News: In theaters December 14: THE MULE, directed by and starring Clint Eastwood!

Show Posts

This section allows you to view all posts made by this member. Note that you can only see posts made in areas you currently have access to.

Messages - KC

Pages: 1 [2] 3 4 ... 1500
The CEWB Movie Club / Re: Rear Window (1954)
« on: October 05, 2018, 10:32:05 PM »
We can't let this discussion come to an end without this (starting at 44 seconds in):

<a href="" target="_blank" class="new_win"></a>

<a href="" target="_blank" class="new_win"></a>

Eastwood News / Re: THE MULE: Production Information and News
« on: October 05, 2018, 09:54:27 PM »
How was A Star Is Born? Wait, don't tell me here ... We have a thread for it!

The CEWB Movie Club / Re: Rear Window (1954)
« on: October 05, 2018, 08:19:02 PM »
OK, they discuss whether it could be "Mrs. Thorwald" buried in the flower bed. Stella says "Mr. Thorwald could hardly put his wife's body in a plot of ground about one foot square. Unless of course he put her in standing on end. Then he wouldn't need a knife and a saw." But there's something buried there, as Jeff demonstrates with some recent shots of the flower bed. Lisa then allows as how it might be precisely "the knife, and the saw." Jeff lures Thorwald away from the apartment so Lisa and Stella can look. They dig up the flower bed, but find nothing. That detail is left hanging until the end, when there's this exchange:

DOYLE (to DETECTIVE): Did he say what was buried in the flower bed?

DETECTIVE: Yeah.  He said the dog got too inquisitive, so he dug it up. It's in a hat box, over in his apartment.

DOYLE (to STELLA): Wanna look?

STELLA: No thanks—I don't want any part of her. (She does a take, wide-eyed. Fade to black.)

That's the end of the main part of the movie. It's followed by the epilogue, later on when it's cooled off, and Jeff now has both legs in a cast.

So yes, I think we are supposed to assume it might be the head! Typical for Hitchcock's macabre humor.  ;D

The CEWB Movie Club / Re: Rear Window (1954)
« on: October 05, 2018, 07:34:21 PM »
I'll have to recheck that detail in the dialogue ... maybe it IS the head.

The CEWB Movie Club / Re: Rear Window (1954)
« on: October 05, 2018, 07:10:10 AM »
The knife and the saw. He moved them before the ladies came to investigate, because the dog had gotten too nosy.

The CEWB Movie Club / Re: Rear Window (1954)
« on: October 04, 2018, 09:49:06 PM »
KC, what scene are you referring to?


The CEWB Movie Club / Re: Rear Window (1954)
« on: October 02, 2018, 09:32:00 PM »
I was wondering about the song "Lisa" that plays an important part in the film (of course it's also Grace Kelly's character name), and whether it was by the film's composer, Franz Waxman. It is indeed, but bits and pieces of music by many others are also heard in the film. You can read about that here:

The CEWB Movie Club / Re: Rear Window (1954)
« on: October 02, 2018, 09:23:33 PM »
Also, who noticed Hitchcock's cameo?
Me. But I knew to look for it. ;)

The CEWB Movie Club / Re: Rear Window (1954)
« on: October 02, 2018, 09:02:42 PM »
I just watched Rear Window for the I-don't-know-how-many-th time, and caught something I don't think I ever noticed before. Almost all the film is shot from within Jeff's apartment, with the camera looking at him, or looking at Lisa or Stella or Doyle from his point of view, or looking out the window, again from Jeff's point of view as he studies the exploits of his neighbors. As Doug said a few posts up ...
... this is, I think his best example, of making an exciting movie that basically all takes place inside one location. He did something similar in Lifeboat and in Rope

But there is one scene when Hitchcock breaks out and actually takes the camera up close so we can see the neighbors more clearly ... shifting from a subjective to an objective point of view, if you will. It's a key scene in the movie, maybe THE key scene in the movie, and it involves not something we see, but something we don't see.

Does anyone know the scene I mean?

PS, great post, AKA. And a great discussion so far, everyone!

The CEWB Movie Club / Re: Rear Window (1954)
« on: September 30, 2018, 10:24:22 AM »
I would say that "exploring the dysfunctional nature of romantic relationships" is a frequent secondary theme in Hitchcock's movies. Or maybe it's the main theme, and the suspense/mystery/action framework is just a pretext. Let's see what you think as we go on. Too bad we don't have Suspicion or Notorious on the schedule.

Rear Window was based on a Cornell Woolrich short story, "It Had to Be Murder," which (according to Wikipedia anyway) was in turn based on an H.G. Wells story, "Through a Window." So you can't say it's just a movie convention. On the other hand, in real life, I'm pretty sure most people who live in buildings like that have and use blinds or curtains.

