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Have you been thinking about your brother at all today?

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Yeah.

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I mean, he's been on my mind every
day since we started this project.

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I'm going to have to find a mirror.

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It's really... It's a shame that he's missed out on this.

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But anyway, this is what's now the horse ranch. So...

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This is my persona mare over here. He's so beautiful!

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This is Jewe and I ride her and I do
a lot of work with the horses now

9
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= camping out and riding them.

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I had the original prints in the barn and

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the waters rose and covered the barn.

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So that was messed up. But, the good news is that

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we at least have the sti s and the paperwork

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and the files from the business

15
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and the whole shoot that year.

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We hit paydirt, guys.

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= Now here's all your...
=Alright. My goodness!

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Quite a pile of them.

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Oh my God.

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= What?
= Now this is an early investor,

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writing in October of '77.

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Robert Osborne, Hollywood Reporter.

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You know, all the early stuff. New York Times...

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= That's the Canby article
= Yeah, that's the Canby arficle.

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Here's a letter from Kim and it's dated... '77. Wow. '77.

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= This guy's an old, old friend of my father's.
= Who's that?

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Char ie Blumentrip. He sent in a
cheque for a hundred dollars.

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Look at this a. This is our original screenp ay,
"No Drums, No Bugles". You remember?

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Here's the stills. Oh look, this is a great
shot of Eag e. I don't know if y'all have that.

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= We don't have anything.
= Oh, you don't?

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You know, Texas is in my blood. That's
my roots for seven generations.

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People who are not true Texans
create cardboard characters

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and you get Hollywood doing "Hud"
and "Giant" or something like that.

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They're great movies but they're not real, about Texas,

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and that was a real forfe of Eagle, he had that insight.

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I first heard of Eag e-it was right at
that great moment in my own life

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where I was rea y fully discovering
fiilm and I was just at that point

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interested in, like, well, maybe I could make a film.

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I thought I could write a film, I love
f
[...]
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