Even Cowgirls Get the Blues


1h 36m 1993

Brief Synopsis

Film adaptation of Tom Robbins' cult novel, first published in 1976, recounting the misadventures of a beautiful young woman, Sissy Hankshaw, whose over-sized thumbs establish her as a very formidable hitchhiker.

Film Details

MPAA Rating
R
Genre
Adventure
Comedy
Drama
Romance
Release Date
1993
Distribution Company
ALLIANCE RELEASING/FINE LINE FEATURES
Location
New York City, New York, USA; Bend, Oregon, USA; Portland, Oregon, USA

Technical Specs

Duration
1h 36m

Synopsis

Film adaptation of Tom Robbins' cult novel, first published in 1976, recounting the misadventures of a beautiful young woman, Sissy Hankshaw, whose over-sized thumbs establish her as a very formidable hitchhiker.

Crew

Peter Appleton

Sound Editor

Casa Babbs

Scenic Artist

Kelly J Baker

Sound Design

Kelly J Baker

Sound Editor

Mary Bauer

Sound Editor

Tom Bonauro

Art Director

Nina Bradford

Set Decorator

Ruby Burns

Choreographer

Sara Burton

Location Manager

John J Campbell

Director Of Photography

Curtiss Clayton

Editor

Jane Clugston

Art Department

David A. Cohen

Sound Editor

Jake Crawford

Stunt Coordinator

Phillip Criston

Assistant Director

Beth Depatie

Production Coordinator

Jim Doyle

Special Effects Coordinator

Jann Dryer

Choreographer

Amy E Duddleston

Associate Editor

Susan Dupre

Post-Production Supervisor

Eric Alan Edwards

Director Of Photography

Toby Emmerich

Music Producer

Malcolm Fife

Sound Editor

Sean Fong

On-Set Dresser

Tom Forrest

Production Coordinator

Jane Goldsmith

Script Supervisor

Sarah Grigis

Visual Effects

Morgan Guynes

Special Effects

Mary Esther Hart

Wrangler

Schell Hickel

Animator

Michael Hinton

Titles

Jon Huck

Sound Mixer

Sue Hutchins

Scenic Artist

Shino Ito

Assistant Director

Malia Jensen

Scenic Artist

Jw Koch

Consultant

K.d. Lang

Music

Alexis Leach

Other

Leslie Leitner

Post-Production Supervisor

Leonard Macdonald

Makeup

Mary Ann Marino

Associate Producer

Eric Mcleod

Unit Production Manager

Eric Mcleod

Line Producer

Ben Mink

Music

David Minkowski

Assistant Director

Gina Monaci

Makeup

Anne Morgan

Makeup

Anne Morgan

Hair Stylist

Jennifer Myers

Foley Artist

Peter Nye

Other

Margie O'malley

Foley Artist

E Larry Oatfield

Sound Editor

Phred Palmer

On-Set Dresser

Davis Parker

Sound Re-Recordist

Laurie Parker

Producer

Jim Pasque

Foley Recordist

Beatrix Aruna Pasztor

Costume Designer

Lucy Phillips

Producer

Jennifer L Pray

On-Set Dresser

Mark Ramaer

Sound Recordist

Mark Ramaer

Sound Mixer

Tom Robbins

Source Material (From Novel)

Daniel Self

Art Director

Jade Semi-precious

Visual Effects

Leslie Shatz

Sound Re-Recordist

Missy Stewart

Production Designer

Damon Sullivan

On-Set Dresser

Eric Thompson

Foley Mixer

Pierre Trudeaux

Other

Gus Van Sant

Producer

Gus Van Sant

Screenplay

John Verbeck

Sound Editor

Larry Wanasas

Music Supervisor

Chel White

Visual Effects Supervisor

Don White

Sound Re-Recordist

W Wayne Woods

Adr

Cathy Young

Scenic Artist

Film Details

MPAA Rating
R
Genre
Adventure
Comedy
Drama
Romance
Release Date
1993
Distribution Company
ALLIANCE RELEASING/FINE LINE FEATURES
Location
New York City, New York, USA; Bend, Oregon, USA; Portland, Oregon, USA

Technical Specs

Duration
1h 36m

Articles

Pat Morita (1932-2005)


Pat Morita, the diminutive Asian-American actor who found lasting fame, and an Oscar® nomination, as Kesuke Miyagi, the janitor that teaches Ralph Macchio the fine art of karate in the hit film, The Karate Kid (1984), died on November 24 of natural causes in his Las Vegas home. He was 73.

He was born Noriyuki Morita on June 28, 1932 in Isleton, California. The son of migrant fruit pickers, he contracted spinal tuberculosis when he was two and spent the next nine years in a sanitarium run by Catholic priests near Sacramento. He was renamed Pat, and after several spinal surgical procedures and learning how to walk, the 11-year-old Morita was sent to an internment camp at Gila River, Arizona, joining his family and thousands of other Japanese-Americans who were shamefully imprisoned by the U.S. government after Japan’s attack on Pearl Harbor.

