Two Mules for Sister Sara (1970): Some great rare photos
Out of all of Clint’s movies from the 1970s, Two Mules For Sister Sara has been one film that has provided a great deal of behind-the-scenes or production shots. Just recently I have discovered a few new additions, and rather than just adding them to the dedicated “Two Mules for Sister Sara” page (where they may not be seen for a while unless the page is visited) I also decided to post them here as a temp new post. These great shots are rarely seen. —theclinteastwoodarchive
When Clint Eastwood decided to direct his first movie, Play Misty for Me, he asked veteran director Don Siegel (Dirty Harry) for some directing advice. Eastwood figured that Siegel would tell him about how to cover a scene with camera set ups or how to deal with actors. But all Siegel said was, “Get plenty of sleep.”
Academy Award-winning director Clint Eastwood in conversation with Academy Award-nominee Darren Aronofsky following the world premiere of Eastwood Directs: The Untold Story.
This unprecedented new film focuses on Eastwood’s directorial method thanks to producing partners and fellow actors sharing never-before-told stories of working with Clint. It explores Eastwood’s signature style, dissecting the skills that have ensured his four decades of success. Bringing together the insights of Martin Scorsese, Meryl Streep, Gene Hackman, Morgan Freeman and many others, the film creates the complete picture of the man, the colleague, the creator.
Source: tribecafilm.com
John Sturges and Clint Eastwood on the Joe Kidd location.
You can learn more from John Sturges’ audio track on the ‘Bad Day at Black Rock’ laserdisc than you can in 4 years of film school. —Paul Thomas Anderson
In Voices from the Set, Tony Macklin shares with his readers the interviews he conducted during the 1970s with many of Hollywood’s greatest stars. Because it was an era where the Old Hollywood was still extant, and the new cinema was burgeoning, he was able to meet the old with the new-actors, directors, producers, writers-and make some of his own memories along the way. Interviews with old masters Alfred Hitchcock and Howard Hawks are juxtaposed with the new breed Martin Scorsese and Alan Rudolph and the mavericks Robert Altman and Sam Peckinpah. Icons such as John Wayne and Edith Head are included, as well as relative newcomers Stockard Channing and Richard Baskin. Voices from the Set is a unique vignette of Hollywood history, a snapshot in time, ideal for the film buff, film historian, for anyone with an interest in the intriguing personalities that made it what it is today. This book is an opportunity not to be missed.
Listen to the audio interviews with:
- David Seidler: (MP3 format, approximately 12 minutes)
- Robert Altman (part 1: MP3 format, approximately 50 minutes)
- Sam Peckinpah (MP3 format, approximately 48 minutes)
- Sidney Poitier (MP3 format, approximately 58 minutes)
- Vilmos Zsigmond (MP3 format, approximately 105 minutes)
- Leigh Brackett (MP3 format, approximately 70 minutes)
- Lee Marvin (MP3 format, approximately 9 minutes)
- Martin Scorsese (MP3 format, approximately 90 minutes)
- Howard Hawks (MP3 format, approximately 107 minutes)
- Richard Sylbert (MP3 format, approximately 67 minutes)
- Charlton Heston (MP3 format, approximately 89 minutes)
- Robert Altman (MP3 format, approximately 8.5 minutes)
- Edith Head (MP3 format, approximately 38 minutes)
- Warren Beatty (MP3 format, approximately 25 minutes)
- Stockard Channing (MP3 format, approximately 38 minutes)
- John Wayne (MP3 format, approximately 80 minutes)
- Alfred Hitchcock (MP3 format, approximately 43 minutes)
- The Best Jewish Cowboy: An Interview with James Caan
- “Plant Your Feet and Tell the Truth”: An Interview with Clint Eastwood
- The Ballad of Stella Stevens: An Interview
Check out Voices from the Set at Amazon.
Picture above: Clint Eastwood checks the camera angle for a scene in The Bridges of Madison County.
Source: tonymacklin.net
That’s the secret to life, really — never stop learning. It’s the secret to career. I’m still working because I learn something new all the time.
