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Downloaded from
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- EASTWOOD: I've always said that I learn
- Something new on every picture.
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Not only about picture-making...
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Official YIFY movies site:
YTS.MX
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about personalities,
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with crew and cast...
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but also about yourself.
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HACKMAN: He's a likable guy,
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and you see that in his films.
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- The camera kind of doesn't lie
- About that kind of thing.
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There's no doubt that he is the link...
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- ...from the cinema
- That I grew up with and loved...
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to the modern day.
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What else is he gonna do?
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Because he's surprised us so many times.
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- SWANK:
- Life is exciting to him.
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He always wants to try something new.
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HARDEN: I think Clint Eastwood has a style
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of directing and dealing with people.
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But I think he's a style in progress.
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- He'd be the first person to say
- He doesn't know everything.
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- The first person to say
- He makes mistakes.
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- HOLBROOK: He's proved something
- About the difficulty of achievement...
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dedication to a principle...
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the willingness to always learn more.
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Not just sit and collect your check.
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GRAZER:
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He's quietly competitive.
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Beneath the creativity
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and the gentle nature that he has...
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he is very driven.
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He continues to astonish all of us...
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who thought we got the idea
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of what a Clint Eastwood was all about.
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And the second we try to pigeonhole him...
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- ...he does something else out of
left field - to make us eat our words.
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Time and time again, you'll see him know
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the kind of influence
that he has on people.
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And he will, in the subtlest ways,
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make them comfortable.
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There's a lot I'm curious about him.
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And I'm not sure he's telling.
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I think he's inspirational.
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I've waited 75 years for this.
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{\an8}I think Clint has changed the paradigm
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{\an8}of his own image...
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- {\an8}...several times in his lifetime
- In this business.
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You get the conversion...
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- HARDEN: I think he understands
- That stagnant equals death.
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{\an8}His mind is always open
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{\an8}to the intake of creativity.
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-All right. Ready?
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MAN: Yup.
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Go ahead now.
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- STREEP:
- He's interested in the story.
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{\an8}He doesn't have to take jobs.
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{\an8}He takes it because he's interested.
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{\an8}And one of the things...
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{\an8}...that makes him
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{\an8}most wonderful to me...
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is I like to see somebody
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come out of the shadows, as it were...
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and fool everybody...
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at how good they are.
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{\an8}Get off my lawn.
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{\an8}-You might be interested in training me.
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{\an8}-I don't train girls.
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{\an8}You wanna leave your husband?
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No.
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{\an8}-Well, I guess they had it coming.
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{\an8}-We all have it coming, kid.
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When I was a young contract player
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back in early '50s...
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I used to go down to the sound stages
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mainly to watch the actors.
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I was trying to learn as much as I could
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about the acting profession.
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But I was always curious
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about the directors...
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- ...and about how
- They were putting it together.
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{\an8}He didn't wear jodhpurs and a cowboy hat
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{\an8}and smoke and have a lorgnette.
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- He didn't go for the trappings,
- He just did it.
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{\an8}I think he was just born
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{\an8}with that kind of creativity.
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The few things that he told me about,
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you know, being a pool boy...
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- ...his dad running a filling station,
- Money was tight.
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And he grew up
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understanding the economy of scale.
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BACON: He has a really good understanding
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of people...
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{\an8}...and of how complex we are
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{\an8}as human beings.
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{\an8}There's a "seemingly simplicity"
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{\an8}to the style.
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- {\an8}EASTWOOD:
- Okay.
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{\an8}-Let's just fire one off
to see where we are.
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{\an8}WOMAN: Okay.
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- His personality as a filmmaker
- Is not forced on you.
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The things that he's directing,
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he cares a great deal about.
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- GRAZER:
- I think he just trusts his gut.
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It probably started early in Rawhide
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in Hollywood and he started with nothing.
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{\an8}And, you know, he earned his way
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{\an8}into a great situation.
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- In the late '50s
- When I started on Rawhide...
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- ...you have different directors
every week - coming and doing a show.
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- You start finding out what you like,
- What you don't like...
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about various characteristics
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the directors have.
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- Finally, one day, I started thinking,
- "I gotta try this myself."
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- And he began to realize, - you
know, "I could do this," I would think.
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- I'm not putting words in his mouth,
- "I have the heart for it."
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The first time I worked for Clint...
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the history that I knew of Clint
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was Rawhide.
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Because as a little girl,
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my sisters and I would watch Rawhide...
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and we would get to be
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the different characters.
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- My sister got to be Rawhide,
- The other got to be the girl...
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I had to be the cook,
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but we loved him.
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HANCOCK: The directors that influenced
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him most were Sergio Leone and Don Siegel.
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{\an8}Such different directors,
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{\an8}but in Clint movie's...
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{\an8}...you can see the impact that both
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{\an8}of them had on him.
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{\an8}How was Sergio Leone able to influence?
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{\an8}Not exactly sure how, but if you look
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{\an8}at the mechanics of those movies...
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they didn't rely on a lot of dialogue.
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- EASTWOOD: But he was great.
- He had a very vivid imagination.
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- When we did the first one,
- He didn't shoot many close-ups.
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- Being from television, I said,
- "Well, you know, I've..."
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- I'm playing kind of a crazy character,
- You gotta...
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So instead of doing
the close-ups like this,
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he would go to... He'd go...
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{\an8}He'd do everything in broad strokes.
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- EASTWOOD: The way he approached things
- Was so unusual.
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He always had a childlike glee
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about things.
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One time we were shooting in Spain...
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and he wanted a tree...
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with a hangman's noose
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hanging from it...
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as sort of a threat to anybody
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who's riding by.
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And there were no trees in southern Spain,
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and AlmerÃa was just desolate.
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But there was this one yard,
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had an old big dead tree.
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He goes to the house and he just,
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all of a sudden, goes in their yard...
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- ...and has the crew out there
- Sawing down this tree.
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And of course the guy comes out
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who owned the house...
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and he was incensed.
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- And so Sergio told him
- He was from the Highway Department...
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and that the tree
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was a safety hazard...
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- ...because it was gonna fall on the road.
- We had to take it out.
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And here he is, an Italian speaking
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with an Italian accent to this Spaniard...
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and he convinces him
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that he's from the Highway Department.
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{\an8}I came back into the States,
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{\an8}started doing American films.
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{\an8}And in 1970,
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{\an8}I found this script, Play Misty for Me.
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I actually found it in 1969,
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and I was just fascinated by it.
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- {\an8}I know
- That when he did Play Misty for Me...
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- ...he had gone to Lew Wasserman
- At Universal...
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- ...made a deal
- So he could direct his first movie.
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And he said, "Yeah, that's fine."
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And I was completely surprised.
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And my agent, Lenny Hirshan, was there
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with me, and he came to me and says:
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"Yeah, there's just one additional thing
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that they forgot to mention.
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They don't wanna pay you."
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To me, I said, "They shouldn't. They
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shouldn't pay me anything. I'll pay them."
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- I said, "They should make...
- I should have to prove myself."
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{\an8}-What do you want, Evelyn?
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{\an8}-One Coke.
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I'll tell you, tonight I'm really whipped.
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[GIGGLES]
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I think the first time
I knew Clint Eastwood
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beyond his iconic status...
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as an international matinee idol...
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- ...was when I saw Play Misty for Me
- For the first time.
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- And along with the rest of Hollywood,
- Clint was...
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Overnight, we all recognized Clint...
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you know,
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to be a fantastic filmmaker...
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- ...someone who is really a storyteller,
- Not just an actor...
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- ...whose job
- Was to tell someone else's stories.
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{\an8}With Don Siegel, he
started to get interested
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{\an8}in the other side of the camera.
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{\an8}You know, he really did
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{\an8}kind of watch Don Siegel a lot...
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- ...and learned the kind of basic craft
- Of making movies.
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- EASTWOOD:
- He was just a terrific guy.
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He didn't waver from his confidence.
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He liked what he liked and he moved on.
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If something wasn't working, if you offer
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something to improve the scene...
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he was the first guy to grab it.
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- He used to joke.
- He said, "Yeah, anybody.
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The janitor can come up to me and give me
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an idea. If it's good, I'll steal it."
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{\an8}They had a great relationship,
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{\an8}worked quite a few films together.
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And then Siegel was in Play Misty for Me
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and...
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I think as a bartender.
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- EASTWOOD: I gave Don a part
- Because I thought it would be fun.
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- I said, "Wouldn't you want to play
- This bartender?" He says, "I would.
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I'd like to do it, but you should just have
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a really good character actor do it."
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And I said, "No, no. I was kidding."
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Half kidding, maybe I was half serious too.
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I said, "You'll be better for it.
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- You have more understanding of actors
- For playing it.
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And I'll have you there
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in case anything goes wrong."
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I copied from Don Siegel,
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a technique that he used.
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I would write down all my notes
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on the opposite page...
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- ...and then I'd get it all planned out.
- I said, "I got this."
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I turned out the light, I'm sitting there,
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just almost going to sleep...
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I woke up, I said, "Wait a second.
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- I've gotta speak, I've gotta command,
- I've gotta be ready to go."
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- So I had to turn on the light,
- Sit back up...
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- ...go through it
- From a whole other perspective.
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Then I realized that this ain't gonna be
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an easy job doing both things.
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But then after a while,
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you get used to it.
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{\an8}Film the whole thing of this converging.
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{\an8}It'll start moving...
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I really don't understand how people direct
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and act at the same time.
251
00:09:42,882 --> 00:09:45,818
{\an8}And then to produce, direct and act...
252
00:09:46,252 --> 00:09:48,788
{\an8}...all at the same time
253
00:09:48,789 --> 00:09:51,324
{\an8}is a pretty daunting task.
254
00:09:51,424 --> 00:09:53,293
If you're an actor and start to direct,
255
00:09:53,294 --> 00:09:55,161
it must give you a great appreciation...
256
00:09:55,261 --> 00:09:57,096
for how hard the director's job is.
257
00:09:57,163 --> 00:09:59,232
If you're an actor,
you'd have to be an idiot
258
00:09:59,233 --> 00:10:01,300
not to know how hard a director's job is.
259
00:10:01,400 --> 00:10:02,401
You see that.
260
00:10:03,002 --> 00:10:06,238
- SWANK: It was interesting having
your co-star - also be your director.
261
00:10:06,639 --> 00:10:10,076
- It's nerve-racking just because he's Clint.
- He's an anomaly.
262
00:10:10,142 --> 00:10:12,144
{\an8}He's a legend.
263
00:10:12,244 --> 00:10:15,114
- {\an8}Hard at first because you're looking
- At Clint Eastwood.
264
00:10:15,748 --> 00:10:18,434
{\an8}And then you just get into your groove,
265
00:10:18,435 --> 00:10:21,120
{\an8}and I started seeing him as his character.
266
00:10:21,187 --> 00:10:23,155
Then he was also directing me.
267
00:10:23,255 --> 00:10:24,440
You don't even know
268
00:10:24,441 --> 00:10:25,625
you're being directed.
269
00:10:27,426 --> 00:10:28,628
Boss.
270
00:10:28,694 --> 00:10:30,696
That little house we talked about?
271
00:10:31,430 --> 00:10:32,865
I bought it.
272
00:10:32,965 --> 00:10:35,201
Well, smart girl.
273
00:10:35,301 --> 00:10:36,469
For my mama.
274
00:10:42,341 --> 00:10:43,442
Okay.
275
00:10:43,509 --> 00:10:46,429
His ability to see and watch
276
00:10:46,430 --> 00:10:49,348
while he's acting with me...
277
00:10:49,448 --> 00:10:52,518
is nothing short of astonishing.
278
00:10:52,618 --> 00:10:54,887
I never felt him directing me...
279
00:10:54,987 --> 00:10:57,690
- ...while we were acting in a
scene together, - except once.
280
00:10:57,790 --> 00:10:59,726
{\an8}A scene in the kitchen
281
00:10:59,727 --> 00:11:01,661
{\an8}talking about his exploits in Africa.
282
00:11:02,028 --> 00:11:03,763
{\an8}For an actor,
283
00:11:03,764 --> 00:11:05,498
{\an8}there's no more disconcerting feeling...
284
00:11:05,564 --> 00:11:08,501
- ...than knowing that the person
- You're in the scene with...
285
00:11:08,567 --> 00:11:10,803
has absented himself.
286
00:11:10,870 --> 00:11:12,672
He was watching the movie.
287
00:11:13,739 --> 00:11:14,807
[CHUCKLES]
288
00:11:15,207 --> 00:11:17,910
- He was watching me,
- But he wasn't in the scene with me.
289
00:11:18,010 --> 00:11:21,514
- I said something - because I
really had never felt that before.
290
00:11:21,580 --> 00:11:23,899
And he said, "You're right. You're right.
291
00:11:23,900 --> 00:11:26,218
It'll never happen again." It never did.
292
00:11:26,318 --> 00:11:28,371
{\an8}Directing a movie that he's in,
293
00:11:28,372 --> 00:11:30,423
{\an8}he understands the pitches...
294
00:11:30,523 --> 00:11:31,924
that he hits really well.
295
00:11:32,024 --> 00:11:33,726
And he sets himself up to succeed.
296
00:11:35,561 --> 00:11:39,065
{\an8}Girly, tough ain't enough.
297
00:11:39,165 --> 00:11:41,500
- SWANK: When people think of him,
- They think of the guy:
298
00:11:41,567 --> 00:11:43,245
- [IN RASPY VOICE]
- "Go ahead, make my day."
299
00:11:43,269 --> 00:11:46,238
- [IN NORMAL VOICE]
- You know, like coming out with guns and...
300
00:11:46,338 --> 00:11:48,441
Dirty Harry and...
301
00:11:49,775 --> 00:11:52,094
Yet Clint has one of the biggest hearts
302
00:11:52,095 --> 00:11:54,413
of anyone I know.
303
00:11:55,681 --> 00:11:57,233
{\an8}SPIELBERG: We were friends.
304
00:11:57,234 --> 00:11:58,784
{\an8}I just, one day, was with Clint.
305
00:11:58,884 --> 00:12:01,003
I said, "I've got this NBC series
306
00:12:01,004 --> 00:12:03,122
I'm doing called Amazing Stories and...
307
00:12:03,222 --> 00:12:04,724
{\an8}Scorsese is gonna direct one."
308
00:12:04,790 --> 00:12:06,592
{\an8}I gave him a list of the directors
309
00:12:06,593 --> 00:12:08,394
{\an8}I was trying to get, feature directors...
310
00:12:08,461 --> 00:12:10,930
to make these half-an-hour
311
00:12:10,931 --> 00:12:13,399
television anthological stories...
