#one of stan and eddie where they were forced to to a heart pose together

[losersclublol]

Last post before bed okay

Ben got an album (like a kpop one bc I’m in a mood rn) but it’s a cd with her fav songs, photobook of all the losers and it has photocards of them all

Non kpop artists should do albums like this as well bc they’d make a lot from them they’re cute

[themastercylinder]

SUMMARY

The movie, which Cimino also wrote, is loosely based on, and named after, two infamous early-nineteenth-century Irish bandits. As a young ne’er-do-well, Lightfoot (Jeff Bridges) steals a car. In the other sub-story, an assassin attempts to shoot a preacher delivering a sermon at his pulpit. The preacher escapes on foot. Lightfoot, who happens to be driving by, inadvertently rescues the preacher by running over his pursuer and giving the preacher a lift.

Lightfoot eventually learns that the “minister” is really a notorious bank robber known as “The Thunderbolt” (Clint Eastwood) for his use of a 20 millimeter cannon to break into a safe. Hiding out in the guise of a clergyman following the robbery of a Montana bank, Thunderbolt is the only member of his old gang who knows where the loot is hidden.

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After escaping another attempt on his life by two other men, Thunderbolt tells Lightfoot that the ones trying to kill him are members of his gang who mistakenly thought Thunderbolt had double-crossed them. He and Lightfoot journey to Warsaw, Montana to retrieve the money hidden in an old one-room schoolhouse. They discover the schoolhouse has been replaced by a brand-new school standing in its place.

Thunderbolt and Lightfoot are abducted by the men who were pursuing them—the vicious Red Leary (George Kennedy) and the gentle Eddie Goody (Geoffrey Lewis)—and driven to a remote location where Thunderbolt and Red fight each other, after which Thunderbolt explains how he never betrayed the gang.

Lightfoot proposes another heist—robbing the same company as before—with a variation on the original plan; the variation being due to Lightfoot inadvertently killing their electronics expert, Dunlop, the man who tried to assassinate Thunderbolt in the earlier scene. In the city where the bank is located, the men find jobs to raise money for needed equipment while they plan the heist.

The robbery begins as Thunderbolt and Red gain access to the building. Lightfoot, dressed as a woman, distracts the Western Union office’s security guard, deactivates the ensuing alarm, and is picked up by Goody. Using an anti-tank cannon to breach the vault’s wall, as they did in the first heist, the gang escapes with the loot. They flee in the car, with Red and Goody in the trunk, to a nearby drive-in movie in progress. Upon seeing a shirt tail protruding from the car’s trunk lid (which is a strong indication one or more people are hiding in the trunk to avoid paying), the suspicious theater manager calls the police and a chase ensues. Goody is shot and Red throws him out of the trunk onto a dirt road, where he dies.

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Red then forces Thunderbolt and Lightfoot to stop the car. He pistol-whips them both, knocking them unconscious, and kicks Lightfoot violently in the head. Red takes off with the loot in the getaway car but is again pursued by police, who shoot Red several times, causing him to lose control of the car and crash through the window of a department store, where he is attacked and killed by the store’s vicious watchdog.

Escaping on foot, Thunderbolt and Lightfoot hitch a ride the next morning and are dropped off near Warsaw, Montana, where they stumble upon the one-room schoolhouse—now a historical monument on the side of a highway—moved there from its original location in Warsaw after the first heist. As the two men retrieve the stolen money, Lightfoot’s behavior becomes erratic as a result of the beating.

Thunderbolt buys a new Cadillac convertible with cash, something Lightfoot said he had always wanted to do, and picks up his waiting partner, who is gradually losing control of the left side of his body. As they drive away celebrating their success with cigars, Lightfoot, in obvious distress, tells Thunderbolt in a slurred voice how proud he is of their ‘accomplishments’, and slumps over dead.

Thunderbolt snaps his cigar in half (as it is no longer a celebration), and with his dead partner beside him, he drives off down the highway into the distance.

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  DEVELOPMENT

Stan Kamen of the William Morris Agency came up with the initial idea for Thunderbolt and Lightfoot, but gave it to Michael Cimino to write on speculation with Eastwood in mind. Due to the great financial success of Dennis Hopper’s Easy Rider, road pictures were a popular genre in Hollywood. Eastwood himself wanted to do a road movie. Agent Leonard Hirshan brought the script to Eastwood from fellow agent Kamen. Reading it, Eastwood liked it so much that he originally intended to direct it himself. However, on meeting Cimino, he decided to give him the directing job instead, giving Cimino his big break and feature-film directorial debut. Cimino later said that if it was not for Eastwood, he never would have had a career in film. Cimino patterned Thunderbolt after one of his favorite ’50s films, Captain Lightfoot. The music is composed by Dee Barton but the song “Where Do I Go From Here?” is composed and performed by Paul Williams.

