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Off-Topic Discussion / " Happy Belated Birthday, Hemlock!"
« on: December 28, 2016, 08:17:27 PM »" Happy Belated Birthday, Hemlock!" " Hope you had a great day!! "


![]() DISCUSSION BOARD AND COMMUNITY - EST. 1996
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News: Now showing in theaters: CRY MACHO, directed by and starring Clint Eastwood! |
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Suzuki 33rd all-time on hits list, becomes eighth player with 2,900 hits and 500 stolen bases
Kenta Maeda nervously waited for just the right moment during the Miami Marlinswarm-ups, sprinted across the Dodger Stadiumdiamond and introduced himself to Ichiro Suzuki, respectfully bowing to the countryman he had idolized since he was a kid.
The scene before the Marlins-Los Angeles Dodgers series opener presented quite a turnabout. This season it has been the hitters bowing to Maeda.
“I never imagined I would be able to face him, a player I looked up to since I was a child and I’m so happy to be able to face him,” Maeda said. “I was a little nervous before meeting him (four days earlier), but he smiled and put me at ease. As far as striking him out (in his first at-bat), the results don’t matter as much as our confrontation, which was a treasure for me''
scotteastwood Like father like son. Out in Atlanta on the set of my dads new movie. #Sully. Staring Tom hanks and Aaron Eckhart. This movie is gonna be great. Getting to see masters work is such a blessing.
Gimble’s own debut solo hit “One Fiddle, Two Fiddle” happened decades later, thanks in part to its feature in Clint Eastwood’s 1982 film Honkytonk Man, where Gimble played Wills in a supporting role.
“Eddie was a great guy, so talented and devoted to his craft," Eastwood said in a statement. "He made the job look effortless."
Eddie Aiona, a property master on more than 20 Clint Eastwood films — from Magnum Force to The Bridges of Madison County — during a stretch of more than two decades, has died. He was 83.
Aiona, who worked on three Oscar winners for best picture, died March 31 of lung cancer at Providence Tarzana Medical Center, his friend, Ric Gentry, told The Hollywood Reporter.
Aiona was among the cadre of behind-the-scenes players whom Eastwood employed on picture after picture for years. To many, he was the prototypical creative member of Eastwood’s streamlined, fast-moving, hyper-efficient, tight-knit Malpaso Productions team.
In between Magnum Force (1973) and his final credit, The Bridges of Madison County (1995), Aiona teamed with the actor-director-producer on Thunderbolt and Lightfoot (1974), The Outlaw Josey Wales (1976), The Enforcer (1976), The Gauntlet (1977), Every Which Way But Loose (1978), Any Which Way You Can (1980), Firefox (1982), Honkytonk Man (1982), Sudden Impact (1983), City Heat (1984), Pale Rider (1985), Heartbreak Ridge (1986), Bird (1988), The Dead Pool (1988), Pink Cadillac (1989), The Rookie (1990), best picture winner Unforgiven (1992), In the Line of Fire (1993) and A Perfect World (1993). “He was extreme in getting what was required for the screenplay,” Mike Sexton, Aiona’s assistant before becoming prop master at Malpaso following his mentor’s retirement, said in a statement. "If the sewing needle for Unforgiven indicated the year was 1898, Eddie wouldn’t accept a needle from 1899. No one would know the difference except Eddie, who would track it down through a whole network of resources until he had it absolutely right, and this was in the era before access to the Internet. “It was the scene where Morgan Freeman darns Clint’s face. Eddie went from references he had for antique markets, period collectors and museums until he had the needle for that year, and then he put it together with a little kit that was period exact.” Aiona’s prop specialty was weapons, Gentry said, and he designed a fully-functional camouflage pistol for the assassin played by John Malkovich in In the Line of Fire. He worked often with veteran cinematographer Jack N. Green. Born in Hawaii, the sinewy Aiona arrived on the mainland as a champion lightweight boxer in 1959. He drifted from boxing to day work at Paramount and then at Warner Brothers before finding his niche as a prop master.
Andrew V. McLaglen, a British-born director whose work in American westerns on television and in the movies starred such notable screen cowpokes, gunslingers and lawmen as John Wayne, Clint Eastwood, James Arness and James Stewart, died on Saturday at his home in Friday Harbor, Wash. He was 94.
In the 1950s and ’60s, the great era of television westerns, Mr. McLaglen directed dozens of episodes of the long-running series “Gunsmoke,” which starred Arness as Marshal Matt Dillon; more than 100 episodes of “Have Gun — Will Travel,” starring Richard Boone as Paladin, a chess-playing gun for hire with a connoisseur’s appreciation of fine cigars and wines; a half-dozen episodes of “Rawhide,” in which Clint Eastwood became a star as the handsome young acolyte of a cattle-drive boss (played by Eric Fleming); and episodes of “Gunslinger,” “The Virginian” and “Wagon Train.”
