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Clint Eastwood

10 Most Memorable Quotes From Clint Eastwood’s Unforgiven

Unforgiven may not be one of Clint Eastwood’s most recognizable films, but it’s absolutely packed with one-liners and classic, memorable quotes.

Clint Eastwood is, without a doubt, one of the most iconic actors in cinema history, both accomplished in front of the camera and behind it. His last western, Unforgiven, may not be as recognizable as something like The Good, The Bad and The Ugly, but it’s a success in its own right, with Eastwood serving as lead actor and director.

Unforgiven is a dark story, but one full of redemption and closure, especially for Will Munny, whose bloody past came back to haunt him. Redemption stories always have some quality, timeless quotes. With that, here are ten of the most memorable quotes from Clint Eastwood’s Unforgiven.

10/10, “We All Have It Comin,’ Kid.”

Will Munny has seen it all, his bloody background has made him a reclusive soul whose legacy speaks for him. If there’s one thing he’s learned after years of killing, it’s that death comes for us all. No matter the ambition of a young gun like the Schofield Kid, Will Munny knows what’s waiting on the other side. Killing Little Bill may have redeemed some of that, but it won’t stop for what’s coming for him shortly. Like Little Bill said, he’ll see him in the afterlife.

9/10, “I’ve Killed Women And Children. I’ve Killed Everything That Walks Or Crawls At One Time Or Another. And I’m Here To Kill You, Little Bill, For What You Done To Ned.”

Arguably the best scene in the entire movie, this line, spoken by Will to Bill, was cold and true. Will knows what he is and what he isn’t, and he wears it like armor, with nothing getting to him. When Little Bill tries to scare Will away from killing him and his gang, he becomes the man he once was to put away a corrupt sheriff.

There’s a reason this movie won best director and best actor, with Clint Eastwood at the forefront of it all. Westerns may be one-dimensional shooters, but Unforgiven proves they can be much, much deeper than that.

8/10, “Deserve’s Got Nothin’ To Do With It.”

Little Bill is manipulative and cunning, but Will Munny put him in his place. In his final moments, Little Bill tries to talk his way out of inevitable death, but Will lets him know that, no matter what he says, it won’t spare him. The truth is always hard to swallow, but William Munny from Missouri always does what needs to be done. The only thing Little Bill deserved was death, and his plea for mercy proves he’s really a coward on the inside.

7/10, “He Should Have Armed Himself… If He’s Going To Decorate His Saloon With My Friend.”

In this pivotal scene, Will uses a rule of thumb from the early westerns to teach those who’ve wronged him a lesson. Will never lets his guard down, as, after years of bounty hunting, he’s learned to keep himself alive by keeping his gun close.

Not only is Will mad at Little Bill, but he’s enraged with the death of his friend, Ned. This was only fuel to the fire with Will making sure Little Bill and co. would pay for what they did to the town and his partner, Ned.

6/10, “Its A Hell Of A Thing, Killing A Man. You Take Away Everything He’s Got And Everything He’s Ever Gonna Have.”

Westerns glorify killing and murder, almost to the point where it seems laughable. But Unforgiven instills the feeling of dread when it comes to killing someone. Will’s had his fair share of deaths and understands the weight it carries, whether it be his wife or someone he’s hunting. Though it’s a relatively simple line, it’s tremendously significant considering the context of the movie and the haunting background of William Munny. The Schofield Kid is just getting started, and it’s likely he’s on the same path as Will.

5/10, “What I Said The Other Day, You Looking Like Me, That Ain’t True. You Ain’t Ugly Like Me, It’s Just That We Both Have Got Scars.”

Will and Ned are retired for a reason, with age as the obvious answer and disgust with death as the other. Both have a pessimistic view of life—though Ned is a little more optimistic than Will—and understand the toll years of bounty hunting has on a man.

The mileage meter has reached its peak with both characters realizing the end of their journey is near. Their scars have riddled their body with wounds that tear open when confronted, but Will Munny made sure Ned’s and his wounds would only open one last time.

4/10, “All Right, I’m Coming Out. Any Man I See Out There, I’m Gonna Shoot Him.”

One of the best things about Will’s character is his cold demeanor despite his reserved nature. The audience never sees the atrocities Will committed in his past but can imagine enough based on accounts from people who know of him. His attempts to leave behind the man he once was were an exercise in futility, as he couldn’t run away from his past. However, fans couldn’t deny the demanding voice and prose of Will who can make a man drop instantly if he wants to.

3/10, “You Better Bury Ned Right!”

Will saved the day by the end, putting Little Bill and his corrupt ways to rest. His demeanor, though, remained the same despite having done an act of kindness. Unforgiven is unforgiving (get it) in its ability to act as a redemption story but retain the impulsiveness of mankind.

Ned didn’t deserve to die, which is why Will is adamant about his burial and final resting place. Little Bill may be gone, but that doesn’t mean things can’t go haywire.

