So, you're putting Bummy in the Hall of Fame.
Well, that's terrific.
It couldn't happen to a nicer guy.
It certainly couldn't happen to a more talented guy.
I've had the good fortune to work with some great art directors
over the years, production designers,
and Bummy was certainly right up at the top of that list.
I'm going to miss him terribly.
Thanks again.
I've been in the business since 1937. Continuous.
I first worked with him on the second picture he directed,
High Plains Drifter, that we did up at Mono Lake in the high Sierras
where they paint the town red at the end.
So, I was very lucky, you know, to be able to build
two western streets from scratch, and that was High Plains Drifter,
and the other one was Unforgiven.
We built the road in there, everything,
and I kind of felt, see, that was one of my better jobs
because that's really, that's really production design.
It's just bare ground, you know.
Oh, yeah, that was a fun one to work on.
Fantastic, yeah. Well, I just love to look for locations,
and I think found some good ones on that.
I built a wonderful bar there, you know, gee.
Some people would say the most important thing
a fighter can have is heart.
I think I only ever met one fighter who was all heart.
And I kept saying, and I still say,
it's one of the toughest scripts to do
that I think that I've ever worked on.
But I asked such a good team, and Jack and Dick Goddard
and Mike Mascarella,
I just love to see where Clint puts the camera,
and he surprises me quite often.
As I say, it's a team effort. It takes everybody.
And they're all fun for me.
I just enjoy doing films.
It's been a fantastic shoot.
Thanks for all your help.
Dot com, Bummy.
Bummy had the million dollar smile.
I'm going to miss him terribly.
