sprawl just blew that out of the tub," said a publicist. "Parrott was chosen because it's almost as if time stood still there. The ravages of the years have not touched the buildings and it closely resembles Northfield, Minn., in 1876," said Gene Levy, the production manager. Hill says the most difficult sequence was the one where horses jumped through glass. "We trained them for three weeks, making them do the jump without the glass. Once we conditioned them to that, we put the glass in. It's a big surprise to the horses, and they'll only do it once. We had to use a different set of horses for the second jump." Stacy Keach says the brothers would bond by playing music together every night during the shoot. He says the Guest brothers would sit apart from the others because they were playing villains. Hill shot the sequence in slow motion, a technique associated with the Westerns of Sam Peckinpah. Hill believes "the way Sam used slow motion was almost directly opposite to mine. What Sam was doing was making individual moments more real by extending them, kind of underlining the horrible moment of being shot. The Long Riders is meant to be almost dream-like to have the reality of a nightmare, where everything is going wrong but there's no focus to it, you don't know where you are or how you got there." James Keach said the film "was very authentic, not a traditional Western with sagebrush and desert. Ours has more of a midwestern feel to it. We've high hopes for it but I just wish we had more time." When the film went over its original $7.5 million budget, the Keaches forfeited their executive producer fees. "The Long Riders has been made on faith and idealism," said Keach. Stacy Keach wrote in his memoirs that Hill "did a great job imposing his vision on our script without undermining its essence" but says "none of us had the clout" to stop the studio from cutting several scenes involving Keach and Randy Quaid. "They just wanted to keep the story moving and focus on the action and not the personal relationships." Soundtrack The music for the film was composed, arranged, and performed by Ry Cooder. Cooder said Hill had heard one of his records while making the film "and thought that my music had an atmospheric quality he was