DISCUSSION BOARD AND COMMUNITY - EST. 1996
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Husbands...
Casavettes directed... I'm not sure if there's any others. I know they were pals and I love their scenes together in the
Columbo episode..
Anyone who saw “The Mule” and who still thinks that Clint could still convincingly play “Dirty Harry” again is lying to themselves.
I watched Honky Tonk Man yesterday. I think it was very much a Clint vehicle as it combined a lot of what he has woven into his movies over the years:
- his singing
- the telling of a story
- him bringing a group of people along with him in a ragtag assortment along the lines of Bronco Billy and one of the westerns (forgot the name of it)
- bit of humour
Perhaps it wasn't his greatest film (Gran Torino? Dirty Harry? Unforgiven?) but it was more than watchable and certainly not one of his worst films (City Heat? The Rookie?)
I am just happy to see the movies where he branched out successfully with movies that tested him a bit more than the westerns and Dirty Harry movies did.
Gant, this is a good and fair question. I think for me, the violence in Clint's films first of all always served the story. It was not the defining feature of the film. Clint always played character driven characters and directed character driven stories. His movies were never about the spectacle of filmmaking or how far he could push the envelope before he went too far. Quentin Tarantino's movie are all about the spectacle to me. The story is only there to serve the style which underpins them. It's a vehicle for the indulgence of Tarantino's revenge fantasy obsession. Tarantino's films are self-indulgent. Clint's films aren't. Tarantino continues to direct movies that thematically center on revenge fantasies. I'd love to be his psychiatrist, so that I could learn why. In addition, the level of violence in Tarantino's films is oppressive to me. I can't think of a single Clint Eastwood film that you could objectively say that about.AKA, I think this is a brilliant post. You put your finger right on the difference between Tarantino and Eastwood. I've never heard anyone express that so well.
Secondly, the nature of the violence is much tamer in even Clint's most violent film than it is in Quentin Tarantino's tamest movie. Quentin Tarantino's movies have a level of blood and gore and gratuitously styled violence that Clint never had in his films. There is simply no comparison whatsoever, in my opinion, between Clint and Quentin Tarantino. I also feel like Quentin Tarantino often exploits historical events in very crude ways ways that serve as a vehicle for his overly stylized, gratuitously violent films. I don't think you can say the same about Clint. To me, they are very different directors and filmmakers. I agree that Tarantino is a talented director. I just wish that he used those talents in a different way. His films celebrate, glorify, and trivialize the very worst of human nature to me. Clint never reveled in man's darkest impulses. He reflected upon them, he may have sometimes depicted them, but he never took any glee in doing so. Quentin Tarantino does, and to me, that's disturbing.
Was watching High Plains Drifter last night after many years... I always said this in fact that Billy Curtis was tremendous in that role. That camera shot zooming in of Curtis when he hides under the Hotel is a money shot.......Interesting that Leone didn't care for the movie......
Not sure it would work on modern machines. The company that made it, Starwave, seems to have been bought out by Disney around 1998. Speaking of Bob Newhart, he is 90 years old today!And still going strong.
You did so many brilliant comic bits with the telephone. The comic Shelley Berman famously said that you stole the idea of the telephone from his act. Did that bug you?
It bugged me a little because it wasn’t true. The phone has been a comedy prop for long time. Mike [Nichols] and Elaine [May] used it. One of the earliest recordings ever made by Edison involved a telephone that [the comic George] Jessel used to do.
[Later on in the interview:] Do you ever think about death?
I think I know what’s on the other side, but I’m not sure. Maybe it just ends. Some people think you come back. Maybe I’ll come back as Shelley Berman and be pissed off at myself.
Hey... I got my av back. It's a miracle. Who do I thank... ?Thank Richard. He also got the av gallery back on the site, so if you ever want to change ... go to Forum Profile and select one of the other Eastwood avs.
Even more cool. Love to read stories like this about behind-the-scenes stuff in Clint's movies.
In what turned out to be another stroke of serendipity, Keith was under the weather the day he cut his demo. “I was sick as a dog that day. I was coughing and sneezing and thinking, this is terrible,” he recounts. “I gave it the best vocal I could that day, and I sent it off. It’s a real raspy, sleepy, tired, sick vocal. I said, ‘Well now you’ve got a reference, and I’ll go back and put a vocal on it for you.’ ”
To his surprise, Eastwood called immediately. “He said, ‘I’ve got a spot in the movie and I’m putting it in there.’ And then Warner Bros. called asking did I read the script before I wrote this song because it fits perfectly.”
To his greater surprise, Eastwood didn’t want to change a thing. “He wanted it sick and tired and dark like that,” Keith says.
Anyone know where Clint found this song? I'm assuming it wasn't written for the film.