312
00:12:13,466 --> 00:12:14,951
and I offered him something
313
00:12:14,952 --> 00:12:16,435
that I had written myself...
314
00:12:16,535 --> 00:12:18,120
called Vanessa in the Garden.
315
00:12:18,121 --> 00:12:19,705
And he liked it.
316
00:12:19,772 --> 00:12:22,475
{\an8}And he mounted it and he directed it...
317
00:12:22,575 --> 00:12:24,610
and he cast my mother in it
318
00:12:24,611 --> 00:12:26,645
as a glorified extra.
319
00:12:26,746 --> 00:12:28,981
- One of the greatest things he did
- For my family.
320
00:12:29,081 --> 00:12:31,817
- Getting my mother on television
- For the first time.
321
00:12:31,917 --> 00:12:33,919
Only Clint Eastwood could do that.
322
00:12:33,986 --> 00:12:35,988
HARDEN: I don't think Clint takes himself
323
00:12:35,989 --> 00:12:37,990
so seriously.
324
00:12:38,090 --> 00:12:39,942
I think he takes the business seriously,
325
00:12:39,943 --> 00:12:41,794
but not himself seriously.
326
00:12:41,894 --> 00:12:44,347
JONES: Sometimes it was hard to get a take
327
00:12:44,348 --> 00:12:46,799
on the first because everybody's laughing.
328
00:12:46,899 --> 00:12:50,136
- And that's very important.
- That infuses the film with spirit.
329
00:12:50,236 --> 00:12:51,804
Even if it's a sad scene.
330
00:12:51,904 --> 00:12:53,506
{\an8}If everybody's having fun...
331
00:12:53,606 --> 00:12:56,742
{\an8}...then the audience is all the closer.
332
00:12:56,809 --> 00:12:58,310
I don't like contention.
333
00:12:58,410 --> 00:13:01,280
I don't like bells ringing, people yelling.
334
00:13:01,647 --> 00:13:03,415
I like everything to be smooth.
335
00:13:03,482 --> 00:13:06,318
- I think it should be...
- If it isn't fun, we shouldn't be there.
336
00:13:06,952 --> 00:13:10,022
- BACON: I'll never forget,
- We were doing a scene with a guy.
337
00:13:10,122 --> 00:13:12,158
I guess the guy was a little nervous,
338
00:13:12,159 --> 00:13:14,193
you know. He was a
little unsure of himself.
339
00:13:14,293 --> 00:13:17,196
- Clint took me aside, he said,
- "You know, sometimes it helps...
340
00:13:17,296 --> 00:13:19,031
if you could screw up a little bit.
341
00:13:19,032 --> 00:13:20,766
It might make the guy feel like:
342
00:13:20,833 --> 00:13:22,718
'If Kevin's screwing up, then anybody
343
00:13:22,719 --> 00:13:24,603
can screw up and I can do better.'"
344
00:13:24,670 --> 00:13:27,173
- And I was like,
- "Wow, that's a really interesting idea."
345
00:13:27,273 --> 00:13:29,075
So the next take, you know,
346
00:13:29,076 --> 00:13:30,876
I went in and I flubbed my line.
347
00:13:31,310 --> 00:13:33,162
And sure enough, the guy got better.
348
00:13:33,163 --> 00:13:35,014
He got stronger.
349
00:13:35,114 --> 00:13:36,816
And then I went in and did another take
350
00:13:36,817 --> 00:13:38,517
and flubbed my lines.
351
00:13:38,617 --> 00:13:40,986
- Clint said, - "Okay, that's
enough screwing up." Ha, ha.
352
00:13:41,487 --> 00:13:44,690
- HACKMAN: On Unforgiven, - it
occurred to me that there was a time...
353
00:13:44,790 --> 00:13:46,592
when a bunch of studio heads
354
00:13:46,593 --> 00:13:48,394
came up to the film...
355
00:13:48,494 --> 00:13:51,397
- ...and Clint had his helicopter up there
- In Canada.
356
00:13:51,497 --> 00:13:53,616
He had his pilot fly them down to the set.
357
00:13:53,617 --> 00:13:55,734
It was no big deal.
358
00:13:55,835 --> 00:13:57,903
They weren't pressuring you or anything.
359
00:13:58,003 --> 00:14:00,673
- When they called lunch,
- Clint looked at me, he says:
360
00:14:00,739 --> 00:14:02,808
"You wanna go for a ride?"
361
00:14:02,875 --> 00:14:05,010
And I said, "Yeah, sure."
362
00:14:05,077 --> 00:14:06,829
So we go out,
363
00:14:06,830 --> 00:14:08,581
and Clint was qualified in the helicopter.
364
00:14:08,681 --> 00:14:10,299
We both get in the helicopter.
365
00:14:10,300 --> 00:14:11,917
Ha-ha-ha.
366
00:14:12,017 --> 00:14:13,469
And through the front
367
00:14:13,470 --> 00:14:14,920
Plexiglas window...
368
00:14:15,020 --> 00:14:17,123
you could see
369
00:14:17,124 --> 00:14:19,225
the four or five studio types...
370
00:14:19,325 --> 00:14:22,595
standing there on the hill, you know:
371
00:14:22,695 --> 00:14:25,298
"What in the world?" You know,
372
00:14:25,299 --> 00:14:27,900
these two guys going up in this helicopter.
373
00:14:28,267 --> 00:14:29,401
I loved it.
374
00:14:29,501 --> 00:14:30,679
- MAN 1: All right.
- MAN 2: Back to one.
375
00:14:30,703 --> 00:14:32,383
- MAN 3: Drop half a step...
- MAN 4: Okay.
376
00:14:33,405 --> 00:14:34,473
{\an8}MAN 3:
377
00:14:34,474 --> 00:14:35,541
{\an8}Get ready, and go.
378
00:14:35,608 --> 00:14:37,326
The only time I ever saw him
379
00:14:37,327 --> 00:14:39,044
rouse himself...
380
00:14:39,111 --> 00:14:40,896
was when I heard...
381
00:14:40,897 --> 00:14:42,681
There was a slight noise outside...
382
00:14:43,282 --> 00:14:45,017
the kitchen where we were shooting
383
00:14:45,018 --> 00:14:46,752
Bridges of Madison County.
384
00:14:46,852 --> 00:14:49,488
Someone moving a truck, you know,
385
00:14:49,489 --> 00:14:52,124
just trying to anticipate his every need...
386
00:14:52,224 --> 00:14:54,760
down the lane, and he heard:
387
00:14:54,860 --> 00:14:56,562
[MUMBLES INCOHERENTLY]
388
00:14:57,529 --> 00:15:00,249
-And he just yelled.
389
00:15:00,250 --> 00:15:02,968
-I'd be terrified to see his temper.
390
00:15:03,068 --> 00:15:04,803
{\an8}Technical difficulty.
391
00:15:05,437 --> 00:15:07,039
{\an8}Holding up things.
392
00:15:07,106 --> 00:15:09,158
Something they couldn't get right
393
00:15:09,159 --> 00:15:11,210
and was holding him up.
394
00:15:11,777 --> 00:15:13,863
And his anger suddenly
395
00:15:13,864 --> 00:15:15,948
was like an explosion:
396
00:15:16,382 --> 00:15:17,750
"Fix it."
397
00:15:18,117 --> 00:15:20,670
That's the only time I've ever seen him
398
00:15:20,671 --> 00:15:23,222
get anywhere beyond placid.
399
00:15:23,289 --> 00:15:25,157
{\an8}I've seen his disappointment in people.
400
00:15:25,257 --> 00:15:26,959
{\an8}And when that happens,
401
00:15:26,960 --> 00:15:28,661
{\an8}I've seen the sort of...
402
00:15:28,761 --> 00:15:30,663
The icy side of him.
403
00:15:30,763 --> 00:15:32,632
And...
404
00:15:32,633 --> 00:15:34,500
I've seen him do that to somebody...
405
00:15:34,600 --> 00:15:36,168
and I just never want to be
406
00:15:36,169 --> 00:15:37,736
in that vision myself.
407
00:15:37,803 --> 00:15:40,806
When he yells, it so shocked everyone.
408
00:15:40,906 --> 00:15:43,342
We all had to go lie down. It was really...
409
00:15:45,077 --> 00:15:46,362
He doesn't question
410
00:15:46,363 --> 00:15:47,646
the choices he makes.
411
00:15:48,113 --> 00:15:50,866
He just had that sly confidence
412
00:15:50,867 --> 00:15:53,619
that this is gonna happen.
413
00:15:53,686 --> 00:15:55,404
I think that comes from the roles
414
00:15:55,405 --> 00:15:57,122
that he did over the years...
415
00:15:57,189 --> 00:15:58,958
before he decided to direct.
416
00:15:59,992 --> 00:16:01,711
{\an8}You're thinking,
417
00:16:01,712 --> 00:16:03,429
{\an8}"Did he fire six shots or only five?"
418
00:16:04,330 --> 00:16:07,666
- Now, to tell you the truth,
- I forgot myself in all this excitement.
419
00:16:07,766 --> 00:16:09,602
Clint came along with the right product,
420
00:16:09,603 --> 00:16:11,437
the right story, the right character.
421
00:16:11,503 --> 00:16:13,756
And I think the audience just really,
422
00:16:13,757 --> 00:16:16,008
like a magnet, attached itself to it.
423
00:16:16,108 --> 00:16:18,711
- {\an8}It's a fantastic character he created,
- And it's iconic.
424
00:16:18,811 --> 00:16:21,547
- And it's part of American lore,
- Cinematic lore.
425
00:16:21,647 --> 00:16:23,466
{\an8}It was crossing over a line,
426
00:16:23,467 --> 00:16:25,284
{\an8}caught a wave at the time.
427
00:16:25,851 --> 00:16:27,853
The kind of idea of lawmen
428
00:16:27,854 --> 00:16:29,855
as judge and jury.
429
00:16:30,522 --> 00:16:33,659
You have this extraordinary persona...
430
00:16:33,726 --> 00:16:38,564
that is also... In these films...
431
00:16:38,664 --> 00:16:41,534
going from the Leone pictures
432
00:16:41,535 --> 00:16:44,403
to Dirty Harry, also has a range.
433
00:16:44,503 --> 00:16:47,306
- He's got a range.
- You'd wanna see a Clint Eastwood picture.
434
00:16:47,373 --> 00:16:48,874
Didn't matter who directed it.
435
00:16:48,974 --> 00:16:50,676
You go see that persona,
436
00:16:50,677 --> 00:16:52,378
you wanna be in that presence.
437
00:16:52,478 --> 00:16:54,646
- SANTONI:
- I remember Don Siegel was sick.
438
00:16:54,713 --> 00:16:56,465
{\an8}They were shooting the scene
439
00:16:56,466 --> 00:16:58,217
{\an8}where there's a jumper.
440
00:16:59,018 --> 00:17:01,553
Clint ended up directing that sequence.
441
00:17:01,653 --> 00:17:03,238
The guy goes up on a...
442
00:17:03,239 --> 00:17:04,823
One of those telescopic cranes...
443
00:17:04,890 --> 00:17:06,725
to get the guy off and he talks him down
444
00:17:06,726 --> 00:17:08,560
in a rather unorthodox way.
445
00:17:08,660 --> 00:17:10,980
- HARRY: I'd just like your
name and address, - that's all.
446
00:17:11,030 --> 00:17:12,598
- -Why?
- -Well, like I said...
447
00:17:12,698 --> 00:17:14,767
it's such a mess down there afterwards.
448
00:17:14,768 --> 00:17:16,835
It makes identification impossible.
449
00:17:16,902 --> 00:17:18,637
Even if they find your driver's license,
450
00:17:18,638 --> 00:17:20,372
all that blood and everything.
451
00:17:20,939 --> 00:17:22,408
I think...
452
00:17:23,842 --> 00:17:26,512
I think I'm gonna puke.
453
00:17:26,578 --> 00:17:28,280
Oh, now, don't do that, son.
454
00:17:28,380 --> 00:17:30,082
All those people down there looking up.
455
00:17:30,083 --> 00:17:31,784
The fire chief looking up, his face:
456
00:17:31,884 --> 00:17:33,352
Heh, heh.
457
00:17:34,286 --> 00:17:37,923
You rotten bastard.
458
00:17:38,023 --> 00:17:39,992
HANCOCK: He's still
the guy that when you're
459
00:17:39,993 --> 00:17:41,960
with him, having lunch or whatever...
460
00:17:42,061 --> 00:17:44,630
people will, in equal measure, say:
461
00:17:44,730 --> 00:17:46,215
"There's Clint Eastwood,"
462
00:17:46,216 --> 00:17:47,699
as, "There's Dirty Harry."
463
00:17:47,766 --> 00:17:50,769
{\an8}Clint was so popular after that movie...
464
00:17:51,637 --> 00:17:53,939
- ...he probably could have been
- Elected president.
465
00:17:54,406 --> 00:17:56,809
To break through the molds of Rowdy Yates
466
00:17:56,810 --> 00:17:59,211
from Rawhide and then...
467
00:17:59,278 --> 00:18:01,947
And all the Sergio Leone pictures...
468
00:18:02,047 --> 00:18:04,650
and then his own, you know, triumph
469
00:18:04,651 --> 00:18:07,252
as a Western actor and director...
470
00:18:07,319 --> 00:18:09,054
with Outlaw Josey Wales which...
471
00:18:09,121 --> 00:18:12,124
- One of the most brilliant Westerns made,
- In my opinion.
472
00:18:13,158 --> 00:18:14,660
- HANCOCK:
- With Josey Wales...
473
00:18:14,760 --> 00:18:16,612
Clint had completely escaped
474
00:18:16,613 --> 00:18:18,464
the shadow of Leone, in some ways.
475
00:18:20,899 --> 00:18:23,135
- It's a story about a man
- Who lost his family.
476
00:18:24,803 --> 00:18:26,805
{\an8}EASTWOOD: To me, it was a sort of ultimate
477
00:18:26,806 --> 00:18:28,807
{\an8}man wronged kind of thing.
478
00:18:28,907 --> 00:18:30,676
- JOSEY'S WIFE:
- Josey!
479
00:18:31,343 --> 00:18:33,278
Josey!
480
00:18:34,179 --> 00:18:36,315
{\an8}The effects of war on this particular...
481
00:18:36,415 --> 00:18:38,284
{\an8}On everyone, but this particular individual
482
00:18:38,285 --> 00:18:40,152
{\an8}and betrayal...
483
00:18:40,252 --> 00:18:43,188
- ...to the point where he wants to become
- A total recluse.