2/10, “You Don’t Have To Worry, Kid. I Ain’t Gonna Kill You. You’re The Only Friend I Got.”

Will is feared by many, which leaves little room for friends. Despite his brief partnership, the Schofield kid and Ned, though he was killed, were the only people he called friends.

1/10, “I’ll See You In Hell, William Munny.”

What better way to say goodbye to your arch-enemy than with this classic line? What Unforgiven does so well is stray away from the classic western genre while including small homages and nods to it at the same time. This line was perfect considering the evil nature of Bill, a man who wanted nothing than to rule over a small little town.

Clint Eastwood

2 of Clint Eastwood’s Most Famous Oscar-Winning Films Were Turned Down By Major Studios in Favor of Over-Cooked Formulaic Blockbusters

Clint Eastwood has proven time and time again throughout his almost seven-decade-old and counting career that he is not just an incredible actor, but one of the most exceptionally remarkable filmmakers as well. His big-screen works like Dirty Harry and Gran Torino are the living proof of his legendary legacy that he is currently carrying forward.
Clint Eastwood in a still from The Mule

Clint Eastwood in a still from The Mule
But the true potential of his spectacular works wasn’t always visible to the production companies and studios, a major reason behind this was the ‘over-cooked formulaic’ blockbusters that most of the major studios were in favor of. In fact, two of Eastwood’s super famous and Oscar-winning films to date, Million Dollar Baby and Mystic River, were almost engulfed in these flames and never made!
Clint Eastwood’s Million Dollar Baby and Mystic River Were Almost Never Made
A still from Mystic River (2003)A still from Mystic River (2003)
Although Clint Eastwood has given the entertainment industry some of the best works of all time, many in the industry once failed to recognize his true filmmaking potential – something that put the existence of two of his blockbusters, Million Dollar Baby and Mystic River, in danger.
As revealed by him in an interview shared by The Clint Eastwood Archive, the actor shared how initially major studios failed to realize the true potential of Million Dollar Baby and Mystic River. He said:
“I liked the Million Dollar Baby script a lot,” he said. “Warner Bros. said the project had been submitted to them and they’d passed on it. I said, ‘But I like it.’ They said, ‘Well, it’s a boxing movie.’ And I said, ‘It’s not a boxing movie in my opinion. It’s a father-daughter love story, and it’s a lot of other things besides a boxing movie.’”
Continuing, he let out how little the studios were willing to help him financially for the film.
“They hemmed and hawed and finally said that if I wanted to take it, maybe they’d pay for the domestic rights only. After that, I’d be on my own.”
Since that obviously wasn’t a good enough price, Eastwood found himself out on search once again.
“We took it to a couple of other studios, and they turned it down, much like Mystic River was turned down — the exact same pattern. People who kept calling and saying, ‘Come on, work with us on stuff.’ I’d give it to them, and they’d go, ‘Uh, we were thinking more in terms of Dirty Harry coming out of retirement.’ And who knows? Maybe when it comes out they’ll be proven right.”
Just like that, because of over-cooked formulaic blockbusters like Dirty Harry, two of Clint Eastwood’s most famous Oscar-winning movies were turned down by major studios.
How Million Dollar Baby and Mystic River Came To Be
A still from Million Dollar Baby (2004)A still from Million Dollar Baby (2004)
In another interview (via East Bay Times), Clint Eastwood shared insights into his decisions for making the “bleak and the bleaker”: Mystic River and Million Dollar Baby, and how the films came to be.
“At this particular time in my life, I’m not doing anything as a moneymaker,” Eastwood said. “It’s like I’m pushing the envelope the other way to see how far we can go to be noncommercial.”
The filmmaker then let out what helped him get away with making both of the movies:
“I didn’t know if ‘Mystic River’ would go over at all… But I just told Warners the same thing I did with ‘Million Dollar Baby’: ‘I don’t know if this is going to make any money. But I think I can make a picture that you’d be proud to have in your library.’”
That statement most certainly seemed to work as both Million Dollar Baby and Mystic River earned the approval of the studios and went on to do wonders on the big screens as well as on the audience’s hearts—even ending up garnering numerous Oscar nominations and wins to add up to Clint Eastwood‘s star-studded collection!

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Clint Eastwood

Shyam Benegal: ‘You Don’t Have To Give The Audience What They Want; You Have To Create Something New…”