Walt Martin, a sound mixer who worked with Clint Eastwood on 14 films and received an Oscar nomination for the director’s 2006 war drama Flags of Our Fathers, has died. He was 69.
Martin died July 24 of vasculitis after being hospitalized with chest pains at Providence Saint Joseph Medical Center in Burbank, his wife Elena said.
Martin worked with Eastwood most recently on American Sniper, the military drama starring Bradley Cooper that wrapped filming in June and is due out in 2015, and this summer's Jersey Boys musical.
Their collaboration began on True Crime (1999) and continued through Space Cowboys (2000), Blood Work (2002), Mystic River (2003), best-picture winner Million Dollar Baby (2004), the Flags companion film Letters From Iwo Jima (2006), Changeling (2008), Gran Torino (2008), Invictus (2009), Hereafter (2010) and Trouble With the Curve (2012).
Clint Eastwood is best known for his work in Hollywood, but he's also a composer and jazz aficionado. Combining his love of both art forms, he's included classic jazz recordings in his films — including Play Misty for Me, which features the famous Errol Garner ballad.
On this episode of Piano Jazz, Eastwood discusses his love of Garner's music and reminisces about seeing Charlie Parker perform live. Host Marian McPartland gives treatments of Eastwood's compositions "Claudia's Theme" and "Doe Eyes."
Originally broadcast in 2004.
Set List
"Misty" (Burke, Garner)
"Now's The Time" (Parker)
"If I Should Lose You" (Rainger, Robin)
"Doe Eyes" (Eastwood, Niehaus)
"Claudia's Theme" (Eastwood)
"Singin' The Blues" (Fields, McHugh)
"Portrait Of Clint Eastwood" (McPartland)
"Clint And Marian Blues" (Eastwood, McPartland)
TAMPA, Fla. -- There is always a buzz in the air when the Yankees and Red Sox meet on the field, and that was especially true for the latest Grapefruit League affair between the historic rivals.
Yankees first baseman Mark Teixeira had an unorthodox suggestion to fix the problem. Teixeira emerged from the first-base dugout holding two plastic bottles of honey, waving them to get the attention of the grounds crew.
"I'm a big peanut butter and honey guy; love it. So I always know where the honey is," Teixeira said. "What I thought was, 'If you could just do a line of honey out to the parking lot, the bees would follow it and leave us alone.'"
By 1973, Clint Eastwood’s name was already synonymous with westerns, but, when you look at his filmography, he’s only directed four of them.
The first of these, High Plains Drifter, turns 40 this year! This was also the second film Eastwood directed. His previous turn in the director’s chair was the superlative thriller Play Misty for Me (1971).
In Drifter, Eastwood plays an unnamed stranger who wonders into the town of Lago and eventually helps its citizens drive away murderous bandits.
Of course, Eastwood played a similar character in previous westerns, but what makes Drifter unique is that the no-name character has moments where he commits acts that are as deplorable as those of the villains. The most prominent of these is how he deals with a woman (Marianna Hill) who is insulting him early in the film.
Another departure from previous Eastwood westerns is the film’s suggestion that the stranger may be the reincarnation of Lago’s sheriff, who, as the audience learns, was whipped to death by the bad guys while the cowardly citizens stood by and did nothing.
Eastwood was able to play roles like this in his sleep by this point. As good as he is, though, the scene-stealer is Billy Curtis as Mordecai, a midget who becomes the closest thing the stranger has to a friend and whom the stranger designates Lago’s sheriff and mayor.
Clint would go on to direct three more memorable westerns, The Outlaw Josey Wales (1976), Pale Rider (1985) and Unforgiven (1992), along with numerous other classic non-westerns.
More than 100 Wisconsin Film Festival screenings still have advance tickets for sale (and another 50 sold-out screenings will have rush tickets at the door), making it a little daunting to pick and choose. The eight-day festival starts Thursday, April 11, and runs at Sundance Cinemas and on the UW-Madison campus. Visit wifilmfest.org for tickets and a full schedule.
So, for the few days leading up to the festival, I've been writing a "For fans of" series that picks out a few movies that might appeal to one particular kind of movie fan or another. Check out previous installments on horror films, family-friendly films and films about animals.
Today's installment: classic movies.