484
00:18:43,288 --> 00:18:45,874
In Josey Wales, he tends to attract
485
00:18:45,875 --> 00:18:48,460
a group of ne'er-do-wells and misfits.
486
00:18:49,027 --> 00:18:50,646
That's kind of a recurring theme
487
00:18:50,647 --> 00:18:52,264
in some of Clint's movies.
488
00:18:52,998 --> 00:18:54,032
I was just wondering.
489
00:18:54,133 --> 00:18:56,385
I suppose that mangy redbone hound's
490
00:18:56,386 --> 00:18:58,637
got no place else to go either.
491
00:19:03,008 --> 00:19:06,011
Well, he might as well ride along with us.
492
00:19:06,111 --> 00:19:08,780
Hell, everybody else is.
493
00:19:09,148 --> 00:19:12,184
- FREEMAN:
- You listen to a lot of Clint's movies...
494
00:19:12,284 --> 00:19:15,304
there are things
that he's saying in there
495
00:19:15,305 --> 00:19:18,323
that are very pithy, deep.
496
00:19:18,390 --> 00:19:20,292
It's quintessential Clint...
497
00:19:20,359 --> 00:19:21,861
in terms of the character,
498
00:19:21,862 --> 00:19:23,362
in terms of the story.
499
00:19:25,697 --> 00:19:28,367
- Well, are you gonna pull those pistols
- Or whistle Dixie?
500
00:19:34,706 --> 00:19:36,859
I liked the saga of it,
501
00:19:36,860 --> 00:19:39,011
the movement of it, the traveling of it.
502
00:19:40,412 --> 00:19:43,015
- It was one of my favorite films
- That I've done.
503
00:19:43,081 --> 00:19:46,251
- It kind of breaks the trend of
- "And he rode off into the sunset."
504
00:19:46,351 --> 00:19:48,086
And I'm not sure, you know,
505
00:19:48,087 --> 00:19:49,821
if there was some inherent message...
506
00:19:49,888 --> 00:19:51,740
that the loner ultimately has to join
507
00:19:51,741 --> 00:19:53,592
for the world to succeed.
508
00:19:54,193 --> 00:19:56,195
It's for other people to judge the work...
509
00:19:56,261 --> 00:19:59,064
- ...and it's other people to judge
- Where I come from on it.
510
00:19:59,164 --> 00:20:01,066
It's more fun that way.
511
00:20:01,400 --> 00:20:03,268
Come out, everyone, actually.
512
00:20:03,368 --> 00:20:05,737
- ROBBINS: Despite the things
- Everybody knows about him...
513
00:20:05,837 --> 00:20:08,907
I think he's a pretty complicated guy.
514
00:20:09,007 --> 00:20:11,443
- I like the way he operates.
- And I wanna be...
515
00:20:11,543 --> 00:20:13,912
That's... I wanna be like Clint. Heh.
516
00:20:14,012 --> 00:20:16,682
Imagine that dude at a poker table, and...
517
00:20:16,748 --> 00:20:18,433
You know,
518
00:20:18,434 --> 00:20:20,118
it's the guy you know is gonna...
519
00:20:20,219 --> 00:20:22,254
That guy's wanna wind up
520
00:20:22,255 --> 00:20:24,289
with all the money in my pocket, I know it.
521
00:20:24,389 --> 00:20:25,657
Somehow...
522
00:20:25,658 --> 00:20:26,925
He's not saying a word.
523
00:20:27,025 --> 00:20:30,963
I think Clint is incapable of boredom.
524
00:20:31,063 --> 00:20:33,098
I don't think he's bored about anything.
525
00:20:33,198 --> 00:20:36,068
- Look what he's got.
- He's got Dina, he's got his kids...
526
00:20:36,134 --> 00:20:38,604
he's got his lifestyle,
he's got his art...
527
00:20:39,104 --> 00:20:40,405
and he's got his music.
528
00:20:40,472 --> 00:20:44,109
{\an8}And he loves musicians.
529
00:20:44,209 --> 00:20:45,744
[PLAYS JAZZ RIFF]
530
00:20:45,811 --> 00:20:47,546
And he loves singers. And he and I,
531
00:20:47,547 --> 00:20:49,281
for years, we've always sat around...
532
00:20:49,381 --> 00:20:51,734
talked around Billie Holliday
533
00:20:51,735 --> 00:20:54,086
and Ella Fitzgerald and Sarah Vaughan.
534
00:20:54,152 --> 00:20:55,821
I mean, that's his thing.
535
00:20:55,822 --> 00:20:57,489
He was a piano player for singers.
536
00:20:57,589 --> 00:20:59,424
He loves that.
537
00:20:59,491 --> 00:21:01,226
His love for jazz
538
00:21:01,227 --> 00:21:02,961
and the way he expressed it in Bird...
539
00:21:03,061 --> 00:21:05,280
and the way jazz has become
540
00:21:05,281 --> 00:21:07,499
a kind of leitmotif of a lot of his work.
541
00:21:07,599 --> 00:21:10,669
That is the greatest relaxer I can imagine
542
00:21:10,670 --> 00:21:13,739
anybody having in their lives.
543
00:21:13,805 --> 00:21:16,141
And music is such a wonderful way
544
00:21:16,142 --> 00:21:18,477
of just, I guess, chilling.
545
00:21:22,681 --> 00:21:24,921
- He'll collaborate with an orchestrator,
- A composer...
546
00:21:24,950 --> 00:21:27,452
- ...but the main themes
- Clint Eastwood writes himself.
547
00:21:27,519 --> 00:21:30,188
- COX:
- He wrote the theme for Unforgiven.
548
00:21:30,289 --> 00:21:31,690
You know, Mystic River,
549
00:21:31,691 --> 00:21:33,091
he wrote the whole score.
550
00:21:33,692 --> 00:21:35,194
He wrote the whole score
551
00:21:35,195 --> 00:21:36,695
for Million Dollar Baby...
552
00:21:36,795 --> 00:21:38,864
{\an8}...he wrote the whole score
553
00:21:38,865 --> 00:21:40,932
{\an8}for Flags of Our Fathers.
554
00:21:40,999 --> 00:21:42,768
Writing music for the movie
555
00:21:42,769 --> 00:21:44,536
is another way for him to say:
556
00:21:44,636 --> 00:21:47,506
- "Well, look, this is a personal movie.
- Not only did I...
557
00:21:47,606 --> 00:21:49,575
I didn't write the story,
558
00:21:49,576 --> 00:21:51,543
but I interpreted the story as a director.
559
00:21:51,643 --> 00:21:53,945
- Now I'm going to interpret the story
- Musically."
560
00:21:54,012 --> 00:21:56,248
As you read a script, see it realized,
561
00:21:56,249 --> 00:21:58,483
the better directors find the music in it.
562
00:21:58,550 --> 00:22:01,653
- They don't know the specific piece
- That they're going to use...
563
00:22:01,720 --> 00:22:05,174
but I think they get a pretty good idea
564
00:22:05,175 --> 00:22:08,627
of the mood or the tone.
565
00:22:09,161 --> 00:22:10,980
{\an8}BACON:
566
00:22:10,981 --> 00:22:12,798
{\an8}If you are a musician, certainly...
567
00:22:12,864 --> 00:22:15,217
{\an8}...and even if you have
a great appreciation
568
00:22:15,218 --> 00:22:17,569
{\an8}for music, it's sort of there...
569
00:22:17,669 --> 00:22:19,505
{\an8}...as you walk, as you talk, as you think,
570
00:22:19,506 --> 00:22:21,340
{\an8}in your moments of silence.
571
00:22:21,406 --> 00:22:23,442
There's some kind of interlude
572
00:22:23,443 --> 00:22:25,477
or some kind of score for your life...
573
00:22:25,544 --> 00:22:28,113
that's kind of like, you know,
574
00:22:28,114 --> 00:22:30,682
floating there in your subconscious.
575
00:22:30,749 --> 00:22:33,552
- And I think that that is
certainly the case - with him.
576
00:22:33,985 --> 00:22:36,855
- -It should go real fast: Boom, boom, boom.
- -Okay.
577
00:22:37,589 --> 00:22:40,058
You read this all the time
578
00:22:40,059 --> 00:22:42,527
that he's gotten better as a director...
579
00:22:43,095 --> 00:22:44,663
as he's gotten older.
580
00:22:44,730 --> 00:22:47,332
- SPIELBERG: As his filmmaking
- Has evolved and matured...
581
00:22:47,399 --> 00:22:49,034
his characters have matured
582
00:22:49,035 --> 00:22:50,669
and become more complicated.
583
00:22:50,736 --> 00:22:52,938
Mystic River comes to mind immediately.
584
00:22:53,505 --> 00:22:55,073
Unforgiven comes to mind...
585
00:22:55,173 --> 00:22:57,376
in the same sort of, you know,
586
00:22:57,377 --> 00:22:59,578
mental breadth as Mystic River.
587
00:22:59,678 --> 00:23:02,347
- {\an8}MAN:
- A camera mark, 548, take one. Mark.
588
00:23:03,615 --> 00:23:05,384
- EASTWOOD:
- It was an interesting project.
589
00:23:05,450 --> 00:23:06,868
I was looking for somebody
590
00:23:06,869 --> 00:23:08,286
to rewrite a script.
591
00:23:08,387 --> 00:23:10,472
A girl I knew on the lot here
592
00:23:10,473 --> 00:23:12,557
was a reader for Warner Bros.
593
00:23:12,624 --> 00:23:15,227
- She said, - "Well, if you
want a really good writer...
594
00:23:15,293 --> 00:23:17,329
you ought to read this story
595
00:23:17,330 --> 00:23:19,364
by David Peoples."
596
00:23:19,431 --> 00:23:21,600
{\an8}Option was running out.
597
00:23:21,933 --> 00:23:24,136
- {\an8}It was the day it ran out
- Or somewhere in there.
598
00:23:24,236 --> 00:23:26,138
We got this call from Clint Eastwood.
599
00:23:26,238 --> 00:23:28,774
I said, "Well, I'll take that."
600
00:23:29,408 --> 00:23:32,278
But this was 1985,
601
00:23:32,279 --> 00:23:35,147
and he bought the film outright.
602
00:23:35,247 --> 00:23:37,215
I didn't wanna do a Western at that time.
603
00:23:37,282 --> 00:23:39,968
I had done quite a few, and I felt
604
00:23:39,969 --> 00:23:42,654
I'd like to maybe sit on it for a while.
605
00:23:42,754 --> 00:23:44,706
Maybe it would be better to play
606
00:23:44,707 --> 00:23:46,658
this character when
I was a little bit older.
607
00:23:46,758 --> 00:23:49,828
- All of a sudden I see - he's
making this Western called Pale Rider.
608
00:23:49,928 --> 00:23:52,464
- I was disappointed
- He was making something different.
609
00:23:52,564 --> 00:23:53,732
I put it in a drawer...
610
00:23:53,799 --> 00:23:55,801
and went through the whole '80s
611
00:23:55,802 --> 00:23:57,803
without even thinking about it.
612
00:23:57,903 --> 00:24:00,272
I think I talked to him once or something
613
00:24:00,273 --> 00:24:02,641
about a rewrite on the telephone...
614
00:24:02,741 --> 00:24:04,743
and he said he was gonna get to it.
615
00:24:04,810 --> 00:24:07,329
1991, I took it out of the drawer
616
00:24:07,330 --> 00:24:09,848
and said, "It's..."
617
00:24:09,948 --> 00:24:12,034
And I reread it and fell in love with it
618
00:24:12,035 --> 00:24:14,119
all over again, and I said:
619
00:24:14,186 --> 00:24:15,854
"Yeah, this is time to do this."
620
00:24:15,954 --> 00:24:18,523
- He did want a couple of scenes
- Rewritten.
621
00:24:18,623 --> 00:24:21,760
And I wasn't crazy about the ideas...
622
00:24:21,827 --> 00:24:24,663
- ...but I was a little intimidated
- About the idea of...
623
00:24:24,763 --> 00:24:26,515
I can get pretty feisty, but I wasn't
624
00:24:26,516 --> 00:24:28,266
gonna be feisty with Clint Eastwood.
625
00:24:28,333 --> 00:24:29,701
I started rewriting things.
626
00:24:29,801 --> 00:24:31,887
And I found out the more I screwed with it,
627
00:24:31,888 --> 00:24:33,972
the worse it was getting.
628
00:24:34,039 --> 00:24:36,158
I said I'm doing what Siegel used to call
629
00:24:36,159 --> 00:24:38,276
"killing it with improvements."
630
00:24:38,343 --> 00:24:41,179
And this is just really good.
631
00:24:41,279 --> 00:24:44,115
- I don't know why
- I'm fiddling around with this.
632
00:24:44,182 --> 00:24:46,585
When he showed me this cut of the movie,
633
00:24:46,586 --> 00:24:48,987
I said, "Rewrites aren't there."
634
00:24:49,054 --> 00:24:51,156
- He said,
- "No, it was better the first time."
635
00:24:51,223 --> 00:24:54,459
And that I tremendously appreciated...
636
00:24:54,526 --> 00:24:57,029
because one of the
things in this business
637
00:24:57,030 --> 00:24:59,531
is things just get worse and worse...
638
00:24:59,631 --> 00:25:01,266
as you keep rewriting them,
639
00:25:01,267 --> 00:25:02,901
and nobody can ever stop, right?
640
00:25:03,001 --> 00:25:05,403
And he has that wonderful restraint.
641
00:25:10,909 --> 00:25:13,211
I think Unforgiven is one of my favorites.
642
00:25:13,311 --> 00:25:15,614
Unforgiven, that's the first
643
00:25:15,615 --> 00:25:17,916
Clint Eastwood movie I had ever seen.
644
00:25:18,016 --> 00:25:21,086
Unforgiven is a really classic movie.
645
00:25:21,186 --> 00:25:22,921
And I think that...
646
00:25:23,021 --> 00:25:24,790
It's interesting, but I
think great Westerns
647
00:25:24,791 --> 00:25:26,558
depend on their literacy...
648
00:25:26,658 --> 00:25:28,093
not on their gunfight.
649
00:25:28,193 --> 00:25:29,561
A compassionate heart...
650
00:25:29,661 --> 00:25:31,730
and a sensibility...
651
00:25:31,830 --> 00:25:34,383
{\an8}...that was not what you would imagine
652
00:25:34,384 --> 00:25:36,935
{\an8}as knee-jerk masculinity.
653
00:25:37,035 --> 00:25:38,670
An eye for an eye:
654
00:25:38,737 --> 00:25:40,038
[GROWLS]
655
00:25:40,105 --> 00:25:41,172
"Make my day."
