The Wild Bunch: An Album in Montage is a 1996 American short documentary film directed and edited by Paul Seydor. The occasion for the creation of this documentary was the discovery of 72 minutes of silent black-and-white 16 mm film footage of Sam Peckinpah and company on location in northern Mexico during the filming of The Wild Bunch. Todd McCarthy described it as, "A unique and thoroughly unexpected document about the making of one of modern cinema's key works, this short docu will be a source of fascination to film buffs in general and Sam Peckinpah fanatics in particular." Michael Sragow wrote that the film is "a wonderful introduction to Peckinpah’s radically detailed historical film about American outlaws in revolutionary Mexico — a masterpiece that’s part bullet-driven ballet, part requiem for Old West friendship and part existential explosion. Seydor’s movie is also a poetic flight on the myriad possibilities of movie directing." Seydor and Redman were nominated for the Academy Award for Best Documentary (Short Subject).
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, 1h16 OriginUSA GenresDocumentary ThemesFilms about films, Medical-themed films, Post-apocalyptic films, Films set in the future, Documentary films about business, Documentary films about the film industry, Zombie films, Films about viral outbreaks, Documentary films about films, Disaster films ActorsGeorge A. Romero, Gale Anne Hurd, Larry Fessenden Rating69% Rob Kuhns interviews a range of authors, critics, and filmmakers about the impact, legacy, and enduring popularity of Night of the Living Dead. Romero describes the film's background, production, and distribution, including how it accidentally fell into the public domain. Fessenden describes Night of the Living Dead 's aspects of postmodernist film, including an early commentary on horror films inside of a horror film – Johnny's taunting of his sister, Barbra, in the opening graveyard scene. Hurd cites the film as an influence on her own work as executive producer of The Walking Dead. Mitchell, among other things, describes how the film presents a strong Black male as the protagonist of a film without resorting to racial commentary. The final scene, in which Duane Jones' character, Ben, is killed by a posse is compared to historical footage of 1960s lynch mobs and police brutality, and scenes of violent zombie attacks are compared to footage from Vietnam broadcast on television.