His family was released after the war, and Morita graduated from high school in Fairfield, California in 1950. He worked in his family's Chinese restaurant in Sacramento until his father was killed in a hit-and-run accident. He eventually found work as a data processor for the Department of Motor Vehicles and then Aerojet General Corporation before he decided to try his hand at stand-up comedy.

He relocated to San Francisco in 1962, where at first, there was some hesitation from clubs to book a Japanese-American comic, but Morita's enthusiasm soon warmed them over, and he was becoming something of a regional hit in all the Bay Area. His breakthrough came in 1964 when he was booked on ABC's The Hollywood Palace. The image of a small, unassuming Asian with the broad mannerisms and delivery of a modern American was something new in its day. He was a hit, and soon found more bookings on the show. And after he earned the nickname "the hip nip," he quickly began headlining clubs in Las Vegas and Los Angeles.

Morita's stage and television success eventually led him to films. He made his movie debut as "Oriental #2," the henchman to Beatrice Lilly in the Julie Andrew's musical Thoroughly Modern Millie (1967). Although his role, complete with thick coke-bottle glasses and gaping overbite, was a little hard to watch, it was the best he could do at the time. Subsequent parts, as in Don Knott's dreadful The Shakiest Gun in the West (1968); and Bob Hope's lamentable final film Cancel My Reservations (1972); were simply variations of the same stereotype.

However, television was far kinder to Morita. After some popular guest appearances in the early '70s on Rowan & Martin's Laugh-In, and The Tonight Show with Johnny Carson, Morita landed some semi-regular work. First, as the wisecracking, cigar chomping Captain Sam Pack on M.A.S.H. and as Ah Chew, the deadpan neighbor of Fred and Lamont Sanford in Sanford & Son. His success in these roles led to his first regular gig, as Arnold Takahashi in Happy Days. His stint as the owner of the soda shop where Ritchie Cunningham and the Fonz hung out for endless hours may have been short lived (just two seasons 1974-76), but it was Morita's first successful stab at pop immortality.

He left Happy Days to star in his own show, the critically savaged culture clash sitcom Mr. T and Tina that was canceled after just five episodes. Despite that setback, Morita rebounded that same year with his first dramatic performance, and a fine one at that, when he portrayed a Japanese-American internment camp survivor in the moving made for television drama Farewell to Manzanar (1976). After a few more guest appearances on hit shows (Magnum P.I., The Love Boat etc.), Morita found the goldmine and added new life to his career when he took the role of Miyagi in The Karate Kid (1984). Playing opposite Ralph Macchio, the young man who becomes his martial arts pupil, Morita was both touching and wise, and the warm bond he created with Macchio during the course of the film really proved that he had some serious acting chops. The flick was the surprise box-office hit of 1984, and Morita's career, if briefly, opened up to new possibilities.

He scored two parts in television specials that were notable in that his race was never referenced: first as the horse in Alice in Wonderland (1985); and as the toymaster in Babes in Toyland (1986). He also landed a detective show (with of course, comic undertones) that ran for two seasons Ohara (1987-89); nailed some funny lines in Honeymoon in Vegas (1992); was the sole saving grace of Gus Van Zandt's Even Cowgirls Get the Blues (1993); and starred in all of the sequels to The Karate Kid: The Karate Kid, Part II (1986), The Karate Kid, Part III (1989), and The Next Karate Kid (1994). Granted, it is arguable that Morita's career never truly blossomed out of the "wise old Asian man" caricature. But give the man his due, when it came to infusing such parts with sly wit and sheer charm, nobody did it better. Morita is survived by his wife, Evelyn; daughters, Erin, Aly and Tia; his brother, Harry, and two grandchildren.

by Michael T. Toole
Pat Morita (1932-2005)

Pat Morita (1932-2005)