656
00:25:42,541 --> 00:25:44,793
COX: He saw a different way of doing
657
00:25:44,794 --> 00:25:47,045
films and wanted do more serious films.
658
00:25:47,112 --> 00:25:48,747
He had done all the other films.
659
00:25:49,247 --> 00:25:50,549
As you get older, he says:
660
00:25:50,615 --> 00:25:52,451
"There comes a time in a man's life
661
00:25:52,452 --> 00:25:54,286
when he can't just beat up every person."
662
00:25:54,386 --> 00:25:56,305
You know, age-wise, where it's
663
00:25:56,306 --> 00:25:58,223
believable to the public.
664
00:25:58,290 --> 00:26:00,358
Yes, let's see what you do there, Richard.
665
00:26:00,425 --> 00:26:03,628
- EASTWOOD: As you mature in life
- In other areas, you mature in your work.
666
00:26:03,728 --> 00:26:05,730
- You should be learning
- And getting better.
667
00:26:05,797 --> 00:26:08,617
If you start getting worse,
668
00:26:08,618 --> 00:26:11,436
then you should maybe join AARP.
669
00:26:11,536 --> 00:26:12,537
[CHUCKLES]
670
00:26:13,371 --> 00:26:15,590
COX: Unforgiven was
671
00:26:15,591 --> 00:26:17,809
a changing film for Clint's career...
672
00:26:17,909 --> 00:26:19,478
for a lot of our careers
673
00:26:19,479 --> 00:26:21,046
that worked for him.
674
00:26:21,112 --> 00:26:23,632
Because the film got seven nominations,
675
00:26:23,633 --> 00:26:26,151
got four Academy Awards...
676
00:26:26,251 --> 00:26:28,620
and really the critics and the world
677
00:26:28,621 --> 00:26:30,989
looked at him doing films differently.
678
00:26:31,089 --> 00:26:32,791
That's not Dirty Harry...Wait, all right.
679
00:26:32,792 --> 00:26:34,492
It's okay, it's all right. Good.
680
00:26:34,593 --> 00:26:36,628
People grow. Ha, ha, ha.
681
00:26:36,728 --> 00:26:38,129
They continue to evolve.
682
00:26:38,229 --> 00:26:40,309
- COX: But the other films
- Were more genre films...
683
00:26:40,398 --> 00:26:43,401
- ...and we just went out in the days,
- 42 days, and shot them.
684
00:26:43,468 --> 00:26:45,337
And he did take more time with this...
685
00:26:45,437 --> 00:26:47,589
because I think he felt
686
00:26:47,590 --> 00:26:49,741
this might be the Western...
687
00:26:49,808 --> 00:26:51,309
that might be his career.
688
00:26:52,010 --> 00:26:54,212
FREEMAN: I got the job
689
00:26:54,213 --> 00:26:56,414
because he asked me to do it.
690
00:26:56,481 --> 00:26:59,084
He owns me from that moment on. Ha, ha.
691
00:26:59,517 --> 00:27:01,269
I got to Alberta and we met,
692
00:27:01,270 --> 00:27:03,021
we shook hands.
693
00:27:03,121 --> 00:27:04,689
It was like meeting an old friend.
694
00:27:05,156 --> 00:27:07,926
- And when we started working together,
- There was this...
695
00:27:07,993 --> 00:27:09,228
It was like putting on
696
00:27:09,229 --> 00:27:10,462
an old pair of shoes.
697
00:27:10,528 --> 00:27:12,914
I didn't like the idea of having to play
698
00:27:12,915 --> 00:27:15,300
a tough cop again, you know...
699
00:27:15,367 --> 00:27:19,471
and kind of a badass kind of a guy.
700
00:27:20,205 --> 00:27:22,774
- {\an8}You been talking about the queen
- Again?
701
00:27:23,708 --> 00:27:25,176
On Independence Day.
702
00:27:25,276 --> 00:27:26,544
[GRUNTS]
703
00:27:27,812 --> 00:27:29,214
Clint talked to him about it
704
00:27:29,215 --> 00:27:30,615
and said his idea was...
705
00:27:30,682 --> 00:27:33,518
- What he was gonna do with that
- Is be more character-driven.
706
00:27:33,618 --> 00:27:37,022
And Gene Hackman agreed to do it.
707
00:27:37,122 --> 00:27:39,224
- HACKMAN:
- I believed in him enough, finally...
708
00:27:39,324 --> 00:27:42,244
that I felt maybe he would find,
709
00:27:42,245 --> 00:27:45,163
and help me find, something to make it...
710
00:27:45,230 --> 00:27:46,631
Make the role interesting.
711
00:27:46,698 --> 00:27:48,300
And for Gene Hackman,
712
00:27:48,301 --> 00:27:49,901
it was a great move...
713
00:27:50,001 --> 00:27:52,504
- ...because he ended up
- Getting an Academy Award for it.
714
00:27:54,706 --> 00:27:57,676
You'd be William Munny out of Missouri.
715
00:27:57,742 --> 00:27:59,644
Killer of women and children.
716
00:28:00,245 --> 00:28:01,880
That's right.
717
00:28:03,682 --> 00:28:05,383
I've killed women and children.
718
00:28:07,185 --> 00:28:08,970
Killed just about everything that walks
719
00:28:08,971 --> 00:28:10,755
or crawled at one time or another.
720
00:28:10,855 --> 00:28:12,157
[THUNDER ROLLS]
721
00:28:12,223 --> 00:28:14,926
And I'm here to kill you, Little Bill...
722
00:28:15,760 --> 00:28:17,395
for what you did to Ned.
723
00:28:17,495 --> 00:28:19,864
SCORSESE: He's not afraid to have to
724
00:28:19,865 --> 00:28:22,233
take on a really horrible character...
725
00:28:23,001 --> 00:28:25,704
- ...and say,
- "Yes, that's me. That's who I am."
726
00:28:25,770 --> 00:28:28,740
- "You killed those women and children?"
- "That's right."
727
00:28:28,840 --> 00:28:30,041
[LAUGHING]
728
00:28:30,108 --> 00:28:31,543
"I'm gonna take you down."
729
00:28:31,609 --> 00:28:33,395
To take a, you know, Western
730
00:28:33,396 --> 00:28:35,180
in a different direction...
731
00:28:35,246 --> 00:28:37,549
making the hero a bad person.
732
00:28:37,615 --> 00:28:39,384
He knows... He doesn't wanna do it...
733
00:28:39,451 --> 00:28:41,486
because his wife used to
734
00:28:41,487 --> 00:28:43,521
really get upset about that.
735
00:28:43,588 --> 00:28:46,558
- And he really feels bad about it,
- But he's gotta do it.
736
00:28:48,893 --> 00:28:50,061
[GUN CLICKS]
737
00:28:52,630 --> 00:28:55,066
Misfire. Kill the son of a bitch.
738
00:29:03,475 --> 00:29:06,120
- SCORSESE: Coming out of
- The tradition of the American Western...
739
00:29:06,144 --> 00:29:08,747
- ...which reflected America
- In the first half of the century...
740
00:29:08,813 --> 00:29:12,050
he seems to be
tackling what is ultimately
741
00:29:12,051 --> 00:29:15,286
the truth about it in Unforgiven.
742
00:29:15,386 --> 00:29:18,957
There's a ruthlessness, you know.
743
00:29:19,057 --> 00:29:21,392
There's a ruthlessness involved.
744
00:29:21,459 --> 00:29:25,563
The individuality in order to survive.
745
00:29:26,831 --> 00:29:30,001
- HACKMAN: I came on the set one day
- And he said, "I got a problem."
746
00:29:30,101 --> 00:29:32,904
Yeah, if you hit this thing...
747
00:29:32,971 --> 00:29:34,639
For whatever reason,
748
00:29:34,640 --> 00:29:36,307
the scene that was scheduled...
749
00:29:36,407 --> 00:29:37,509
we couldn't do it.
750
00:29:37,609 --> 00:29:39,611
The actor didn't show up or something.
751
00:29:39,612 --> 00:29:41,613
I can't remember quite what it was.
752
00:29:41,679 --> 00:29:44,949
- So he says, "Can you go to scene 35?"
- You know, blah, blah, blah.
753
00:29:45,016 --> 00:29:47,452
And I said, "I haven't looked at it."
754
00:29:47,519 --> 00:29:49,954
So it was a couple of pages of dialogue.
755
00:29:50,021 --> 00:29:52,657
And I said, "Well, I'll try," you know.
756
00:29:52,757 --> 00:29:55,443
And he was so good about that
757
00:29:55,444 --> 00:29:58,129
because he had to do that scene that day...
758
00:29:58,196 --> 00:30:00,182
and he was so thoughtful
759
00:30:00,183 --> 00:30:02,167
and so understanding...
760
00:30:02,267 --> 00:30:04,352
of what an actor goes through
761
00:30:04,353 --> 00:30:06,437
when you're searching for lines...
762
00:30:06,504 --> 00:30:09,340
- ...and you do something unexpected
- Like that.
763
00:30:09,440 --> 00:30:11,876
I really, um... I really
loved him for that.
764
00:30:13,278 --> 00:30:15,513
- COX: I know
- That when we finished Unforgiven...
765
00:30:15,613 --> 00:30:18,950
- ...we walked back to our office,
- He sat down on that couch across me...
766
00:30:19,017 --> 00:30:22,020
- ...and he says, - "I hope we
have an audience for this film."
767
00:30:22,120 --> 00:30:24,072
Because I was so emotionally involved
768
00:30:24,073 --> 00:30:26,024
in it, I thought it was fantastic.
769
00:30:26,124 --> 00:30:28,793
- But somehow I didn't think
- Anybody else was gonna get it.
770
00:30:29,394 --> 00:30:31,296
And I was stunned at what he had done.
771
00:30:31,362 --> 00:30:32,964
{\an8}Exactly what I had written.
772
00:30:32,965 --> 00:30:34,566
{\an8}I was overwhelmed.
773
00:30:34,899 --> 00:30:37,235
But again I thought,
774
00:30:37,236 --> 00:30:39,571
"Poor Clint Eastwood, he made this movie.
775
00:30:39,671 --> 00:30:42,040
- Only the writer is gonna be the one
- Who likes it."
776
00:30:42,140 --> 00:30:44,493
I think Unforgiven will stand
777
00:30:44,494 --> 00:30:46,845
for a long time...
778
00:30:47,378 --> 00:30:50,548
as the last great Western.
779
00:30:51,082 --> 00:30:52,584
It was a long time
780
00:30:52,585 --> 00:30:54,085
before he made the movie.
781
00:30:54,185 --> 00:30:56,221
Ah, but it was worth the wait.
782
00:30:56,321 --> 00:30:59,524
It was just kind of one of those things
783
00:30:59,525 --> 00:31:02,727
where its destiny was to be in the '90s.
784
00:31:02,827 --> 00:31:05,030
As a filmmaker,
785
00:31:05,031 --> 00:31:07,232
he's like a High Plains Drifter.
786
00:31:07,866 --> 00:31:09,334
He's just drifting.
787
00:31:09,400 --> 00:31:12,103
- He just goes
- From experience to experience.
788
00:31:13,104 --> 00:31:15,206
He's not intellectual about:
789
00:31:15,273 --> 00:31:17,225
"I've gotta make a story in this genre,
790
00:31:17,226 --> 00:31:19,177
in this style."
791
00:31:19,244 --> 00:31:21,146
He waits for something to wash over him.
792
00:31:21,147 --> 00:31:23,047
He waits for a book, a script, an idea.
793
00:31:23,748 --> 00:31:26,228
- ROBBINS: That's the special thing,
- That's the good thing...
794
00:31:26,517 --> 00:31:28,186
the thing that should be lauded.
795
00:31:28,253 --> 00:31:30,138
You know,
796
00:31:30,139 --> 00:31:32,023
in a town that wants conformity...
797
00:31:32,090 --> 00:31:33,992
you know, a town that wants
798
00:31:33,993 --> 00:31:35,894
the same product repackaged...
799
00:31:35,960 --> 00:31:38,863
- ...that Clint has chosen the path
- He's chosen.
800
00:31:38,930 --> 00:31:41,065
- MAN: That's good.
- -We haven't seen that close-up.
801
00:31:41,132 --> 00:31:44,202
- BACON:
- I think that his films, to me...
802
00:31:44,269 --> 00:31:47,472
- ...purely as a viewer, not as an actor
- That's having worked with him...
803
00:31:47,572 --> 00:31:49,707
{\an8}...but just as a movie consumer...
804
00:31:49,774 --> 00:31:53,645
{\an8}...have a unexpected level...
805
00:31:53,745 --> 00:31:57,248
of depth and complexity...
806
00:31:57,315 --> 00:32:00,018
that somehow he is able to tap into
807
00:32:00,019 --> 00:32:02,720
again and again and again.
808
00:32:02,787 --> 00:32:04,589
Basically,
809
00:32:04,590 --> 00:32:06,391
you have trust your own feelings...
810
00:32:06,457 --> 00:32:08,443
your own instincts and your own taste
811
00:32:08,444 --> 00:32:10,428
in judging material...
812
00:32:10,495 --> 00:32:13,798
because that's all you have to go by.
813
00:32:13,898 --> 00:32:16,651
If you try to start pre-thinking
814
00:32:16,652 --> 00:32:19,404
what other people are
thinking, you're not...
815
00:32:19,470 --> 00:32:20,705
You're gonna get yourself
816
00:32:20,706 --> 00:32:21,940
in a real confused state.
817
00:32:22,273 --> 00:32:25,343
- You know, he's been a mayor,
- For Pete's sakes. He was an actor.
818
00:32:25,443 --> 00:32:27,145
He did spaghetti Westerns, Rawhide.
819
00:32:27,245 --> 00:32:29,948
- He does TV.
- His family just did a reality show.
820
00:32:30,014 --> 00:32:32,250
He directs all kinds of different films.
821
00:32:32,317 --> 00:32:35,353
He doesn't seem to say no.
822
00:32:35,453 --> 00:32:36,955
He seems to say, "Why not?"
823
00:32:37,522 --> 00:32:38,823
{\an8}Mark.
824
00:32:39,590 --> 00:32:41,192
- SPIELBERG:
- I bought the book...
825
00:32:41,292 --> 00:32:43,027
a popular book,
826
00:32:43,028 --> 00:32:44,762
on the bestseller list for years.
827
00:32:44,829 --> 00:32:47,966
- And we were looking for a director
- To tell the story...
828
00:32:48,032 --> 00:32:49,801
and my first choice was Clint.
829
00:32:51,502 --> 00:32:53,805
So, yeah, just go ahead.
