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Messages - KC

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29701
Eastwood News / Re:BLOOD WORK R1 DVD
« on: December 14, 2002, 05:16:56 PM »
AKA, I wish you would refrain from expressing your opinion about various and sundry matters until you've actually had an opportunity to experience them for yourself. Let's wait until the DVD is available to the general public ... and we have actually seen it, and the features included on it ... before we begin reviewing it. OK?

KC

29702
Web Site Announcements / Re:Hey this site rocks!
« on: December 14, 2002, 04:12:10 PM »
OK, I timed it with a stopwatch ... clicking the mouse on the "Reply" button and hitting "Start" on the watch as nearly simultaneously as I could ... then clicking "Refresh" on the browser menubar, same deal with the watch ... in both cases, it took between nine and ten seconds for the page to load completely. I never timed the old site, so it's only subjective, but it just seemed like I didn't usually have to wait that long.  But, if it's just me, no problem.

29703
Questions & Answers / Re:What was the music used in....
« on: December 14, 2002, 03:51:43 PM »
I believe it's often the case that the score for the film isn't ready when the trailer is being prepared.

KC

29704
Web Site Announcements / Re:Hey this site rocks!
« on: December 14, 2002, 03:37:39 PM »
Thanks, Cal ... however, what I meant to say is that since the very beginning (when it was text only),  this site has been slower to load for me than the old Eastwood Web Board.  ::)

Sorry ...

KC

29705
Clint Eastwood Westerns / Re:Was The Good, The Bad... a prequel?
« on: December 13, 2002, 11:16:56 PM »
Nightwing, that is one of the most ardently debated topics in Eastwood-Leone circles, along with the question of whether the three "Dollars" films actually constitute a trilogy, or are just three films tied together by the figure of a mysterious stranger with preternatural shooting skills, embodied by Clint Eastwood ... who may or may not represent the same character in all three films.

The three films certainly were not planned as a cycle or trilogy from the beginning; but since A Fistful of Dollars was so wildly successful, it demanded first one and then a second sequel, or perhaps I should say ... successor. Since The Good, the Bad and the Ugly is set during the Civil War, if it is connected to the other two at all, it would have to be considered a "prequel," rather than a sequel, because the others both were set a decade or more after the war's close (evidenced by the weaponry in use and by the dates on the tombs in A Fistful of Dollars, among other things).  

However, about the only concrete evidence other than Eastwood's person that GBU has some connection with the other two is Eastwood's acquisition of his costume as we recall it from the first two films ... He picks it up piecemeal during the course of the film, getting much of it from Angel Eyes when he's released from the prison camp, and finally completing his "look" when he takes the poncho in the scene with the dying soldier near the end. Also, though his gun is a period-correct Navy model Colt (anachronistically modified to fire metal cartridges), it already has the silver rattlesnake ornaments on the grips that we recall from the "Peacemaker" he carries in the first two films.

KC

29706
Web Site Announcements / Re:Hey this site rocks!
« on: December 13, 2002, 10:47:48 PM »
Cal, the new background is very handsome indeed, and I can read all the "outside the board" text just fine now.

Is it just me, though, or does it take a bit longer for things to load on this site than they did on the old one ... and with the new background, even a bit longer than that?  ???

KC

29707
Web Site Announcements / Re:Get 'em while they're hot... Clint avatars!
« on: December 13, 2002, 07:33:33 AM »
An excellent choice, Antipatros!  8)

KC

29708
General Discussion / Re:William Beard's book on Clint
« on: December 13, 2002, 12:12:33 AM »
McGilligan's book is a biography, and any critical comments he makes are incidental. I don't recommend it if only because it's so unremittingly hostile; I think his point of view towards Eastwood's life may have colored his attitude towards his works.

I agree that William Beard's Persistence of Double Vision (Edmonton: University of Alberta Press, 2000) is one of the most interesting "analytical books," or critical studies, around. Some others I'd recommend:

  • Clint Eastwood: Filmmaker and Star, by Edward Gallafent. New York: Continuum, 1994
  • Clint Eastwood, by François Guérif; translated from the French by Lisa Nesselson. New York: St. Martin's Press, c1986
  • Directed by Clint Eastwood: Eighteen Films Analyzed, by Laurence F. Knapp. Jefferson, N.C.; London: McFarland, 1996.
  • Acting Male, by Dennis Bingham. New Brunswick, N.J.: Rutgers University Press, 1994. (Only the last third of the book is about Eastwood; the other two thirds covers "masculinities" in the films of James Stewart and Jack Nicholson.)
Finally, you'll find quite a lot of critical insight in a book (ahem) that I co-edited: Clint Eastwood: Interviews (Jackson: University Press of Mississippi, 1999).

If you can read French, German, or Italian, I could recommend a few more titles.

KC

29709
Discussion Board Troubleshooting / Last ten posts?
« on: December 12, 2002, 11:17:18 PM »
Cal, I note with pleasure that you keep tweaking things visually as well as technically, and the Board is looking better every day. But I was wondering ... what happened to the link that let you see a "snapshot" of the last ten posts on the board? And has there been any progress towards getting something like the "Today's active topics" feature that we had on the old board?

