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Author Topic: EVERY WHICH WAY: Style & Technique 1. Fargo's Direction  (Read 1511 times)
Matt
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« on: July 13, 2003, 09:30:44 PM »

Although Every Which Way But Loose was only the second Eastwood film James Fargo directed (The Enforcer was the first), Fargo had already worked as Assistant Director on several Eastwood films: Joe Kidd, High Plains Drifter, The Eiger Sanction and The Outlaw Josey Wales. Every Which Way But Loose would be Fargo's final film for Malpaso, with Eastwood handing over the directing of the sequel, Any Which Way You Can, to long-time Malpaso stuntman Buddy Van Horn in his directing debut.

What do you think of Fargo's direction of Every Which Way But Loose? List the strengths and any weaknesses, including anything you find particularly striking about the film's visual style: camera placement, lighting, point of view, length of shots, etc. How do you feel Fargo's directing of Every Which Way But Loose compares with Van Horn's directing of the sequel Any Which Way You Can?
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Matt
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« Reply #1 on: August 15, 2003, 08:32:59 PM »

We'll be locking this discussion on Sunday, so this is the last chance to answer these two unanswered topics.

I really can't comment much on Fargo's direction because honestly, it doesn't make any kind of impression on me. I don't see anything particularly good about it, or particularly bad. It seems really quite flat and average-to-below average with no scenes that strike me as being at all impressive.  

Maybe my review (I'd give it a C-) will get someone else to post who disagrees...  and if so, I'd like to hear it. :)

As for how it compares to the Van Horn's directing of Any Which Way You Can, I feel that the two films and the directors' styles match very well.  I wouldn't even have been able to tell you that these two films had different directors if only viewing them without that knowledge.
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KC
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« Reply #2 on: August 16, 2003, 09:56:14 AM »

I have a suspicion that the guiding spirit in the direction of both of the "Which Way" pictures is that of Clint Eastwood. That is, Fargo and Van Horn were presumably given a free hand to direct the way they wanted to, but they knew very well, as Eastwood's longtime collaborators, exactly what he expected and tried to stay close to the parameters established by the guy who was paying their salaries.

According to Schickel (p. 354-355), there were in fact a couple of disputes over authority on the EWWBL set. Fargo never worked for Eastwood again after this film.
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mgk
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« Reply #3 on: August 17, 2003, 02:15:43 PM »

Thanks, everyone! This thread is now locked.  Please post any additional thoughts you have on this topic in the General Discussion forum.
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The Schofield Kid
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« Reply #4 on: April 22, 2013, 07:08:48 PM »

This topic has been temporarily unlocked.  Feel free to post any additional thoughts or discussion here.
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