Stole From His Co-Stars
"These people made a far greater impression on me than I think I gave them credit for," says the actor who returns in the role of lawman Seth Bullock

Steve Pond June 2, 2019 @ 5:47 PM

Since "Deadwood" ended its three-year run on HBO in 2006, Timothy Olyphant was always pretty sure of one thing about the profane Western series created by David Milch: It was not coming back.

"I thought it was never going to happen," Olyphant told theWrap about a revival of the series in which he played Seth Bullock, a lawman in a lawless town. "There was no reason for it to happen. I think I'm on record as saying it's tough to get that many people together for a barbecue."

But Milch agreed to make a two-hour movie, "Deadwood: The Movie," which picks up with the denizens of the town of Deadwood 10 years after the original series ended — and Olyphant, who in the intervening years had played the bad guy in "Live Free or Die Hard" and starred on the series "Justified," among other jobs, finally realized that it might be time to pull on Bullock's boots again.

"I had a meeting over at HBO, and they said, 'Are you in or not? Because we need to tell people tomorrow.'" He shrugged. "Shortly after that moment, I realized, 'Oh, we're going to do this.'"

Olyphant was adamant that "I wasn't interested in playing the same part again," but he and Milch talked a lot about Bullock, who is based on a real Deadwood lawman from the late 1800s. "I don't think he was interested in telling the same story, either," he said. "So that passage of time was very present in our conversations."

And when he got back on the set to work with costars like Ian McShane, Molly Parker, John Hawkes, Dayton Callie and others, Olyphant found that he was actually enjoying the revival he had initially resisted.

"I loved seeing everyone again, I loved watching everybody work," he said. "I'm quite fond of a great many of those people — fond of them as people, fond of their work. They were already good at what they did a dozen years ago, and now they're ridiculously good.

"A lot of times when you look back at these things, there's all the things you remember, there's the things you expect. What's fun are the unexpected things, the things you've forgotten. And they come rushing back. Little tics that people did, things they said. Things I've been saying for 10 or 12 years, that I had forgotten I stole them from people on this set."

One example: "I remember standing next to John Hawkes, and he said, 'Well, let's tighten up and get into character.' I was like, 'Wait, you say that? That's what I say. Did I get that from you? I've been saying that for 10 or 12 years now. I got that from you, didn't I?' Things like that that just tickled me along the way.

"There were a bunch of those moments where someone did something, and I thought, 'Oh, I do that. This must be the source.' These people made a far greater impression on me than I think I gave them credit for."

And while the original series ended when HBO cancelled it after Season 3, this time around the project had a built-in finality to it. Not only was it envisioned as a single, standalone two-hour film, but Milch said in 2015 that he'd been diagnosed with Alzheimer's disease, making additional "Deadwood" films unlikely.

That finality, he said, gave "Deadwood: The Movie" a feeling similar to the final performance of a long-running play. "There's a funny thing that sometimes happens when you're doing a play," he said. "On the last performance, every time another actor speaks, you really hear it because you know it's going to be the last time they say it. And when you're telling them things, you really want to make sure that they're hearing it, because you know this is going to be the last time you say it. It takes on a weight. And oftentimes those last performances feel like, 'Oh, that's the play. There it is.'

"This movie had that kind of feeling. No one spoke about it, but I for one, realized, 'Oh, this may be the last time I work with this person.' It took on a weight, and at the same time maybe a joy."

So did he think, Oh, that's "Deadwood?"

"I don't know what the f— it is," he said, laughing. "I was there, and I consider myself lucky to have been there."

from: https://www.thewrap.com/timothy-olyphant-says-deadwood-the-movie-reminded-him-how-much-he-stole-from-his-costars/