Introduction
Set against the unforgiving landscapes of the American frontier, Long Shadows (2025) is a brooding and emotional Western about vengeance, grief, and redemption. When a young man survives the brutal murder of his family, his path through loss and revenge becomes intertwined with figures from a changing West — from hardened outlaws to those clinging to fading ideals. Starring Dermot Mulroney as Dallas Garrett and newcomer Blaine Maye as Marcus Dollar, the film blends classic Western aesthetics with a striking modern sensitivity.
Long Shadows marks the feature directorial debut of William Shockley, who co-wrote the screenplay with Shelley Reed. Known to many as Hank Lawson from Dr. Quinn, Medicine Woman, Shockley steps behind the camera after decades of acting and producing in the Western genre. His direction gives Long Shadows both grit and grace — capturing the mythic scale of the Old West while foregrounding its deeply human stories.
Dermot Mulroney, with a career spanning four decades, has long been a familiar face in both Hollywood dramas and Westerns. From Young Guns and The Last Outlaw to acclaimed turns in About Schmidt and August: Osage County, Mulroney’s filmography reflects a rare versatility. In Long Shadows, he brings emotional weight and quiet intensity to a character haunted by the past, continuing his enduring connection with the Western genre.
The Interview
Cinema Scholars’ own Glen Dower caught up with both men — Mulroney and Shockley — to discuss why the Western refuses to fade, the craftsmanship behind Long Shadows, and what it means to make a frontier film in 2025.
Lightly edited for content and clarity.
Glen Dower:
Hello, Mr. Shockley. Mr. Mulroney, how are we doing, gents?
Dermot Mulroney:
Good!
William Shockley:
Great, Glen — how are you?
Glen Dower:
I’m really great, thank you. So, we’re talking Long Shadows here. Both of you have been around the Western genre for much of your careers. Why do you think it’s still endured as a genre? Mr. Mulroney, let’s start with you as you have come full circle with this film, from being a ‘young gun’ to a grizzled mentor – and excelling as both!
Dermot Mulroney:
Thank you. Well, I’ve had some of my best memories of filmmaking on Westerns. It’s really some of the most indelible experiences I’ve had — life-altering, even. Working with incredibly creative people, working with some wild men, working with livestock — it’s always a wonderful experience. So I jump at every Western that comes my way. When Long Shadows hit my desk, it had this incredible quality that honored great Western cinema, but also packed a more modern look at loss, grief, and trauma.
Glen Dower:
Mr. Shockley, your first short was a Western, and many know you from Dr. Quinn, Medicine Woman. Why do you think the Western has endured?
William Shockley:
It’s unique. It was a moment in global history that only happened in the Western part of America. That uniqueness brought great brutality, but also great beauty — good and evil side by side. There was a sense of family, of survival. You lived to be maybe 30 or 40, and then you were gone. When I was on Dr. Quinn, we used to say, “The truth will out in the Old West.” You stole my horse — I guess I’ve got to kill you. There’s something pure about that. There are no gimmicks, no phones, no computers, no sci-fi — just man against nature and man against man. All the classic battles. In Long Shadows, the transition of Marcus Dollar’s life was epic. It was beautiful to tell a story that wasn’t so obvious within the genre.
Glen Dower:
Watching the film, you’re fully invested in each of the characters. Other than Dermot, we’ve got Dominic Monaghan (Lord of the Rings) and Jacqueline Bissett (Bullitt) doing remarkable work, it’s like they are in their own separate movie. While the new kid on the block, Blaine, carries much of the film. Was it important to surround a newcomer with such experienced talent?
William Shockley:
Absolutely. When you have a young actor like Blaine playing opposite someone like Dermot — that’s a gift. And then you add Jacqueline, Dominic, and of course Grainger Hines, Chris Mulkey, Ronnie Gene Blevins — all these incredible performers — there wasn’t a false moment in the movie. Dermot was the perfect counterbalance to Bling’s character, grounding the story with emotional truth.