KC


29710
Eastwood News / Re:Unforgiven
« on: December 12, 2002, 11:12:07 PM »
Harley, that's an interesting question, but it doesn't belong in the "Eastwood News" forum ... unless we HAD some news about Eastwood's answer, of course.  ;)

And you posted the same query in the Unforgiven thread in the Westerns forum, so I'm going to close this one.

KC

29711
Questions & Answers / Re:Question about a line in A Perfect World
« on: December 12, 2002, 10:55:29 PM »
The script I have is pre-production, undated, but I'd assume it's pretty close to the one they had when the cameras started rolling. The novelization follows it closely, and actually, so does the finished film, with some exceptions. For instance, there's a convenience store robbery in the script that takes place before the kidnapping of Phillip; I've always rather regretted that it's not in the film because I think it really brings home to the audience how dangerous the escapees are (you don't see the killing in the convenience store either, but you glimpse a body on the floor). There's also a flashback to Butch's childhood in the New Orleans brothel; this was actually shot, but not used in the film. A nice e-Bay seller who lives in El Paso, Texas, once sent me a whole "documentary" put together from local television coverage of this shoot, and it included a bit about the shooting of this scene.

I'd say the dialogue that did make it into the film is pretty close to the dialogue as it's written in the screenplay, though I've never made a point by point comparison.

KC

29712
General Discussion / Re:Classic Visual Moments
« on: December 12, 2002, 10:27:48 PM »
Antipatros, I posted a capture from that scene on the old Web Board just a couple of weeks ago ... it's too bad those old threads were lost when we moved over here.

Here it is again:


An avatar should be exactly 65 x 65 pixels; if it's not perfectly square, it will be resized and will be distorted.

KC

29713
General Discussion / Re:Eastwood as auteur -
« on: December 12, 2002, 10:22:24 PM »
That's a great post, Lucas, thanks! I think you're right about Eastwood's use of scope; he's one of the few contemporary directors who has always framed and lighted his pictures with theatrical screenings in mind, disregarding what that might mean for their appearance when they come to people's square little TV sets in their brightly lighted living rooms. Which brings us to another Eastwood trademark, a preference for darkly lit scenes.

Quote
With your preference for dark lighting, you ignore the Hollywood trend to light films in such a way that their transfer to video won’t cause any problems of visibility.

That’s a side effect I didn’t take into account. All I’m ever doing is trying to find the true light for a scene. There are also bright scenes in my pictures, even in the darkest like Tightrope and The Gauntlet. But I detest making compromises, not only as to the lighting but also as to the composition of shots and the format of the film. If somebody wants to do a television movie, let him go ahead and do one. But theatrical films shouldn’t be shot with the television format and good visibility in mind. Of course, good lighting on a theatrical film can also come across on the television screen. You only have to look at some of the black-and-white pictures from the forties, if Ted Turner hasn’t already colorized them. But lighting has always preoccupied me. Already on Rawhide, I had heated discussions with the producers. They wanted to put around 900 lights on you, and they were also convinced that you needed that much light. But on the contrary, if you look at those wonderful old pictures, The Third Man for example, with their hard contrasts, then you know that isn’t true.

(Eastwood in an interview with Milan Pavlovic, published in Steadycam, no. 10 (Fall 1988); reprinted in Clint Eastwood: Interviews, p. 143-144.)

Eastwood is also on record as disliking expository scenes, so you're very right about that, as well ... though I've never minded the exposition in High Plains Drifter, since it gives several of the grotesque townspeople an opportunity to show off for the camera.

Here's a quote from Clint on that topic:

Quote
When you plan a film, how do you think about the place of the audience?

I think they must participate in every shot, in everything. I give them what I think is necessary to know, to progress through the story, but I don’t lay out so much that it insults their intelligence. I try to give a certain amount to their imagination. I try to play straight across with the audience.

I don’t like expository scenes, unless they have an important payoff. I hate to have the scene where you take a break, sit down, and tell the audience what’s been done up to that point because they’re not smart enough to understand it. That’s playing down to the audience. As a rule, I always shy away from exposition.

(From an interview with Richard Thompson and Tim Hunter, published in Film Comment, January/February 1978;  reprinted in Clint Eastwood: Interviews, p. 60)

The interview that quote is from was in fact titled "Clint Eastwood, auteur" by the magazine's editors, though the interviewers would have preferred the title "Eastwood direction."

I hope we'll have lots more contributions to this thread!

KC

29714
Questions & Answers / Re:High Plains Drifter
« on: December 12, 2002, 09:15:19 PM »
In the first place ... sorry to tell you, but you have the wrong Eastwood western.  ;) The Blankenships are characters in Pale Rider (1985), not High Plains Drifter (1973).

In the second place, I'm not sure what you're asking. The character Jed Blankenship was played by Richard Hamilton; his wife, who's called Ma Blankenship in the credits, was played by Fran Ryan.

The screenplay is by Dennis Shryack; as far as I know, it's pure fiction and the Blankenships were not historical characters.