Pat Morita, the diminutive Asian-American actor who found lasting fame, and an Oscar® nomination, as Kesuke Miyagi, the janitor that teaches Ralph Macchio the fine art of karate in the hit film, The Karate Kid (1984), died on November 24 of natural causes in his Las Vegas home. He was 73. He was born Noriyuki Morita on June 28, 1932 in Isleton, California. The son of migrant fruit pickers, he contracted spinal tuberculosis when he was two and spent the next nine years in a sanitarium run by Catholic priests near Sacramento. He was renamed Pat, and after several spinal surgical procedures and learning how to walk, the 11-year-old Morita was sent to an internment camp at Gila River, Arizona, joining his family and thousands of other Japanese-Americans who were shamefully imprisoned by the U.S. government after Japan’s attack on Pearl Harbor. His family was released after the war, and Morita graduated from high school in Fairfield, California in 1950. He worked in his family's Chinese restaurant in Sacramento until his father was killed in a hit-and-run accident. He eventually found work as a data processor for the Department of Motor Vehicles and then Aerojet General Corporation before he decided to try his hand at stand-up comedy. He relocated to San Francisco in 1962, where at first, there was some hesitation from clubs to book a Japanese-American comic, but Morita's enthusiasm soon warmed them over, and he was becoming something of a regional hit in all the Bay Area. His breakthrough came in 1964 when he was booked on ABC's The Hollywood Palace. The image of a small, unassuming Asian with the broad mannerisms and delivery of a modern American was something new in its day. He was a hit, and soon found more bookings on the show. And after he earned the nickname "the hip nip," he quickly began headlining clubs in Las Vegas and Los Angeles. Morita's stage and television success eventually led him to films. He made his movie debut as "Oriental #2," the henchman to Beatrice Lilly in the Julie Andrew's musical Thoroughly Modern Millie (1967). Although his role, complete with thick coke-bottle glasses and gaping overbite, was a little hard to watch, it was the best he could do at the time. Subsequent parts, as in Don Knott's dreadful The Shakiest Gun in the West (1968); and Bob Hope's lamentable final film Cancel My Reservations (1972); were simply variations of the same stereotype. However, television was far kinder to Morita. After some popular guest appearances in the early '70s on Rowan & Martin's Laugh-In, and The Tonight Show with Johnny Carson, Morita landed some semi-regular work. First, as the wisecracking, cigar chomping Captain Sam Pack on M.A.S.H. and as Ah Chew, the deadpan neighbor of Fred and Lamont Sanford in Sanford & Son. His success in these roles led to his first regular gig, as Arnold Takahashi in Happy Days. His stint as the owner of the soda shop where Ritchie Cunningham and the Fonz hung out for endless hours may have been short lived (just two seasons 1974-76), but it was Morita's first successful stab at pop immortality. He left Happy Days to star in his own show, the critically savaged culture clash sitcom Mr. T and Tina that was canceled after just five episodes. Despite that setback, Morita rebounded that same year with his first dramatic performance, and a fine one at that, when he portrayed a Japanese-American internment camp survivor in the moving made for television drama Farewell to Manzanar (1976). After a few more guest appearances on hit shows (Magnum P.I., The Love Boat etc.), Morita found the goldmine and added new life to his career when he took the role of Miyagi in The Karate Kid (1984). Playing opposite Ralph Macchio, the young man who becomes his martial arts pupil, Morita was both touching and wise, and the warm bond he created with Macchio during the course of the film really proved that he had some serious acting chops. The flick was the surprise box-office hit of 1984, and Morita's career, if briefly, opened up to new possibilities. He scored two parts in television specials that were notable in that his race was never referenced: first as the horse in Alice in Wonderland (1985); and as the toymaster in Babes in Toyland (1986). He also landed a detective show (with of course, comic undertones) that ran for two seasons Ohara (1987-89); nailed some funny lines in Honeymoon in Vegas (1992); was the sole saving grace of Gus Van Zandt's Even Cowgirls Get the Blues (1993); and starred in all of the sequels to The Karate Kid: The Karate Kid, Part II (1986), The Karate Kid, Part III (1989), and The Next Karate Kid (1994). Granted, it is arguable that Morita's career never truly blossomed out of the "wise old Asian man" caricature. But give the man his due, when it came to infusing such parts with sly wit and sheer charm, nobody did it better. Morita is survived by his wife, Evelyn; daughters, Erin, Aly and Tia; his brother, Harry, and two grandchildren. by Michael T. Toole

Quotes

Trivia

Miscellaneous Notes

Released in United States Spring May 20, 1994

Released in United States on Video November 9, 1994

Released in United States 1993

Released in United States September 1993

Released in United States April 27, 1994

Shown at Venice Film Festival (in competition) August 31 - September 11, 1993.

Shown at Toronto Festival of Festivals September 9-18, 1993.

Shown at San Francisco International Film Festival (opening night) April 27, 1994.

Project was in turnaround at TriStar Pictures.

Began shooting September 14, 1992.

Completed shooting January 18, 1993.

Film's domestic theatrical release, originally scheduled for November 3, 1993, was pushed back to early 1994 to allow Van Sant to re-edit it.

Released in United States Spring May 20, 1994

Released in United States on Video November 9, 1994

Released in United States 1993 (Shown at Venice Film Festival (in competition) August 31 - September 11, 1993.)

Released in United States September 1993 (Shown at Toronto Festival of Festivals September 9-18, 1993.)

Released in United States April 27, 1994 (Shown at San Francisco International Film Festival (opening night) April 27, 1994.)