Vice President Cheney really knew how to bring out the cowboy in George W, Bush.
For the actual remark. See {621249}
There really, truly is a code that rodeo men and women have you can't find anywhere else. There really is a code. It's a sense of tribalism.
While the government underwrote the West more than any other region, the myth claimed that hardworking Western cowboys and settlers wanted nothing from the government but to be left alone to work out their own destiny.
I did this whole series on the buffalo soldiers-on black soldiers-I did another series on black cowboys, and I presented myself to the gallery system, and all these people with these massive collections didn't know there were black cowboys or black soldiers. I ended up hitting a niche I didn't know was there.
I have a film I want to direct. Gena Rowlands was going to do it with me a long time ago. It's about an older woman who's running a ranch in the west the old fashioned way.
Every little kid wants to grow up to be a cowboy, and I did.
Things that happen in Wyoming are things that wouldn't happen in a big city - we've got bears, we've got a lot of shotguns - in Absaroka County, everybody's got a shotgun in the back of their car!
America had, for one thing, lived in anarchy for - until much more recently than Europe. We had the Wild West, where the cliche of the cowboy movies was the nearest sheriff is 90 miles away, and so you had to pack a gun and defend yourself.
When I was a kid, I was a cowboy. I had a cap pistol, and I'd get up in the morning and strap it on before I got ready.
The round-up is an aggressive tradition. I'm trying to objectively be a steward of the tradition and what it means in its choreography.
'Heaven's Gate' was based on a true story about the cattle people: the people who had the money turned on the settlers who were in the area. And it was mainly a defense of their behavior. And the cattlemen's association had just about declared war on these people who were poaching cattle, and because they were mainly immigrants.
I grew up in Texas, and I think anybody who grows up in the Midwest or in the South, it's just a different way of life.
I have horses, I drive a truck, and I wear cowboy boots. First I'm a Texan.
'Red Dawn' was really the most fun I ever had making a movie, because I love Westerns, and I love the idea of being a tomboy, and riding horses and shooting guns.
One thing that I love about country music, probably more so than any other culture - maybe the blues rivals it - there are so many American folk heroes. There's the Coal Miner's Daughter, the Man in Black, the Red-Headed Stranger, and on and on.
American diplomats want blood. They watched too many Westerns in their formative years.
To be an artist of my generation willing to be unhip -artists were supposed to be like cowboys.
When I was about six, I was kind of a cowboy. I'd dress up in boots, straps, hat and bandanna, and my dad would take us to the rodeo.
I got to talking to an old actor, and he had a bunch of stories about the Rough Riders.
Florida is nice, but Texas is my favorite state.
I was always raised on cowboy films, and then when I could start making choices about the movies I wanted to watch I found myself wanting to watch gangster films which were slightly more sophisticated than the baseline stuff that was in westerns.
I'm from Texas, and I would love to do an old-fashioned gun-slinging Western.
No cowboys for Canada. Canada got Mounties instead - Dudley Do-Right, not John Wayne. It's a mind-set of "Here I come to save the day" versus "Yippee-ki-yay, motherfucker.
Every country in the world loved the folklore of the West--the music, the dress, the excitement, everything that was associated with the opening of a new territory. It took everybody out of their own little world. The cowboy lasted a hundred years, created more songs and prose and poetry than any other folk figure. The closest thing was the Japanese samurai. Now, I wonder who'll continue it.
Right before Mag Seven I did a movie called The Bull Rider.