Clint Eastwood: What I’ve Learned
This collection of interviews brings together major Hollywood directors and actors, independent filmmakers, screenwriters, and others to discuss the art, craft, and business of making movies. Whether it be Clint Eastwood or Francis Ford Coppola, Vittorio Storaro or Dede Allen, these filmmakers detail how they strive for quality, the price they pay to do so, and how new technologies and the business aspects of filmmaking impact all aspects of their creativity. Taken together, the interviews reveal much about filmmaking practices in and out of Hollywood.
I highly recommend this excellent book by Gerald Duchovnay (Editor). Available from Amazon.
Cinematographer Bruce Surtees and director Clint Eastwood plan the next shot of High Plains Drifter.
Profile and interview with Clint Eastwood filmed at his home in Carmel in California.
Clint Eastwood, Silvana Mangano — Le streghe.
Rare Clint Eastwood segment from Italian art house movie, The Witches (1966), episode: “An Evening Like The Others”, directed by Vittorio De Sica.
BACKGROUND:
One of Eastwood’s most bizarre films, “The Witches” was basically a showcase for producer Dino De Laurentiis’s wife, Silvana Mangano, who, having been absent from the screen for several years, had hoped to make a striking comeback in this lavish fantasy filmed in Italy. Clint plays the straight-laced husband of Magnano in the last of the five short stories that constitute the film. His episode, titled “An Evening Like The Others”, was directed by Vittorio De Sica, who had earlier triumphed with neo-realist masterpieces like “The Bicycle Thief”.
“The Witches”, however, proved to be too offbeat to find an audience, and didn’t even find an American distributor until the late-60s, when United Artists released it sporadically to a few art houses and then shelved it. It remains a real curio, with Eastwood trying light comedy as a mild-mannered banker forced to compete with comic-book characters for the love of his bored wife. He would never play such an ‘unClint-like’ role again!
Director Don Siegel and Clint Eastwood discuss a scene in Two Mules for Sister Sara
Cinematographer Bruce Surtees and director Clint Eastwood prepare a scene from Firefox.
The Spaghetti West (2005). For about ten years, from 1964 to 1973, Italian production crews made hundreds of Westerns. This documentary looks chronologically at that enterprise, starting with the success of Sergio Leone and Sergio Corbucci: their silent anti-heroes gave Clint Eastwood and Franco Nero stardom. The genre then shifted to political films of the collective downtrodden facing the state. The genre ended, spent, in comedy and farce. Along the way, argues this documentary, the spaghetti western established a language of filmmaking rooted in post-war cynicism and moral ambiguity, with cinematic tropes, including close-ups, violence, and soundtracks, that influenced filmmaking in Hong Kong and the U.S.
Henry Fonda Talks about his casting in Once Upon A Time in the West. The funny reason Sergio Leone cast him as the villain in Once Upon A Time In The West in this rare 1975 interview.
Clint Eastwood interviewed in 1974 in New Orleans for Canadian TV. Eastwood has, of course, usurped much of his own violent, macho image in late-career work, but he remains a staunch conservative politically, recently extolling the virtues of Herman Cain.
“That Was Almost The Picture That Made Me Decide To Quit”. Clint Eastwood interviewed in 1974 is.gd/rOdX21
— LaFamiliaFilm (@LaFamiliaFilm) November 8, 2012
Source: afflictor.com
Fog City Mavericks (2007)
Gary Leva’s feature documentary explores the rich cultural heritage of cinema in the San Francisco Bay area. Through interviews with such filmmakers as George Lucas, Francis Ford Coppola, Philip Kaufman, Saul Zaentz, Clint Eastwood, John Lasseter and many others, Fog City Mavericks uncovers the independent spirit and unique vision that characterizes this extraordinary collection of cinema pioneers. The film also examines how the DNA of San Francisco affects – and reflects – the lives and work of its artists, mirroring the culture of individuality and innovation that makes San Francisco a unique creative community.