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PRINCIPAL PHOTOGRAPHY/BEHIND THE SCENES

Although Eastwood generally refused to spend much time in scouting for locations, particularly unfamiliar ones, Cimino and Eastwood’s producer Robert Daley traveled extensively around the Big Sky Country in Montana for thousands of miles and eventually decided on the Great Falls area and to shoot the film in the towns of Ulm, Hobson, Fort Benton, Augusta and Choteau and surrounding mountainous countryside. The film was shot in 47 days from July to September 1973. It was filmed in Fort Benton, Wolf Creek, Great Falls, and Hobson. St. John’s Lutheran Church in Hobson was used for the opening scene.

Eastwood did not like to do any more than three takes on any given shot, according to co-star Bridges. “I would always go to Mike and say ‘I think I can do one more. I got an idea.’ And Mike would say ‘I gotta ask Clint.’ Clint would say, ‘Give the kid a shot.'” Charles Okun, first assistant director on Thunderbolt, added, “Clint was the only guy that ever said ‘no’. Michael said ‘OK, let’s go for another take.’ It was take four, Clint would say ‘No we got enough. We got it.’ […] And if [Cimino] took too long to get it ready, [Clint] would say, ‘It’s good, let’s go.'”

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Thunderbolt and Lightfoot 1974 (FILMING LOCATION)

  “They said the writer wants to direct it himself.” Michael Cimino wasn’t unknown to Eastwood – he’d done a pass on Magnum Force the previous year. “So I said, ‘Well let’s take a shot with him, he writes rather vividly he should direct rather vividly.” This is perhaps best-remembered as the film Cimino directed on time and under budget. As the title suggests, it’s a light-hearted buddy/caper movie with an underlying melancholy suggested by the very ’70s ending in which one of the buddies dies (these days, it would preview badly and be changed). Korean War veteran John ‘Thunderbolt’ Doherty (Eastwood), who sometimes poses as a preacher, spends his time with his wilder pal Lightfoot (Jeff Bridges) robbing banks. What starts out breezily in Butch and Sundance vein, darkens as it realizes just how self-destructive the mock marriage of male-bonding can be.

 “Everybody there was on a no-nonsense road,” asserts Eastwood. “His extravagances came out several pictures down the line. There was no reason it shouldn’t be on time,” says Eastwood. “To go in and do one shot after lunch and another one maybe at six o’clock and then go home is not my idea of something to do. I like to move along.” – Eastwood

  DISTRIBUTION/RELEASE

Thunderbolt was released on May 23, 1974. The film grossed $9 million in rentals on its initial theatrical release and eventually grossed $25 million overall, making it the 17th highest-grossing film of 1974. The film did respectable box office business, and the studio profited, but Clint Eastwood vowed never to work with the movie’s distributor United Artists again due to what he felt was bad promotion. According to author Marc Eliot, Eastwood perceived himself as being upstaged by Bridges.

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Given that for Eastwood this was an offbeat film, Frank Wells of Warner Bros. refused to back Malpaso in the production, leaving him to turn to United Artists and producer Bob Daley. Eastwood was unhappy with the way that United Artists had produced the film and swore “he would never work for United Artists again”, and the scheduled two-film deal between Malpaso and UA was cancelled.

  Eastwood took a big chance on you with Thunderbolt and Lightfoot, which you directed in 1974 with him and Jeff Bridges starring. Huge. It was [Eastwood’s production company] Malpaso’s first picture. One of the great things about him is that he’s never been afraid to take a chance on new people. I remember we saw The Wild Bunch together in New York at a theater. It was myself, my producer, Joann Carelli, and Clint. We watched it and then walked down to P.J. Clarke’s and had a hamburger. No big deal. Jeff Bridges, the same way. I was unbelievably fortunate to have both of them in my first film. And never have I had such a good time making a movie. I would go to Clint every day and say, “Hey, boss, you happy with the dailies?” He said, “Michael, you just keep shooting what you’re shooting.” He said, “I’ve done so many films with great backgrounds, and it looks like it could have been shot in Burbank, but you have an eye for scope.” When I look back, given all of my experiences, it was by far the best. And I’m still collecting checks on that movie, if you can believe it. It’s still shown all over the world. – Michael Cimino

  Edgar Wright on THUNDERBOLT AND LIGHTFOOT (Trailers From Hell)

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Paul Williams – Where Do I Go From Here (1971)

  Cast

 Clint Eastwood as Thunderbolt

Jeff Bridges as Lightfoot

George Kennedy as Red Leary

Geoffrey Lewis as Eddie Goody

Catherine Bach as Melody

Gary Busey as Curly (credited as Garey Busey)

Jack Dodson as vault manager

Gene Elman as tourist

 Directed by   Michael Cimino

Produced by Robert Daley

Written by     Michael Cimino

Music by       Dee Barton

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REFERENCES and SOURCES

https://www.empireonline.com/movies/features/clint-eastwood/

http://theclinteastwoodarchive.blogspot.com/

http://www.money-into-light.com/2011/09/paul-rowlands-review-of-thunderbolt-and.html

https://www.hollywoodreporter.com/news/deer-hunter-directors-first-interview-773132

Thunderbolt and Lightfoot (1974) Retrospective SUMMARY The movie, which Cimino also wrote, is loosely based on, and named after, two infamous early-nineteenth-century Irish bandits.