Dermot Mulroney:
And that’s how you make stars. Somewhere along the way, Hollywood lost sight of that. You take a talented newcomer, surround them with seasoned actors, and before long, they’re one of them. That’s just good business — and good filmmaking. Blaine deserves every bit of the spotlight.
William Shockley:
And let’s not forget Sarah Cortez, our female lead — brilliant. She had scenes with Jacqueline Bissett and came off the set saying, “Oh my God, I just acted opposite Jacqueline Bissett!” I told her, “You’re welcome.”
Dermot Mulroney:
And she held her own.
Glen Dower:
She really did. Speaking of authenticity — when you put on the costume, the boots, the hat — does it ever get old dressing up as a cowboy?
Dermot Mulroney:
(laughs) Probably not! Especially not on this one. Paula Rogers, our wardrobe designer, was just exceptional. Much of what we wore came from her personal collection. The level of care William and his team brought to the look of the film was amazing. There’s a cohesion across the characters — if you look closely, what I’m wearing probably matches what Dominic Monaghan’s wearing, even though we never share a scene. That kind of visual design makes the world feel complete. The sets, the camera work, the music — everything was conceived with care.
William Shockley:
Exactly. Everything had an intention behind it.
Glen Dower:
The color palette really stands out — rich and deep, unexpected for a Western. And, Mr. Mulroney, you’ve worked with Clint Eastwood, Alexander Payne, the Coen Brothers…how does this young gun, William Shockley, stack up in his feature debut?
Dermot Mulroney:
(smiles) Funny, you mention Clint Eastwood. William has that same kind of calm. Clint’s sets are famously quiet, almost reverent. And William’s was the same way. You could feel that focus and respect on set. I’ve worked with legends, Robert Altman, Sam Shepard, Peter Bogdanovich, and William absolutely ranks among them. It was incredible to work with him on a Western like this.
Glen Dower:
That’s high praise. Mr. Shockley, this script was brought to you — how did it feel to be approached to direct Long Shadows?
William Shockley:
It was an honor. Granger Hines, whom I admire deeply, called me after reading Shelley Reid’s script and said, “You should direct this.” Granger and I had done a Western about fourteen years prior, so when he calls, I listen. I read the script immediately and called him back within ninety minutes. From there, Granger, Shelley, and I worked it over for about a year before taking it to my producing partners Alan Gilmer and Tom Brady. They loved it. Everything about it evolved naturally and beautifully.
Glen Dower:
That organic evolution really shows on screen. Before we wrap up, Mr Mulroney, I have to say, About Schmidt got me through college. I had the poster with Jack in his pajamas and crazy comb over on my wall! And, I always thought Randall was the unsung hero!
Dermot Mulroney:
(laughs) Yeah, why did Jack think I was such a dope? That’s the word he used! But thank you — that movie still means a lot to me. I rewatched it recently and it’s…hilarious, but also incredibly human. Alexander Payne creates these tiny worlds that feel massive in their emotional scope. And like William, he had such a specific vision. When directors call me for those kinds of character pieces, I’m always grateful — it’s what keeps me going. So I’ll take this chance to thank William again for this opportunity.
William Shockley:
And here’s to the next one!
Glen Dower:
(laughs) I’ll hold you to that. Gentlemen, it’s been a real pleasure. Thank you for your time, and congratulations on Long Shadows.
Dermot Mulroney:
Thank you for jumping on, Glen.
William Shockley:
Thank you, brother.
Closing Thoughts
In Long Shadows, Mulroney and Shockley bring more than experience. They bring reverence. Their conversation reveals a shared belief that the Western endures because it still speaks to the rawest truths about humanity: morality, consequence, and survival. Shockley’s directorial debut balances tradition and innovation with painterly precision, while Mulroney’s weathered gravitas anchors the film with emotional authenticity. Together, they remind us that the Western isn’t a relic of the past. It’s a living language of storytelling, still echoing across the cinematic frontier.