830
00:32:53,871 --> 00:32:55,907
There was no real precedent to make it
831
00:32:55,908 --> 00:32:57,942
an easy choice for
me to just basically say:
832
00:32:58,009 --> 00:32:59,728
"Clint made a movie like this,
833
00:32:59,729 --> 00:33:01,446
so perhaps he'd like to make this one.
834
00:33:01,512 --> 00:33:03,881
- Since there are many connections,
- Similarities."
835
00:33:03,982 --> 00:33:07,218
- I don't think this was similar
- To anything he'd ever done before.
836
00:33:07,318 --> 00:33:08,853
For that reason, I went to him.
837
00:33:08,953 --> 00:33:11,156
And I was also hoping he'd agree
838
00:33:11,157 --> 00:33:13,358
to play Kincaid, the main character.
839
00:33:13,458 --> 00:33:15,393
Well, it was Clint's idea to cast Meryl.
840
00:33:15,493 --> 00:33:17,996
- When we sat around
- In our first couple of meetings...
841
00:33:18,062 --> 00:33:21,165
to decide who we were gonna get.
842
00:33:21,232 --> 00:33:23,351
Clint only had one
choice. He said, "I think
843
00:33:23,352 --> 00:33:25,470
I'd like to see what Meryl thinks of this."
844
00:33:25,536 --> 00:33:27,288
STREEP: I didn't know anything
845
00:33:27,289 --> 00:33:29,040
about it, except the books.
846
00:33:29,140 --> 00:33:30,809
You know, Romeo and Juliet
847
00:33:30,810 --> 00:33:32,477
was taken from an earlier source.
848
00:33:32,543 --> 00:33:34,679
- -That play, nobody remembers.
- MAN: Yeah.
849
00:33:34,746 --> 00:33:36,381
But it's what Shakespeare did
850
00:33:36,382 --> 00:33:38,016
with the same plot, same story.
851
00:33:38,383 --> 00:33:40,218
But it's just how you tell the story.
852
00:33:41,853 --> 00:33:44,522
{\an8}I was just picking you some flowers.
853
00:33:45,423 --> 00:33:46,657
Oh?
854
00:33:48,726 --> 00:33:50,428
Men still do that, don't they?
855
00:33:50,928 --> 00:33:52,663
I'm not out of date, am I?
856
00:33:52,730 --> 00:33:54,032
Picking flowers for a woman
857
00:33:54,033 --> 00:33:55,333
as a sign of appreciation?
858
00:33:55,400 --> 00:33:57,602
- No, not at all.
- Except those are poisonous.
859
00:33:58,603 --> 00:34:00,438
[LAUGHING]
860
00:34:01,172 --> 00:34:03,558
I think he saw an opportunity for himself
861
00:34:03,559 --> 00:34:05,943
to reveal something...
862
00:34:06,444 --> 00:34:08,012
that was another dimension
863
00:34:08,013 --> 00:34:09,580
to his fans...
864
00:34:09,680 --> 00:34:11,399
that already bought
865
00:34:11,400 --> 00:34:13,117
a certain character from him.
866
00:34:13,217 --> 00:34:15,303
I think he has very highly evolved
867
00:34:15,304 --> 00:34:17,388
both sides of his character.
868
00:34:17,455 --> 00:34:18,723
He has...
869
00:34:18,790 --> 00:34:20,792
I don't know
870
00:34:20,793 --> 00:34:22,794
if anybody else would agree with me...
871
00:34:23,761 --> 00:34:26,748
but he has a female sensibility
872
00:34:26,749 --> 00:34:29,734
in many ways.
873
00:34:30,935 --> 00:34:33,104
I don't wanna need you.
874
00:34:33,738 --> 00:34:34,939
What?
875
00:34:35,640 --> 00:34:38,042
Because I can't have you.
876
00:34:38,109 --> 00:34:40,745
I really didn't realize...
877
00:34:41,979 --> 00:34:43,765
how vulnerable he let himself be
878
00:34:43,766 --> 00:34:45,550
in that role.
879
00:34:45,616 --> 00:34:47,418
And that's not something you just unpack
880
00:34:47,419 --> 00:34:49,220
from your kit bag.
881
00:34:49,287 --> 00:34:51,489
That has to reside somewhere in you.
882
00:34:51,589 --> 00:34:54,008
And yet he has this image
883
00:34:54,009 --> 00:34:56,427
of the sort of über-man.
884
00:34:57,161 --> 00:34:58,763
- -Got you.
- -Oh!
885
00:34:59,130 --> 00:35:01,399
- STREEP:
- I think he's a harsh judge of himself.
886
00:35:01,466 --> 00:35:03,234
He sure was.
887
00:35:03,301 --> 00:35:05,787
And a little bit of it was, um, bullshit,
888
00:35:05,788 --> 00:35:08,272
you know.
889
00:35:08,339 --> 00:35:10,475
A little bit of it was just trying
890
00:35:10,476 --> 00:35:12,610
to make everybody feel at ease...
891
00:35:12,677 --> 00:35:15,413
after each take of his own.
892
00:35:15,480 --> 00:35:17,215
He'd say, "Well, that was adequate."
893
00:35:17,216 --> 00:35:18,950
You know, you... Ha, ha, ha.
894
00:35:20,017 --> 00:35:23,087
- There was a scene in the kitchen where...
- A big fight scene.
895
00:35:23,154 --> 00:35:24,556
He was at the counter
896
00:35:24,557 --> 00:35:25,957
and he turned away from me.
897
00:35:26,023 --> 00:35:29,193
And I could see he was really upset.
898
00:35:29,293 --> 00:35:31,696
The scene never made it into the film.
899
00:35:31,796 --> 00:35:33,464
And I said:
900
00:35:33,531 --> 00:35:36,000
"Why would you turn away
901
00:35:36,001 --> 00:35:38,469
the envelope...
902
00:35:38,536 --> 00:35:40,738
you know, that would come your way
903
00:35:40,739 --> 00:35:42,940
if you put this out?"
904
00:35:43,007 --> 00:35:45,143
I mean, it was a beautifully played scene.
905
00:35:45,710 --> 00:35:50,815
And he assessed it as not right.
906
00:35:51,883 --> 00:35:54,135
The director assessed it
907
00:35:54,136 --> 00:35:56,387
as not right for the film.
908
00:35:56,487 --> 00:35:59,273
Where the actor might have wanted
909
00:35:59,274 --> 00:36:02,059
all the accolades.
910
00:36:02,894 --> 00:36:04,695
And roll it.
911
00:36:04,795 --> 00:36:06,297
- MAN:
- Rolling. B.
912
00:36:06,364 --> 00:36:08,383
STREEP: For a man, especially
913
00:36:08,384 --> 00:36:10,401
a man who walks in our business...
914
00:36:10,501 --> 00:36:12,670
with the persona that he owns...
915
00:36:12,737 --> 00:36:15,339
to rip open his chest that way.
916
00:36:15,406 --> 00:36:17,725
But he felt, for the film,
917
00:36:17,726 --> 00:36:20,044
it was best that it not be there.
918
00:36:20,144 --> 00:36:24,815
That's a really seer
kind of intelligence...
919
00:36:24,882 --> 00:36:27,685
and willingness to be cold
920
00:36:27,686 --> 00:36:30,488
about your own work.
921
00:36:30,555 --> 00:36:32,056
Well, ego...
922
00:36:32,156 --> 00:36:34,525
Well, it kills all of us,
923
00:36:34,526 --> 00:36:36,894
certainly in terms of creativity.
924
00:36:36,994 --> 00:36:39,163
Because you have to let things go.
925
00:36:39,230 --> 00:36:41,365
Sometimes in letting something go...
926
00:36:41,432 --> 00:36:43,801
you find something really lovely
927
00:36:43,802 --> 00:36:46,170
and brilliant and creative.
928
00:36:46,237 --> 00:36:50,608
And it may not be something really big...
929
00:36:52,410 --> 00:36:54,011
but something will replace it.
930
00:36:54,078 --> 00:36:55,930
And he doesn't wanna miss
931
00:36:55,931 --> 00:36:57,782
that fresh moment...
932
00:36:57,882 --> 00:37:00,702
of anguish, humor, mistake
933
00:37:00,703 --> 00:37:03,521
that turns out to be fantastic.
934
00:37:03,588 --> 00:37:05,323
The stumble that you might do
935
00:37:05,324 --> 00:37:07,058
that says everything about your character.
936
00:37:07,124 --> 00:37:08,626
He loves that stuff.
937
00:37:08,960 --> 00:37:10,795
Once in a while you get a surge...
938
00:37:10,895 --> 00:37:12,630
you get a little surge
939
00:37:12,631 --> 00:37:14,365
of two or three scripts that...
940
00:37:14,432 --> 00:37:16,801
- And you think you would like to do
- All of them.
941
00:37:16,901 --> 00:37:18,970
In the early 2000s,
942
00:37:18,971 --> 00:37:21,038
as fast as I would
finish one picture, I'd...
943
00:37:21,105 --> 00:37:23,474
- Somebody would give me another script
- That I like.
944
00:37:23,574 --> 00:37:26,210
- So sometimes I'd be preparing one I like
- That I was do...
945
00:37:26,277 --> 00:37:29,080
- Editing one I also liked,
- And I kind of went through that.
946
00:37:29,146 --> 00:37:32,450
- When I was doing Mystic River,
- We were working in the editorial room.
947
00:37:32,550 --> 00:37:35,620
- At the same token, I'm reading
- Million Dollar Baby, I liked that.
948
00:37:35,720 --> 00:37:38,256
- I'm thinking,
- "Yeah, I'll do that. I'll do that next."
949
00:37:38,322 --> 00:37:39,640
So I'm preparing one
950
00:37:39,641 --> 00:37:40,958
as I'm starting another.
951
00:37:41,058 --> 00:37:43,561
- And I went through a little period
- Like that.
952
00:37:44,495 --> 00:37:46,631
The first reason to want to do Mystic River
953
00:37:46,632 --> 00:37:48,766
for me was Clint.
954
00:37:48,833 --> 00:37:50,635
I love the idea of directors who have
955
00:37:50,636 --> 00:37:52,436
a kind of continuity with their actors.
956
00:37:52,803 --> 00:37:54,739
- BACON:
- One thing that was really different...
957
00:37:54,805 --> 00:37:56,240
was that he expected
958
00:37:56,241 --> 00:37:57,675
all of the performers...
959
00:37:57,775 --> 00:38:00,778
to have done our homework...
960
00:38:00,845 --> 00:38:04,148
and to come to work ready to go.
961
00:38:04,248 --> 00:38:06,250
You're not gonna have rehearsal...
962
00:38:06,317 --> 00:38:08,136
and you're gonna maybe go through
963
00:38:08,137 --> 00:38:09,954
the same sort of process...
964
00:38:10,021 --> 00:38:12,523
that you've now come to expect.
965
00:38:13,157 --> 00:38:15,826
- You know,
- I'm gonna have endless conversations...
966
00:38:15,926 --> 00:38:18,929
- ...with the director or the writer
- About my character.
967
00:38:18,996 --> 00:38:21,465
And, you know, with Clint,
968
00:38:21,466 --> 00:38:23,934
you know, I had one conversation.
969
00:38:24,001 --> 00:38:25,887
He once came up to me and Laurence
970
00:38:25,888 --> 00:38:27,772
and said:
971
00:38:27,838 --> 00:38:30,341
"That's good, you guys. A little faster."
972
00:38:31,309 --> 00:38:33,845
And I was like, "Wow, I think
973
00:38:33,846 --> 00:38:36,380
that's the first piece of direction I got."
974
00:38:36,480 --> 00:38:39,650
- And that could have been the last.
- "A little faster."
975
00:38:39,717 --> 00:38:41,886
- Mystic River,
- It's even more impressive...
976
00:38:41,986 --> 00:38:43,738
because most everything you see in that
977
00:38:43,739 --> 00:38:45,489
is first take.
978
00:38:45,556 --> 00:38:47,692
Well, let's call it
creativity because that's...
979
00:38:47,693 --> 00:38:49,827
I think that's what it is.
980
00:38:49,894 --> 00:38:52,330
That's his form of creativity...
981
00:38:52,396 --> 00:38:55,666
- ...that he understands that many times
- On a first take...
982
00:38:55,733 --> 00:38:57,234
you'll get something fresh...
983
00:38:57,335 --> 00:39:00,304
- ...that you wouldn't get on take eight
- Or nine or whatever.
984
00:39:00,805 --> 00:39:02,974
There's real respect for imagination
985
00:39:02,975 --> 00:39:05,142
and the hard work.
986
00:39:05,743 --> 00:39:07,044
But there's no:
987
00:39:07,144 --> 00:39:09,580
"Let's just go again 12 more times
988
00:39:09,581 --> 00:39:12,016
just to see what happens."
989
00:39:12,083 --> 00:39:14,903
For certain kinds of actors,
990
00:39:14,904 --> 00:39:17,722
that's the best kind of vote of confidence.
991
00:39:17,822 --> 00:39:19,741
And so all of us,
992
00:39:19,742 --> 00:39:21,659
me and Sean and Kevin...
993
00:39:21,726 --> 00:39:24,395
and Laurence and Marcia Gay and Laura,
994
00:39:24,396 --> 00:39:27,064
we were scared.
995
00:39:27,164 --> 00:39:29,517
We didn't wanna be out there
996
00:39:29,518 --> 00:39:31,869
with that one take that sucked, you know.
997
00:39:32,370 --> 00:39:35,272
So we all practiced.
998
00:39:35,373 --> 00:39:36,841
When he wants one more take...
999
00:39:36,907 --> 00:39:39,910
- ...it's gonna cause tremendous panic
- In the room.
1000
00:39:40,010 --> 00:39:41,896
Five actors, but he wants one more take.
1001
00:39:41,897 --> 00:39:43,781
All probably looking at each other:
1002
00:39:43,881 --> 00:39:45,583
"What did I do? Was it me? Was it you?
1003
00:39:45,584 --> 00:39:47,284
Why does he want one more take?
1004
00:39:47,385 --> 00:39:49,086
He always walks away after two."
1005
00:39:49,186 --> 00:39:51,188
If Clint wants one more take...
1006
00:39:51,255 --> 00:39:53,758
- ...that third take,
- Everybody's gonna be the best...
1007
00:39:53,858 --> 00:39:56,694
- ...they've ever been in their careers
- To please him.
1008
00:39:56,761 --> 00:39:58,629
- POLICEMAN: Hey.
- -Is my daughter in there?
1009
00:39:58,729 --> 00:40:01,632
{\an8}Is that my daughter in there?