"The Good, the Bad and the Ugly" (2:30 p.m. Sunday, Sundance and 1 p.m. Monday, Sundance; advance tickets remain for the Monday show, and rush tickets will be available at the door for the Sunday show) – Even if you've seen Sergio Leone's epic Western, in which Clint Eastwood, Lee Van Cleef and Eli Wallach search for a fortune in Confederate gold, you need to see it on the big screen. Not only is this a restored print, but it includes 12 minutes of unreleased footage that Eastwood and Wallach recorded new English-language dialogue for. It's part of a series of great Spaghetti westerns at the festival that also includes "The Big Gundown" and "Sabata."
New Essays on Clint Eastwood
Edited by Leonard Engel
Foreword by Drucilla Cornell
Film and Theatre Studies
New Essays on Clint Eastwood is a companion to Engel’s previous book, Clint Eastwood, Actor and Director: New Perspectives. It includes discussion of some of Eastwood’s most recent films as well as his earliest work, and deepens our overall appreciation of his artistry and his growth as an ever more accomplished storyteller. The contributors to this new volume examine Eastwood’s body of work as both actor and director: his portrayal of Rowdy Yates in the television series Rawhide, his directorial debut with Play Misty for Me, his directorial and starring role in Gran Torino, and his recent directorial successes with Hereafter and J. Edgar.
A common thread throughout the volume is the respect for Eastwood’s commitment to cinematic storytelling. Indi-vidually and collectively, the essays highlight the variety and complexity of Eastwood’s themes and his accomplish-ments throughout a lifetime of endeavors. Examining his Westerns and detective films illustrates how Eastwood left his iconic stamp on those genres, while discussion of his more recent films expounds on his use of family, history, and myth to transcend generic conventions and to project a hard-won vision of a united humanity beyond the separation of ethnic, racial, and national conflicts. Cumulatively, the essays remind us of his lifelong devotion to perfecting his artistry and his powers as a storyteller.
It is not known if Ichiro, who signed a two-year contract during the offseason, will have to miss any spring training games. Because he played Saturday against the Tigers at George M. Steinbrenner Field, he wasn’t scheduled to make the two-hour trip to Fort Myers on Sunday when the Yankees play the Red Sox.
The Yankees and Ichiro were fortunate he wasn’t hurt. Already without center fielder Curtis Granderson, the team couldn’t afford to lose their right fielder and a hitter they are counting on hitting near the top of the lineup.
The battle had raged for four days, and would continue for 31 more, a marathon of sand and heat and unrelenting death. But at that moment there was an order from the brass: Get a bigger flag up there. The small American flag fluttering atop Mount Suribachi, the volcanic peak on the island, was too small to be seen by the troops fighting below.
From his makeshift command post near a captured Japanese airstrip, a 24-year-old Marine combat photographer named Norm Hatch began to scramble.
For many, classic Westerns, with their depiction of the spirit and struggles of the new American frontier, bring up feelings of nostalgia. Their stereotypical gunfights, tough sheriffs and rugged wilderness keep them popular — even though for contemporary film, the genre is now waning.
This exhibition, which explores how the Western helped redefine American film aesthetics, is the first in a series that covers world film history through billboard posters. The posters for this exhibition are mostly Japanese versions of the American originals, and include images of Gary Cooper, James Stewart and Clint Eastwood; till March 31.
Lovers of spaghetti westerns have a smorgasbord of choice at the Brisbane International Film Festival.
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This Sunday sees a back-to-back screening of The Man with No Name trilogy – A Fistful of Dollars, For a Few Dollars More and The Good, the Bad and the Ugly – from midday at the Palace Centro cinemas.
They're famous for making the movie career of the young Clint Eastwood. But curator Giulia D'Agnolo Vallan says he wasn't initially aware of how popular A Fistful of Dollars had become.
“He didn't think much of them. He was a TV actor in the states, he got the script and decided he was going to go and do this strange film," he says.
“Then the film didn't come out in America for a year after Italy, so he didn't realise how successful it had been.”
An Italian-born cinema scholar and current US programmer for the Venice Film Festival, Vallan has flown into Brisbane for the 21st BIFF to present a program of 14 films on her specialist subject. It's a cut-down version of the program she presented at the New York City Film Forum earlier this year.
Spaghetti westerns came out of primarily Italian (but also Spanish and French) production houses in the 1960s and early 1970s. The people behind them were inspired by the classic era of American westerns.
“Under the Mussolini dictatorship, American cinema could not make it legally to Italy, so after the war when the borders were open again, it was this huge invasion the greatest American films,” Vallan says.
The man behind The Man With No Name, Sergio Leone, is the most famous director of spaghetti westerns, and his work has inspired a generation of modern filmmakers – including John Carpenter, John Landis and Quentin Tarantino.