Eastwood News / Re: THE MULE: Production Information and News
« on: September 27, 2018, 09:09:36 PM »
Holy mother of day.

From the Variety story:
The Warner Bros. thriller will open on Dec. 14 in wide release. Eastwood stars in the film and directs. “The Mule” will face off against Universal’s pricey sci-fi fantasy “Mortal Engines,” STX’s Jennifer Lopez rom-com “Second Act,” and Sony’s animated adventure “Spider-Man: Into The Spider-Verse.” The film is seen as more of a commercial effort. It’s not expected to be a major Oscar contender.

In an interview with Variety last month, Warner Bros. film chief Toby Emmerich said he deferred to Eastwood about when the film would be released.

“We’re waiting for Clint to show us the movie, and the way that’s worked for 25 years is whenever and wherever Clint says,” said Emmerich.

Off-Topic Discussion / Re: Alfred Hitchcock
« on: September 23, 2018, 06:55:46 PM »
Here's an interesting video I saw a couple years ago focusing on one scene in Vertigo.

<a href="" target="_blank" class="new_win"></a>

Excellent. Thanks for posting that, Doug.

For those who wondered, the name behind "Nerdwriter" is Evan Puschak.

Easily Heartbreak Ridge for me; a mature directorial effort showcasing Eastwood the actor/persona moving towards a farewell to his more youthful action roles.

For my taste, Clint doesn't really have enough to do in either of his two earlier war films, but of the two, I'd pick Where Eagles Dare, if only for Richard Burton hamming it up to the hilt.

Off-Topic Discussion / Re: Alfred Hitchcock
« on: September 23, 2018, 06:28:58 PM »
Hitchcock never wrote an autobiography, and you won't like him very much (as a person, not as a director) if you read any of the more thorough biographies out there, such as Donald Spoto's The Dark Side of Genius (1983; reprinted to mark the Hitch centenary in 1999).

Yes, we'd love to see that!

The CEWB Movie Club / Re: CEWB Movie Club - Who wants in?
« on: September 22, 2018, 08:56:11 PM »
Ooh, I love  Notorious. Let's see how we get on ... maybe we'll do a second bonus!

The CEWB Movie Club / Re: CEWB Movie Club - Who wants in?
« on: September 22, 2018, 05:38:59 PM »
I meant to add Shadow of a Doubt.

(Edited to italicize!  :D )

I was able to dig up a post I made way back in 2001, on an earlier version of this board. It's from the time I met Joel Cox, Clint's longtime editor, when he introduced Unforgiven at a festival in Baltimore. I was with another Board member, Holden Pike, who cornered Cox when we spotted him standing off by himself before the screening. We had a long chat with him, including this bit about Bridges:

OK, just a brief installment tonight. "Good film editing is like good film music." Somehow that brought us to The Bridges of Madison County. Spielberg, who had originally bought the rights to the book and was one of the producers, had been pushing for a John Williams score. What he didn't know was that Clint had already picked out the great songs that make up most of the music you hear in the film. He knew just which scenes each one of them was to go into: this one here, and that one there. As for the "non-diegetic" or offscreen music, Eastwood thought that it shouldn't be a "character" in the film. And then he wrote that simple little theme, and it's used very subtly, you don't even hear it until almost an hour into the film (of course they had to play it up big in the scene in the rain).

I mentioned that I liked the cut on the motion to a long shot when Robert gets up from the table to dance with Francesca in her kitchen ... and it's such a great scene with the Johnny Hartman song, "I See Your Face Before Me," that starts out playing on the radio. Cox pointed out what they did with that song: after a while it comes off the radio, as it were, and is gradually brought up and out over the scene until it becomes full surround sound, as the lovers are off in a world of their own. Because the transitions between shots that make up the scene are often effected by dissolves, you get the impression that for Robert and Francesca, the scene is even longer than the song, a moment suspended in eternity. Cox took full credit for that effect, which he said came to him as he played around with the material. This would have been the second film he edited on the Avid digital editing system (he had told us that the Eastwood-produced The Stars Fell on Henrietta, the previous year, was the first; before then, he spent much of his time the way all editors did in the pre-digital era, physically manipulating pieces of film).

Anyway, to go on with the music, Spielberg had never given up his idée fixe about the material needing a John Williams score. But when it was finished with Clint's musical choices, and Clint screened it for him, he wept, and admitted that Eastwood was right, and he was wrong.


It's one of Clint's best, both as actor and director.

The CEWB Movie Club / Re: CEWB Movie Club - Who wants in?
« on: September 16, 2018, 06:13:27 PM »
I would add North by Northwest to the above. 8)

Pages: 1 [2] 3 4 ... 1500

C L I N T E A S T W O O D . N E T