1010
00:40:01,732 --> 00:40:03,532
- SCORSESE:
- Mystic River is a very sad film.
1011
00:40:03,567 --> 00:40:06,804
- A dark world
- In which vengeance has to be taken.
1012
00:40:06,904 --> 00:40:09,373
It's like the tragedy of the every day.
1013
00:40:09,440 --> 00:40:11,542
- People's lives,
- The ones on the periphery...
1014
00:40:11,609 --> 00:40:13,377
the ones we don't hear about.
1015
00:40:14,812 --> 00:40:15,812
Get in.
1016
00:40:19,550 --> 00:40:21,051
Get inside.
1017
00:40:21,986 --> 00:40:24,755
- ROBBINS: I grew up in a tough
neighborhood - in New York City...
1018
00:40:24,822 --> 00:40:26,524
and that kind of situation
1019
00:40:26,525 --> 00:40:28,225
that Dave Boyle went through...
1020
00:40:28,292 --> 00:40:30,494
was omnipresent pretty much.
1021
00:40:31,896 --> 00:40:33,648
I had friends that had been molested
1022
00:40:33,649 --> 00:40:35,399
as kids.
1023
00:40:35,466 --> 00:40:38,569
- And you see the decay that happens
- From the start.
1024
00:40:38,636 --> 00:40:40,738
And ultimately a most terrific crime...
1025
00:40:40,805 --> 00:40:42,607
because it's a crime that visits itself
1026
00:40:42,608 --> 00:40:44,408
upon the victim...
1027
00:40:44,475 --> 00:40:46,977
over a course of his entire life.
1028
00:40:47,077 --> 00:40:49,313
In the case of Mystic River...
1029
00:40:49,680 --> 00:40:51,716
that's a transgression
1030
00:40:51,717 --> 00:40:53,751
that's incomprehensible.
1031
00:40:54,985 --> 00:40:57,555
HARDEN:
1032
00:40:57,556 --> 00:41:00,124
He lets you find what you wanna do.
1033
00:41:00,191 --> 00:41:02,426
You think you're doing it on your own...
1034
00:41:02,493 --> 00:41:04,378
but it's within in a
very clear structure
1035
00:41:04,379 --> 00:41:06,263
that he already has.
1036
00:41:06,630 --> 00:41:09,133
- BACON: One of the basic things
- That's great about him...
1037
00:41:09,200 --> 00:41:11,019
is that there's a lot of stuff
1038
00:41:11,020 --> 00:41:12,837
that we've gotten used to kind of doing...
1039
00:41:12,937 --> 00:41:15,273
over the years that are the ways
1040
00:41:15,274 --> 00:41:17,608
that we think movies have to be made.
1041
00:41:17,675 --> 00:41:19,410
And he has sort of cut away
1042
00:41:19,411 --> 00:41:21,145
a bunch of the crap.
1043
00:41:21,712 --> 00:41:23,831
STREEP: One of the secrets
1044
00:41:23,832 --> 00:41:25,950
of his being a really good director...
1045
00:41:26,016 --> 00:41:29,320
is married
1046
00:41:29,321 --> 00:41:32,623
to this, uh, seeming no pressure...
1047
00:41:32,690 --> 00:41:36,961
casual, easy-going is a deep prep.
1048
00:41:37,528 --> 00:41:39,463
He has imagined the scene.
1049
00:41:39,530 --> 00:41:41,565
He has scored it.
1050
00:41:41,665 --> 00:41:45,903
He has lit it in his mind.
1051
00:41:46,303 --> 00:41:49,073
- And all he doesn't know
- Is what's gonna happen in it.
1052
00:41:49,473 --> 00:41:51,258
ROBBINS: Efficiency is really something
1053
00:41:51,259 --> 00:41:53,043
we should all aim for.
1054
00:41:53,143 --> 00:41:55,145
- Unfortunately
- We all have in our minds...
1055
00:41:55,212 --> 00:41:58,099
that unless you suffer some kind
1056
00:41:58,100 --> 00:42:00,985
of consequence, it's not art, you know.
1057
00:42:02,219 --> 00:42:04,855
And I think Clint has proven that wrong.
1058
00:42:04,922 --> 00:42:06,741
One thing I'll never forget
1059
00:42:06,742 --> 00:42:08,559
is we were shooting a scene...
1060
00:42:08,659 --> 00:42:10,795
and Tom Stern is just a great cameraman.
1061
00:42:10,796 --> 00:42:12,930
He's worked with Clint for a long time.
1062
00:42:13,030 --> 00:42:16,166
- And there was very little lighting
- In the scene.
1063
00:42:16,233 --> 00:42:17,668
There was a practical lamp
1064
00:42:17,669 --> 00:42:19,103
sitting on a table.
1065
00:42:19,203 --> 00:42:21,238
I think there was maybe one other light.
1066
00:42:21,338 --> 00:42:23,607
And we walked in...
1067
00:42:23,707 --> 00:42:25,326
Clint take a look at the scene
1068
00:42:25,327 --> 00:42:26,944
we were about to play...
1069
00:42:27,945 --> 00:42:30,915
and he just went over and said...
1070
00:42:31,382 --> 00:42:34,685
And just turned off one of Tom's lamps.
1071
00:42:35,452 --> 00:42:37,404
Just one of those... Not practical lamp,
1072
00:42:37,405 --> 00:42:39,356
like the big lamps. He said, "Okay, roll."
1073
00:42:39,423 --> 00:42:42,293
And I saw Tom just like... you know.
1074
00:42:42,393 --> 00:42:44,695
And it just... It killed me...
1075
00:42:44,762 --> 00:42:46,164
because I thought,
1076
00:42:46,165 --> 00:42:47,565
you know, for his eye...
1077
00:42:48,032 --> 00:42:50,751
he knows what he needs
1078
00:42:50,752 --> 00:42:53,470
in terms of light in this scene.
1079
00:42:53,571 --> 00:42:55,690
I mostly thought to myself
1080
00:42:55,691 --> 00:42:57,808
to be a cameraman and work with him...
1081
00:42:57,908 --> 00:42:59,610
you've gotta say, "Okay, that's...
1082
00:42:59,611 --> 00:43:01,312
You know, that's what he wants."
1083
00:43:03,647 --> 00:43:05,382
At the end of the movie...
1084
00:43:05,449 --> 00:43:07,501
I got this kind of moment
1085
00:43:07,502 --> 00:43:09,553
where Sean Penn's character looks at me...
1086
00:43:09,620 --> 00:43:11,722
- ...he's across the street,
- There's a parade.
1087
00:43:11,789 --> 00:43:13,941
I said, "What is this?
1088
00:43:13,942 --> 00:43:16,093
What's going on here? What is this about?"
1089
00:43:16,160 --> 00:43:18,045
And he wouldn't tell me, you know.
1090
00:43:18,046 --> 00:43:19,930
He wouldn't tell me.
1091
00:43:20,431 --> 00:43:24,635
So... Which is fine because then I go:
1092
00:43:24,735 --> 00:43:27,404
"Okay. Well, if you're not gonna tell me...
1093
00:43:27,471 --> 00:43:28,773
then I'll just have
1094
00:43:28,774 --> 00:43:30,074
to make something up."
1095
00:43:30,507 --> 00:43:31,942
When I asked him, he said:
1096
00:43:32,009 --> 00:43:33,995
"That's gonna be up to the audience
1097
00:43:33,996 --> 00:43:35,980
to decide."
1098
00:43:36,080 --> 00:43:38,332
So when people have asked me that, I've
1099
00:43:38,333 --> 00:43:40,584
sort of respected that wish, you know...
1100
00:43:40,651 --> 00:43:42,987
- ...and said,
- "I guess I'll keep that to myself."
1101
00:43:43,087 --> 00:43:45,039
It's not too often that you are able
1102
00:43:45,040 --> 00:43:46,991
to take something like that...
1103
00:43:47,091 --> 00:43:49,960
- ...and, you know, just kind of hold it,
- You know, some...
1104
00:43:50,027 --> 00:43:51,528
I'm taking that to my grave.
1105
00:43:51,629 --> 00:43:52,730
When we got to the end
1106
00:43:52,731 --> 00:43:53,831
of Mystic River...
1107
00:43:53,931 --> 00:43:56,934
- ...it was supposed to be a nine-week shoot.
- It only took seven.
1108
00:43:57,001 --> 00:43:58,986
And I was really disappointed
1109
00:43:58,987 --> 00:44:00,971
that the movie was done.
1110
00:44:01,038 --> 00:44:02,790
I really wanted to... "Why can't we do
1111
00:44:02,791 --> 00:44:04,541
those extra two weeks?"
1112
00:44:04,642 --> 00:44:07,378
- Because it was so great
- And such a great experience...
1113
00:44:07,478 --> 00:44:08,963
and such a, you know,
1114
00:44:08,964 --> 00:44:10,447
kind of reinvention for me...
1115
00:44:10,514 --> 00:44:12,516
about the way you could make a film.
1116
00:44:14,818 --> 00:44:16,587
{\an8}GRAZER: The movie with Angelina Jolie,
1117
00:44:16,588 --> 00:44:18,355
{\an8}that was the first time I worked with him.
1118
00:44:18,455 --> 00:44:20,024
{\an8}I was scared to call him.
1119
00:44:20,124 --> 00:44:21,842
{\an8}Ron Howard and I were...
1120
00:44:21,843 --> 00:44:23,560
{\an8}We called him together.
1121
00:44:23,661 --> 00:44:26,730
- We were both on separate lines.
- I've never called Clint Eastwood.
1122
00:44:27,064 --> 00:44:29,500
- And I thought
- I've got to know him a little bit.
1123
00:44:29,566 --> 00:44:31,969
- There's some kind of tiny bond
- That we have.
1124
00:44:32,036 --> 00:44:33,921
So we called him, got him on the phone
1125
00:44:33,922 --> 00:44:35,806
and pitched him the movie.
1126
00:44:35,873 --> 00:44:38,192
And he said,
1127
00:44:38,193 --> 00:44:40,511
"Well, let me take a look at it."
1128
00:44:40,577 --> 00:44:42,313
And then a few weeks went by
1129
00:44:42,314 --> 00:44:44,048
and he called me...
1130
00:44:44,148 --> 00:44:46,650
- ...and I was actually
- At Steven Spielberg's house.
1131
00:44:46,717 --> 00:44:48,436
And he called me up through my office,
1132
00:44:48,437 --> 00:44:50,154
I got him on the cell...
1133
00:44:50,220 --> 00:44:52,723
and he said, "I think I'm interested."
1134
00:44:52,823 --> 00:44:55,159
- And I just thought...
- Got off the phone and I said:
1135
00:44:55,225 --> 00:44:57,828
- "Oh, my God,
- Ron, Steven, this is amazing.
1136
00:44:57,895 --> 00:44:59,714
Clint Eastwood's gonna direct it. I think
1137
00:44:59,715 --> 00:45:01,532
he's gonna direct a movie of mine."
1138
00:45:01,598 --> 00:45:03,200
And I was just really thrilled.
1139
00:45:03,267 --> 00:45:05,936
- Ron and I went out in the street,
- High-fived each other.
1140
00:45:06,036 --> 00:45:07,438
{\an8}Every day you learn something
1141
00:45:07,439 --> 00:45:08,839
{\an8}from Clint.
1142
00:45:08,906 --> 00:45:12,209
- {\an8}The way a set is run,
- The way a director can talk to people...
1143
00:45:12,276 --> 00:45:14,044
get performances out of people...
1144
00:45:14,111 --> 00:45:15,813
the way you cannot get bogged down
1145
00:45:15,814 --> 00:45:17,514
in details...
1146
00:45:17,581 --> 00:45:20,017
- ...that are not gonna make the movie
- Any better.
1147
00:45:20,084 --> 00:45:21,736
You watch him work
1148
00:45:21,737 --> 00:45:23,387
and it seems sort of simplistic.
1149
00:45:23,921 --> 00:45:26,957
It's just sort of a seductive diffidence.
1150
00:45:27,291 --> 00:45:30,628
He sits back
1151
00:45:30,629 --> 00:45:33,964
and doesn't seem that invested in judging.
1152
00:45:34,064 --> 00:45:36,700
It's freedom that you really wanna feel.
1153
00:45:36,767 --> 00:45:39,353
That's something that the actors feel,
1154
00:45:39,354 --> 00:45:41,939
and the crew does not feel that.
1155
00:45:42,039 --> 00:45:44,492
I'm just going to tell you,
1156
00:45:44,493 --> 00:45:46,944
the crew is in a different kind of vise.
1157
00:45:47,044 --> 00:45:49,713
Because he's so invested
1158
00:45:49,714 --> 00:45:52,382
in making the thing have momentum...
1159
00:45:52,449 --> 00:45:54,918
and move quickly and organically.
1160
00:45:54,985 --> 00:45:57,654
When he feels that he has the scene...
1161
00:45:58,422 --> 00:46:00,574
credibly, authentically made
1162
00:46:00,575 --> 00:46:02,726
by the actors...
1163
00:46:02,793 --> 00:46:05,212
he'll move on,
1164
00:46:05,213 --> 00:46:07,631
and it strikes terror into his crew.
1165
00:46:07,731 --> 00:46:10,484
And so they come
1166
00:46:10,485 --> 00:46:13,237
and they're on their very tiptoes...
1167
00:46:13,303 --> 00:46:15,506
- ...to be ready for anything
- That might happen.
1168
00:46:15,606 --> 00:46:18,526
{\an8}Clint has, for years,
1169
00:46:18,527 --> 00:46:21,445
{\an8}kept his crew together.
1170
00:46:21,779 --> 00:46:23,180
{\an8}And it's a familiarity.
1171
00:46:23,614 --> 00:46:27,017
It's also he knows what to expect.
1172
00:46:27,117 --> 00:46:28,886
He even says, "I hire the people
1173
00:46:28,887 --> 00:46:30,654
I feel are right for the jobs."
1174
00:46:30,754 --> 00:46:32,256
And he lets them do their job.
1175
00:46:32,322 --> 00:46:34,258
He gets out of the way is what he says.
1176
00:46:34,324 --> 00:46:36,193
- HAGGIS:
- He comes to the set...
1177
00:46:36,927 --> 00:46:38,596
usually they start around 9:00.
1178
00:46:38,597 --> 00:46:40,264
Everyone's prepared.
1179
00:46:40,330 --> 00:46:41,732
You got a good night's rest,
1180
00:46:41,733 --> 00:46:43,133
you do your work.
1181
00:46:43,200 --> 00:46:44,785
How are we going home by 2:00
1182
00:46:44,786 --> 00:46:46,370
in the afternoon?