The production design, which would include the town of "LaHood, California," is credited to Hollywood veteran Edward C. Carfagno, so I assume he created the "place Blankenship's Hardware" as well. If there's some historical Old West emporium it was modeled on, I'm not aware of it.

KC

29715
Questions & Answers / Re:Question about a line in A Perfect World
« on: December 12, 2002, 01:36:50 AM »
I take it back about not having a screenplay for A Perfect World ... I'd just forgotten where I put it.  ::)

Here's the end of that scene in the trailer that I quoted above, as iit appeared in the screenplay:

Quote
RED: We don't have a dilemma. And neither do they. They'll  keep one hostage ... and get rid of one, if they haven't already.

SALLY: Okay ... which one?

RED: If there's a SNAFU, who's John Q. Public more likely to give a rat's ass about—An innocent boy or a goddamn bureaucrat?

KC

29716
Discussion Board Troubleshooting / A very fussy suggestion
« on: December 11, 2002, 11:47:49 PM »
Cal. would it be possible to "tweak" the buttons for the YABBC tags so that they put the insertion point BETWEEN the tags, where you need it to be ... and not after the second tag? Or at least in the case of the ones that get used the most, Bold and Italics?

29717
Discussion Board Troubleshooting / Re:folder icon explanation
« on: December 11, 2002, 11:44:50 PM »
Along the same lines ... with the mocha flavor, I can't read the stuff at the top, beneath the words "Board flavor: Dark or Mocha," except for the name of the newest member.

Right now, for instance, it says
Quote
Members: 167  •  Posts: 1368  •  Topics: 86
Please welcome tdmama, our newest member.

... and all I can see is "tdmama."  :(

29718
Questions & Answers / Re:Question about a line in A Perfect World
« on: December 11, 2002, 09:10:40 PM »
Holden is correct. A few more details:

The dead man is "Larry," an assistant warden—a bureaucrat, in fact—at Huntsville State Prison, from which Butch and Pugh escape at the film's beginning. They overpower Larry and take his gun, then force him to drive out past the guard as they hide in the back; the guard waves the car on out with "Night, Larry." Pugh mockingly echoes, "Night, Larry," and you hear the gun being cocked as he thrusts it behind Larry's ear.

It's to be assumed Larry is shot shortly thereafter, but you don't see the killing, and his body isn't shown until Red and his team (following Red's hunch) discover it in the abandoned car.

Meanwhile, Red and the others have no way of knowing that Larry is already dead, so they assume the escapees have two hostages (after they kidnap little Phillip Perry). There's some talk about this in the trailer during the first part of the "manhunt."

Quote
SALLY GERBER: Their situation is one of accommodation. So I don't think they'll be together long ...

ADLER: What about the hostages? What are they gonna do, flip a coin to see who gets to keep who?

SALLY: It's happened before. Either way, it's a dilemma they'll address soon. That's why we gotta address it now.

RED: Well, we don't have a dilemma. Neither do they. They'll simply get rid of one hostage and keep the other, if they haven't done so already.

I haven't got a copy of the screenplay, but in the novelization, which is closely based on it, there are a couple more lines of dialogue that aren't in the finished film:

Quote
"Okay, two are hard work to handle," Sally said. "Which one do you get rid of?"

"If they run into a snafu—a trap, a standoff," Red said, still not looking at her, "who's John Q. Public more likely to give a rat's ass about? An innocent boy or a goddamn bureaucrat?"

That is what Red is referring to when he opens the trunk of Larry's car, finds the body inside, and remarks, "There's our bureaucrat."

KC

29719
Eastwood News / Re:Bumstead on Eastwood
« on: December 10, 2002, 07:42:36 PM »
Tom Stern's association with Eastwood goes back to 1982's Honkytonk Man , on which he served as gaffer. After that he was gaffer, lighting consultant or chief lighting technician on the following Eastwood films: Sudden Impact, Tightrope, Pale Rider, Heartbreak Ridge, Bird, The Rookie, Unforgiven, A Perfect World and Space Cowboys. Blood Work was his first job as D.P., and it's very like Eastwood to promote someone whose works he likes after a long apprenticeship; more or less the same thing happened to Jack N. Green, who had been camera operator on many Eastwood films going back to the 70s before being promoted to D.P. for Heartbreak Ridge in 1986.

Green worked for other directors all through the nineties, and according to the IMDb, he has no fewer than four projects in the works for next year ... so it may simply be a case of his being too busy to participate on Malpaso projects any more.

Green is also a director ... I saw his Eastwood-influenced debut feature, Traveller in 1997, but I missed last year's Pretty When You Cry (which was apparently only on television). Did anyone see it?

KC

29720
General Discussion / Re:I Need an Eastwood expert
« on: December 10, 2002, 06:36:45 PM »
There isn't one.

You may be thinking of Tightrope (1984), in which Eastwood's character engages is some mildly deviant, but mutually pleasurable, sexual practices with women, a number of whom are then murdered by a serial killer.

But this is as close as he ever comes to strangling a woman ...



Or, you may be thinking of somebody else entirely.

KC

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