1183
00:46:46,470 --> 00:46:47,805
How is that possible?
1184
00:46:47,871 --> 00:46:49,940
HARDEN: Clint cares about the people
1185
00:46:49,941 --> 00:46:52,009
with whom he's working.
1186
00:46:52,109 --> 00:46:54,111
It is a family.
1187
00:46:54,178 --> 00:46:56,680
- He really respects and admires and loves
- His crews.
1188
00:46:57,381 --> 00:46:59,517
HARDEN: He gets that a crew spends
1189
00:46:59,518 --> 00:47:01,652
12 to 13 to 14 to 15...
1190
00:47:02,052 --> 00:47:04,221
come on, 16, 20, whatever hours...
1191
00:47:04,655 --> 00:47:05,973
at the expense
1192
00:47:05,974 --> 00:47:07,291
of their own families.
1193
00:47:07,357 --> 00:47:09,326
So on Space Cowboys...
1194
00:47:09,693 --> 00:47:12,496
Friday, Clint would
have steak and lobster
1195
00:47:12,497 --> 00:47:15,299
for the crew from the catering...
1196
00:47:15,365 --> 00:47:17,067
and after lunch, you went home.
1197
00:47:17,167 --> 00:47:19,086
Well, I mean, we had to finish by 4 so
1198
00:47:19,087 --> 00:47:21,004
he could get on the golf course because...
1199
00:47:21,071 --> 00:47:22,206
[MAN CHUCKLING]
1200
00:47:22,306 --> 00:47:24,875
To get that one shot we can never get.
1201
00:47:24,975 --> 00:47:27,061
I was sitting in the trailer one day,
1202
00:47:27,062 --> 00:47:29,146
and it was lunch...
1203
00:47:29,213 --> 00:47:31,181
- ...one of the PAs came up,
- Said, "Lunch."
1204
00:47:31,248 --> 00:47:34,251
- And I thought they were gonna say,
- "What would you guys like?"
1205
00:47:34,351 --> 00:47:36,253
And instead, Clint said, "Let's go."
1206
00:47:36,353 --> 00:47:38,655
And there's a long lunch line...
1207
00:47:38,722 --> 00:47:40,774
and usually an actor or director
1208
00:47:40,775 --> 00:47:42,826
will go to their trailer...
1209
00:47:42,893 --> 00:47:44,895
and their food is brought to them
1210
00:47:44,896 --> 00:47:46,897
or already waiting for them.
1211
00:47:46,997 --> 00:47:49,499
- We walked over
- To where the catering trucks were...
1212
00:47:49,566 --> 00:47:50,901
and he picked up a tray.
1213
00:47:51,001 --> 00:47:53,103
And Clint was, you know, behind...
1214
00:47:53,104 --> 00:47:55,205
I don't know, 20 people.
1215
00:47:55,272 --> 00:47:57,491
And he wouldn't even think
1216
00:47:57,492 --> 00:47:59,710
of cutting in front of anybody.
1217
00:47:59,776 --> 00:48:01,278
I just thought:
1218
00:48:02,112 --> 00:48:04,565
"Oh, that's why he gets people
1219
00:48:04,566 --> 00:48:07,017
to work with him...
1220
00:48:07,084 --> 00:48:08,585
time and time again."
1221
00:48:08,685 --> 00:48:11,355
- He's like,
- "They gotta eat too. We're all eating."
1222
00:48:11,421 --> 00:48:12,656
There's no bodyguards,
1223
00:48:12,657 --> 00:48:13,891
there's no coterie...
1224
00:48:13,957 --> 00:48:15,893
there's no pomp and circumstance.
1225
00:48:15,959 --> 00:48:17,744
It said so much in that one moment
1226
00:48:17,745 --> 00:48:19,529
about who he is.
1227
00:48:22,232 --> 00:48:25,035
- {\an8}You're wasting your time.
- I told you I don't train girls.
1228
00:48:25,102 --> 00:48:27,037
I thought you might change your mind.
1229
00:48:27,104 --> 00:48:29,073
There's dozens of trainers who train girls.
1230
00:48:29,074 --> 00:48:31,041
You won't any have trouble finding one.
1231
00:48:31,108 --> 00:48:33,410
- I don't hardly need a dozen, boss,
- You'll do fine.
1232
00:48:33,977 --> 00:48:36,947
I remember reading it and...
1233
00:48:37,047 --> 00:48:38,983
From page one to the end,
1234
00:48:38,984 --> 00:48:40,918
I thought it was perfect.
1235
00:48:41,718 --> 00:48:43,770
Later into the process, I heard that Clint
1236
00:48:43,771 --> 00:48:45,822
was not only wanting to star in it...
1237
00:48:45,923 --> 00:48:47,291
but wanting to direct it.
1238
00:48:47,391 --> 00:48:50,227
And I was asked to take a meeting.
1239
00:48:50,560 --> 00:48:52,663
We sat and we talked for about an hour.
1240
00:48:52,763 --> 00:48:55,565
- Uh, we talked about the movie,
- We talked about my background...
1241
00:48:55,632 --> 00:48:57,234
he asked if I was an athlete.
1242
00:48:57,301 --> 00:48:59,970
- We chatted a bit about Mystic River
- Which was...
1243
00:49:00,070 --> 00:49:01,905
Had just gotten nominated.
1244
00:49:01,972 --> 00:49:04,058
I remember actually something he said at
1245
00:49:04,059 --> 00:49:06,143
that time which has always stayed with me.
1246
00:49:06,243 --> 00:49:08,812
I congratulated him, and he said:
1247
00:49:08,912 --> 00:49:12,015
- "You always aim for the bull's-eye,
- But you don't always hit it.
1248
00:49:12,115 --> 00:49:15,652
So it's a nice thing when it works out."
1249
00:49:15,752 --> 00:49:19,589
And at the end of the meeting, he said:
1250
00:49:19,656 --> 00:49:21,968
- [IMITATING CLINT EASTWOOD]
- "Well, you better start training."
1251
00:49:21,992 --> 00:49:23,894
{\an8}MAN: She's gonna be boxing with me.
1252
00:49:23,895 --> 00:49:25,796
{\an8}-She'll come in and
then she'll punch you...
1253
00:49:25,862 --> 00:49:26,997
Move around a bit.
1254
00:49:27,097 --> 00:49:29,537
- HAGGIS: If anyone else had directed
- Million Dollar Baby...
1255
00:49:31,335 --> 00:49:33,103
{\an8}...it wouldn't have got much notice.
1256
00:49:33,170 --> 00:49:35,489
Everybody has their own ideas
1257
00:49:35,490 --> 00:49:37,808
about what a movie should be.
1258
00:49:37,874 --> 00:49:40,127
And I suppose executives here or elsewhere
1259
00:49:40,128 --> 00:49:42,379
have ideas...
1260
00:49:42,479 --> 00:49:43,847
about what the studio
1261
00:49:43,848 --> 00:49:45,215
should be making.
1262
00:49:45,315 --> 00:49:47,601
There were several pictures in a row there
1263
00:49:47,602 --> 00:49:49,886
that the studio here had doubts about.
1264
00:49:49,987 --> 00:49:51,955
And one of them was Million Dollar Baby.
1265
00:49:53,190 --> 00:49:54,291
- MAN:
- Yeah. Get in there.
1266
00:49:54,358 --> 00:49:56,126
- HAGGIS:
- It's a boxing movie.
1267
00:49:56,493 --> 00:49:58,662
It's a girl boxing movie.
1268
00:49:58,729 --> 00:50:00,431
A girl boxing movie about a woman
1269
00:50:00,432 --> 00:50:02,132
who wants to kill herself in the end.
1270
00:50:02,199 --> 00:50:03,834
I mean, who would see that film?
1271
00:50:03,900 --> 00:50:05,702
But make it a Clint Eastwood movie
1272
00:50:05,703 --> 00:50:07,504
and people are really curious.
1273
00:50:08,572 --> 00:50:10,683
- EASTWOOD: - It could have
easily been a terrible flop.
1274
00:50:10,707 --> 00:50:13,076
All movies can easily be a terrible flop.
1275
00:50:13,176 --> 00:50:15,679
And good movies don't always do well
1276
00:50:15,680 --> 00:50:18,181
and bad movies sometimes do great.
1277
00:50:18,248 --> 00:50:21,184
- So there's no rule.
- There's no rule you can follow.
1278
00:50:21,251 --> 00:50:22,986
Everybody thinks there's a rule...
1279
00:50:23,053 --> 00:50:25,255
- ...and everybody thinks
- They've got the answer.
1280
00:50:25,355 --> 00:50:27,557
But nobody has the answer.
1281
00:50:28,692 --> 00:50:30,927
- MAGGIE:
- You got any family, boss?
1282
00:50:31,495 --> 00:50:33,830
Well, I've got a daughter, Katie.
1283
00:50:34,664 --> 00:50:35,766
That's family.
1284
00:50:36,733 --> 00:50:38,769
We're not exactly close.
1285
00:50:38,869 --> 00:50:40,621
EASTWOOD: I approached it
1286
00:50:40,622 --> 00:50:42,372
like it was a father-daughter love story.
1287
00:50:42,439 --> 00:50:44,591
It was the daughter he never had
1288
00:50:44,592 --> 00:50:46,743
and the father she never had.
1289
00:50:46,843 --> 00:50:49,243
- SWANK: Actually,
- It makes me emotional taking about it...
1290
00:50:49,279 --> 00:50:51,265
because it's exactly how
1291
00:50:51,266 --> 00:50:53,250
our relationship evolved...
1292
00:50:53,350 --> 00:50:58,955
as director-actor, actor...
1293
00:50:59,423 --> 00:51:01,358
And then how it built into a friendship.
1294
00:51:01,892 --> 00:51:03,593
- EASTWOOD:
- She was successful...
1295
00:51:03,693 --> 00:51:06,163
but also had caused the tragedy
1296
00:51:06,164 --> 00:51:08,632
the picture eventually takes on.
1297
00:51:21,778 --> 00:51:24,548
We didn't shoot in... Right in order...
1298
00:51:24,614 --> 00:51:27,050
- ...but we did do the hospital stuff
- At the end.
1299
00:51:27,117 --> 00:51:30,120
- Which was good because
- That's when my body was deteriorating...
1300
00:51:30,220 --> 00:51:31,888
and I stopped training.
1301
00:51:31,955 --> 00:51:34,291
I'm gonna disconnect your air machine...
1302
00:51:35,292 --> 00:51:36,760
then you're gonna go to sleep.
1303
00:51:37,761 --> 00:51:40,497
Then I'll give you a shot
1304
00:51:40,498 --> 00:51:43,233
and you'll stay asleep.
1305
00:51:43,300 --> 00:51:45,619
And just at that point, we had gotten
1306
00:51:45,620 --> 00:51:47,938
to this closeness in our relationship...
1307
00:51:48,004 --> 00:51:50,841
that I think helped with all of that...
1308
00:51:50,941 --> 00:51:53,610
- ...and Clint has a very special place
- In my heart.
1309
00:51:55,479 --> 00:51:59,116
Mo cuishle means my darling.
1310
00:51:59,182 --> 00:52:00,617
My blood.
1311
00:52:00,951 --> 00:52:02,553
You know, in this world,
1312
00:52:02,554 --> 00:52:04,154
we need people who believe in us.
1313
00:52:04,988 --> 00:52:07,291
And Clint believed in me
1314
00:52:07,292 --> 00:52:09,593
just like Frankie believed in Maggie.
1315
00:52:09,659 --> 00:52:11,862
And he gave me that gift.
1316
00:52:11,962 --> 00:52:14,998
And it was an extraordinary feeling...
1317
00:52:15,098 --> 00:52:17,601
- ...to have that support, that confidence
- Behind you.
1318
00:52:17,667 --> 00:52:19,436
If I had to be done tomorrow
1319
00:52:19,437 --> 00:52:21,204
and I could never do it again...
1320
00:52:21,304 --> 00:52:23,073
having the experience with him
1321
00:52:23,074 --> 00:52:24,841
would make it okay.
1322
00:52:26,343 --> 00:52:29,279
- SPIELBERG:
- He'll read a script and he'll say, um:
1323
00:52:29,346 --> 00:52:31,848
- "Yeah, this could be an interesting
- Little picture."
1324
00:52:31,948 --> 00:52:34,151
- Give him something,
- He'll read it right away.
1325
00:52:34,217 --> 00:52:37,587
Which is really not something you can
1326
00:52:37,588 --> 00:52:40,957
easily say about most gigantic filmmakers.
1327
00:52:41,024 --> 00:52:43,059
- They don't really know
- If they wanna do it.
1328
00:52:43,160 --> 00:52:46,496
- You could wait months and years
- To find out if they really wanna do it.
1329
00:52:46,563 --> 00:52:49,733
- Clint Eastwood tells you, pretty
early on, - you're in or you're out.
1330
00:52:49,833 --> 00:52:51,501
Maybe I'm a little more decisive.
1331
00:52:51,568 --> 00:52:54,221
I think that happens
1332
00:52:54,222 --> 00:52:56,873
as you get more miles on the trail.
1333
00:52:56,973 --> 00:53:00,243
- There isn't a gray area - where
you're gonna talk him into anything.
1334
00:53:00,343 --> 00:53:03,480
- And the older you get,
- I think there's something about...
1335
00:53:03,547 --> 00:53:06,049
- You get to a certain age and
- What can they do to you?
1336
00:53:06,149 --> 00:53:07,918
Not much. Heh, heh.
1337
00:53:08,018 --> 00:53:10,170
I mean, I wish I had that
1338
00:53:10,171 --> 00:53:12,322
low-stress approach to finding material.
1339
00:53:12,389 --> 00:53:15,525
- In the case of Gran Torino,
- From the point he said, "I like it"...
1340
00:53:15,592 --> 00:53:18,495
- ...to the point it was on movie screens
- Was less than a year.
1341
00:53:18,562 --> 00:53:20,080
Which could be a record
1342
00:53:20,081 --> 00:53:21,598
for a studio picture.
1343
00:53:21,698 --> 00:53:23,200
Get off my lawn.
1344
00:53:23,266 --> 00:53:24,568
Listen, old man...
1345
00:53:24,668 --> 00:53:27,837
I said get off my lawn now.
1346
00:53:27,904 --> 00:53:30,440
- I'm not gonna say it again.
- Go in the freaking house.
1347
00:53:30,540 --> 00:53:32,459
I go in that house
1348
00:53:32,460 --> 00:53:34,377
after I've blown a hole in your head.
1349
00:53:34,444 --> 00:53:36,913
And I sleep like a baby.
1350
00:53:37,013 --> 00:53:39,082
- He doesn't want anything to do
- With anybody.
1351
00:53:39,182 --> 00:53:41,851
- Especially people
- That are different than he is.
1352
00:53:41,918 --> 00:53:44,404
He's a guy who is very, very disturbed
1353
00:53:44,405 --> 00:53:46,890
about the way culture's gone.
1354
00:53:46,957 --> 00:53:49,910
He's had a loss in the family
1355
00:53:49,911 --> 00:53:52,862
and he's estranged from his grown children.
1356
00:53:52,929 --> 00:53:54,815
And he's... He doesn't like the way
1357
00:53:54,816 --> 00:53:56,700
the neighborhoods have changed.
1358
00:53:56,766 --> 00:53:59,102
This character seemed
1359
00:53:59,103 --> 00:54:01,438
like the same age as I am.
1360
00:54:01,538 --> 00:54:04,040
- I'm not the same curmudgeonly.
- I'm not quite as...
1361
00:54:04,774 --> 00:54:07,410
I'm not quite as negative
1362
00:54:07,411 --> 00:54:10,046
as the character.
1363
00:54:10,113 --> 00:54:13,283
- It's always interesting to me,
- As people get older, the work they do.
1364
00:54:13,883 --> 00:54:16,086
There's a different rhythm.
1365
00:54:16,087 --> 00:54:18,288
The writer, the actors and him.
1366
00:54:19,289 --> 00:54:21,358
EASTWOOD: I think some movies
1367
00:54:21,359 --> 00:54:23,426
exceed your expectations...
1368
00:54:23,493 --> 00:54:25,162
and others disappoint
1369
00:54:25,163 --> 00:54:26,830
your expectations.
1370
00:54:26,930 --> 00:54:28,965
If you fail on your own terms...
1371
00:54:29,065 --> 00:54:31,117
then at least you fail
1372
00:54:31,118 --> 00:54:33,169
with your heads held high.
1373
00:54:33,270 --> 00:54:35,672
But if you fail on somebody else's terms,
1374
00:54:35,673 --> 00:54:38,074
you're gonna hate yourself forever.
1375
00:54:39,409 --> 00:54:41,511
Invictus, I thought more people
1376
00:54:41,512 --> 00:54:43,613
would know about Nelson Mandela...
1377
00:54:43,680 --> 00:54:45,515
be interested in Nelson Mandela...
1378
00:54:45,615 --> 00:54:48,118
- ...and how he governed
- When he took over the country.
1379
00:54:48,184 --> 00:54:50,687
- Which is an interesting lesson
- In today's world.
1380
00:54:51,488 --> 00:54:53,724
Generations pass
1381
00:54:53,725 --> 00:54:55,959
and they forget all about him.
1382
00:54:57,027 --> 00:54:58,962
At least Americans do.
1383
00:54:59,029 --> 00:55:00,814
But Americans move on fast
1384
00:55:00,815 --> 00:55:02,599
to other things. Heh.
1385
00:55:05,035 --> 00:55:06,904
Now push it forward to him. Push it.
1386
00:55:06,905 --> 00:55:08,772
There you go.
1387
00:55:08,838 --> 00:55:11,241
If the stories are becoming
1388
00:55:11,242 --> 00:55:13,643
more complicated, the style doesn't.
1389
00:55:13,710 --> 00:55:14,711
That's the difference.
1390
00:55:15,211 --> 00:55:17,614
If he's searching for more in a story...
1391
00:55:17,681 --> 00:55:20,216
- ...I mean, he still has the ability
- To hold back...
1392
00:55:20,317 --> 00:55:22,852
not be intrusive to the image.
1393
00:55:22,952 --> 00:55:25,722
- Other directors are intrusive
- To the image, it's wonderful.
1394
00:55:25,822 --> 00:55:27,624
This guy just doesn't wanna do that.
1395
00:55:27,691 --> 00:55:29,326
The style's in the same way.
1396
00:55:29,392 --> 00:55:31,528
Ultimately that leads to the film
1397
00:55:31,529 --> 00:55:33,663
that he made last year which is J. Edgar.
1398
00:55:35,165 --> 00:55:36,833
Blow it down.
1399
00:55:37,801 --> 00:55:39,653
GRAZER: Well, on J.
Edgar, what I did is I...
1400
00:55:39,654 --> 00:55:41,504
I'd already had a relationship with him...
1401
00:55:41,571 --> 00:55:44,207
because I'd produced the Changeling.
1402
00:55:44,307 --> 00:55:47,310
{\an8}And I felt that we had a bond...
1403
00:55:47,377 --> 00:55:48,862
{\an8}...and that he trusted me,
1404
00:55:48,863 --> 00:55:50,347
{\an8}you know, just man to man.
1405
00:55:50,880 --> 00:55:52,932
I felt Clint might be interested
1406
00:55:52,933 --> 00:55:54,984
because it was an era that he knows.
1407
00:55:55,051 --> 00:55:57,270
It's about power dynamics,
1408
00:55:57,271 --> 00:55:59,489
it's about a complicated man.
1409
00:56:00,390 --> 00:56:03,526
- Mr. Chairman,
- I urge passage of the Lindbergh Law.
1410
00:56:03,593 --> 00:56:06,329
Making kidnapping a federal offense...
1411
00:56:06,396 --> 00:56:08,281
to immediately deliver all fingerprints
1412
00:56:08,282 --> 00:56:10,166
in this country to my office...
1413
00:56:10,233 --> 00:56:13,036
so that we may create a central file...
1414
00:56:13,103 --> 00:56:15,038
to help arm our agents...
1415
00:56:15,105 --> 00:56:16,990
so that they have a fighting chance
1416
00:56:16,991 --> 00:56:18,875
against the submachine guns...
1417
00:56:18,942 --> 00:56:21,328
of some of the most dangerous characters
1418
00:56:21,329 --> 00:56:23,713
in the history of American criminality.
1419
00:56:23,780 --> 00:56:26,950
It's also sort of an
American tragedy as well
1420
00:56:26,951 --> 00:56:30,120
because J. Edgar created, formed the FBI...
1421
00:56:30,220 --> 00:56:33,723
and he died a very lonely death.
1422
00:56:33,790 --> 00:56:36,526
You know, for me it's like
1423
00:56:36,527 --> 00:56:39,262
Pablo Casals playing cello...
1424
00:56:39,362 --> 00:56:41,898
- ...in a room by himself
- Towards the end of his life...
1425
00:56:41,965 --> 00:56:44,100
that's how it sort of enveloped me.
1426
00:56:44,200 --> 00:56:46,403
It went into his very essence,
1427
00:56:46,404 --> 00:56:48,605
his being, in a way.
1428
00:56:48,705 --> 00:56:50,307
And it was very subversive
1429
00:56:50,308 --> 00:56:51,908
because of that.
1430
00:56:51,975 --> 00:56:55,278
- It sucked you in. Before you realize,
- You didn't wanna leave...
1431
00:56:55,378 --> 00:56:57,981
- ...but you don't like the guy,
- But you're not leaving.
1432
00:56:58,882 --> 00:57:01,718
- {\an8}I've been with the department
- Of the bureau for seven years.
1433
00:57:01,785 --> 00:57:02,786
Almost as long as you.
1434
00:57:03,720 --> 00:57:05,155
No.
1435
00:57:05,255 --> 00:57:07,424
You were with the old bureau seven years
1436
00:57:07,425 --> 00:57:09,592
and that bureau is now gone, sir.
1437
00:57:10,493 --> 00:57:11,761
And so are you.
1438
00:57:11,828 --> 00:57:13,363
Um, I was a little surprised
1439
00:57:13,364 --> 00:57:14,898
that more people didn't see it.
1440
00:57:14,964 --> 00:57:18,168
- Many pictures people haven't gotten,
- 10 years later, they get them.
1441
00:57:18,268 --> 00:57:21,271
- Biographical films, - we've
seen a lot of them over the years...
1442
00:57:21,337 --> 00:57:23,106
some of them work and some don't.
1443
00:57:23,173 --> 00:57:25,225
There's no doubt, I think this one has a
1444
00:57:25,226 --> 00:57:27,277
depth to it and a power, a staying power...
1445
00:57:27,343 --> 00:57:29,646
that once people calm down a little bit
1446
00:57:29,647 --> 00:57:31,948
and try to see what the hell it was...
1447
00:57:32,015 --> 00:57:33,516
they'll come around to it.
1448
00:57:33,616 --> 00:57:36,152
- A lot of times
- You find material that's interesting...
1449
00:57:36,252 --> 00:57:38,755
- ...and the public doesn't
find it interesting - at all.
1450
00:57:38,822 --> 00:57:42,192
- But that's horse racing. You're
still doing it - from what interests you.
1451
00:57:42,292 --> 00:57:45,195
- And if you're out of sync
with the public, - that just...
1452
00:57:45,295 --> 00:57:46,863
That happens to everybody
1453
00:57:46,864 --> 00:57:48,431
at some point.
1454
00:57:48,498 --> 00:57:51,434
But, uh, you just...
1455
00:57:51,501 --> 00:57:52,969
You know, the old song.
1456
00:57:53,036 --> 00:57:55,371
Pick yourself up and go back in the race.
1457
00:57:56,272 --> 00:57:58,742
Any criticism to Clint, you know,
1458
00:57:58,743 --> 00:58:01,211
came under in the early part of his career.
1459
00:58:01,311 --> 00:58:02,629
You know, you mentioned
1460
00:58:02,630 --> 00:58:03,947
Pauline Kael and others.
1461
00:58:04,013 --> 00:58:06,015
You know, he's had the last laugh.
1462
00:58:06,115 --> 00:58:09,018
- We're talking and he says,
- "Yeah, to tell you the truth...
1463
00:58:09,118 --> 00:58:11,321
- ...I still don't think
- I've done my best work."
1464
00:58:11,387 --> 00:58:14,207
I think the strength and the power come
1465
00:58:14,208 --> 00:58:17,026
from his gigantic desire...
1466
00:58:17,126 --> 00:58:21,498
to be and stay relevant.
1467
00:58:21,564 --> 00:58:23,266
That is, to me,
1468
00:58:23,267 --> 00:58:24,968
what differentiates him from guys...
1469
00:58:25,034 --> 00:58:28,304
- ...who wanna sit around, - talk
about how great that movie they did...
1470
00:58:28,371 --> 00:58:30,373
or this movie, blah, blah, blah.
1471
00:58:30,374 --> 00:58:32,375
You know, Clint's still in the hunt.
1472
00:58:32,475 --> 00:58:34,177
You don't wanna be an old gummer...
1473
00:58:34,244 --> 00:58:36,046
sitting around talking about how things
1474
00:58:36,047 --> 00:58:37,847
were so great in the old days.
1475
00:58:37,914 --> 00:58:41,150
- They were great in the old days,
- But they're good in other days too.
1476
00:58:41,217 --> 00:58:43,520
- You just have to...
- It's what you make out of it.
1477
00:58:43,586 --> 00:58:47,323
I think maybe Clint
is the last of the, um...
1478
00:58:47,390 --> 00:58:50,560
The last vestiges of the golden age
1479
00:58:50,561 --> 00:58:53,730
of the Hollywood studio film.
1480
00:58:53,830 --> 00:58:56,366
- He's one of the most
successful filmmakers - in history.
1481
00:58:56,432 --> 00:58:59,102
And he's a brilliant actor,
1482
00:58:59,103 --> 00:59:01,771
and he just continues to do his thing.
1483
00:59:01,871 --> 00:59:04,207
And, you know, he's laughing
1484
00:59:04,208 --> 00:59:06,543
all the way to the movies.
1485
00:59:06,609 --> 00:59:09,345
There's a body of work that will survive.
1486
00:59:09,412 --> 00:59:11,798
Some may be considered stronger
1487
00:59:11,799 --> 00:59:14,183
or last longer than others.
1488
00:59:14,250 --> 00:59:16,569
But I think they'll always speak
1489
00:59:16,570 --> 00:59:18,888
to future generations...
1490
00:59:18,955 --> 00:59:20,707
because of the humanity of the films,
1491
00:59:20,708 --> 00:59:22,458
the ethics of the films.
1492
00:59:22,559 --> 00:59:24,411
Clint is a legend, but he's not
1493
00:59:24,412 --> 00:59:26,262
carrying it around in a placard.
1494
00:59:26,362 --> 00:59:28,631
Maybe real legends don't carry it around
1495
00:59:28,632 --> 00:59:30,900
in a placard on their chest saying:
1496
00:59:30,967 --> 00:59:33,136
"I'm a legend, by God."
1497
00:59:33,636 --> 00:59:36,873
Wannabe legends do, but real ones don't.
1498
00:59:36,940 --> 00:59:39,208
- Some days you can't remember
- Somebody's name...
1499
00:59:39,275 --> 00:59:41,044
or you can't remember something.
1500
00:59:41,110 --> 00:59:44,414
- Is it because you're actually losing
- Memory...
1501
00:59:44,480 --> 00:59:45,765
and you're becoming
1502
00:59:45,766 --> 00:59:47,050
somewhat senile?
1503
00:59:47,116 --> 00:59:49,586
Or is it because
1504
00:59:49,587 --> 00:59:52,055
you just have had so much information...
1505
00:59:52,121 --> 00:59:54,541
crammed into your brain after 80 years
1506
00:59:54,542 --> 00:59:56,960
that you have...?
1507
00:59:57,060 --> 00:59:58,962
Can't hold anymore.
1508
00:59:59,062 --> 01:00:00,897
You'd like to think it's the latter,
1509
01:00:00,898 --> 01:00:02,732
heh, but...
1510
01:00:02,799 --> 01:00:05,135
He loves making movies, he likes to make
1511
01:00:05,136 --> 01:00:07,470
as many as he can, as many movies.
1512
01:00:07,570 --> 01:00:09,305
The possibility of retirement...
1513
01:00:09,739 --> 01:00:12,108
Once in a while it crosses my mind
1514
01:00:12,109 --> 01:00:14,477
and then I quickly get over it.
1515
01:00:14,577 --> 01:00:16,079
Of all the people I've ever met
1516
01:00:16,080 --> 01:00:17,580
in the business...
1517
01:00:17,647 --> 01:00:20,950
that he is the closest...
1518
01:00:21,417 --> 01:00:24,871
to being both a creative director
1519
01:00:24,872 --> 01:00:28,324
and a human being.
1520
01:00:30,026 --> 01:00:32,495
[SPEAKING INDISTINCTLY]
1521
01:00:35,465 --> 01:00:37,033
That's it.
1522
01:00:38,334 --> 01:00:40,269
Cut. Ha, ha, ha.
185546
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