Circa 50 years ago, Shyam Benegal was in the vanguard of the offbeat cinema movement with path-breaking 1970s films such as Ankur (Shabana Azmi, Anant Nag), Nishant (Girish Karnad, Shabana Azmi, Naseeruddin Shah), Manthan (Smita Patil, Girish Karnad) and Bhumika (Smita Patil, Amol Palekar). Benegal’s filmmaking, though, started even earlier. He reminds us, “My career didn’t start with feature films. I have made several documentaries before and since that were very satisfying too.” And of course he went on to helm the seminal TV show Bharat Ek Khoj.In his late 80s now, Benegal is still in the thick of things. Mention his latest film, Mujib: The Making Of A Nation, and he quips, “That has been completed and released.” He is immersed in the present, where the current mood of cinema, especially OTT, is in alignment with the temperament of this forward-thinking filmmaker.
Excerpts from the interview
It is amazing that filmmakers like Clint Eastwood, Martin Scorcese and you continue to make films even after crossing 80. Would you say the creative impulse is as strong even now as it was 50 years ago when you made Ankur?
I am 89 years old now, and Clint Eastwood is 93. The fact that Clint Eastwood continues to make films at his age inspires me too. The creative urge is still strong within me. I’m a filmmaker and I am still driven by the desire to make films. And that is why I still make cinema. I haven’t been well over the last few years … it comes with old age (said dryly). I have to undergo dialysis almost every second day. But, despite all that, I can’t retire.
Zubeidaa

Zubeidaa |

Your latest film Mujib: The Making Of A Nation has just been released. What gripped you about the subject?
He is the man who paved the way for the creation of Bangladesh. I found his story intriguing and I think it made for interesting cinema.
Ankur Ankur |

What challenges did you face while making the film, especially bilingual?
Every film I have made has presented its own set of challenges. This film was made in Bengali but the Bengali spoken in the eastern parts is different from the language spoken in West Bengal. In fact, within Bangladesh itself, the Bangla in Dhaka is different from the dialect in Chittagong. Thanks to the literature I had read and the music I have heard,  I was aware of the culture this side of the border, but I had to familiarise myself with the milieu of the east for the film.
You have made several biographies earlier like Bhumika, Sardar Begum, Zubeidaa and films on Gandhi, Bose and now Sheikh Mujibur Rehman. As a filmmaker, is it possible to be objective about your subject?
I make these films because I admire these people, but as a filmmaker I have to be objective. However, one’s objectivity is limited by one’s perception of these people. Every filmmaker has his own viewpoint, his perception. They are fascinating characters… How you present them cinematically depends on your sensibility and sensitivity.
It is now 50 years since you made your first feature film Ankur (1973). Has it been a satisfying journey creatively?
No and yes. Every person strives for perfection but that is not always possible so one has to keep striving, and find satisfaction in the creative process. I have enjoyed experimenting with varied themes … from serious films to Mandi which was a comedy on the subject of prostitution.
MujubMujub |

You have made 24 feature films in these five decades, what are your three best films?
That is not possible for me because when I look back I notice flaws in my films. It’s also a matter of opinion. Many people, including me, would say that Pather Panchali is Satyajit Ray’s best film but he himself thought that Charulata was his most refined work.
You followed Ankur with critical triumphs like Nishant, Manthan, Bhumika and Junoon. This string of 1970s films can be credited with starting the art film movement in Hindi cinema. Your thoughts.
I have been a part of the art film movement but there were so many other directors who were making these kinds of films — Ritwik Ghatak, Adoor Gopalakrishnan, Mrinal Sen, Satyajit Ray, M S Sathyu, Govind Nihalani and others.
You have been a part of Indian cinema for 50 years, would you say it has changed for the better?
Technologically, the equipment available nowadays for lighting, editing and shooting is tremendous and they are able to shoot much faster. In comparison, the techniques we had were very primitive. Thematically too, cinema is bound to change because it have to keep up with the times. You don’t have to give the audience what they what, you have to create something new that they did not know they wanted.

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Clint Eastwood

10 forgotten Clint Eastwood films that few remember

To speak of Clint Eastwood is to allude to one of the most important actors and directors in Hollywood who, incidentally, took time to be mayor of the town of Carmel-by-the-Sea.
With more than 70 credits in his career, just as an actor, we tend to be clear about which Clint Eastwood masterpieces to evoke when we talk about his career.
Movies like The Good, the Bad and the Ugly, No forgiveness, Dirty Harry o Million Dollar Baby They are essential stops in his filmography, not to mention legendary ones like The iron sergeant o Gran Torino.
But today, in HobbyCine de Hobby Consolas, we will talk about 10 Clint Eastwood films that are usually forgotten by a large part of the public.
On the tightrope
On the Tightrope (1984)


Let’s start with one of the best eighties thrillers that Clint Eastwood starred in in the eighties: On the tightrope.
He actor Californian has starred in many thrillers throughout his career and, for some reason, this film with psychological overtones is not usually one of the first to come to fans’ minds.
Eastwood plays Wes Block, a New Orleans detective investigating a serial rapist and killer wreaking havoc on the city.
Soon, he discovers that he and the murderer have several sinister points in common, bringing to the surface fears that he thought buried forever.
The blacklist
The Blacklist (1988)
In 1988, Clint Eastwood played for the last time Harry Callahanthe always controversial Dirty Harry, in The blacklist.
For some, the weakest of the saga, for others, as good as the first. Be that as it may, the movie directed by Buddy Van Horn It is not the first that comes to mind when talking about the most scoundrel police officer that the actor has ever starred in.
Of course, some of us still look askance at remote-controlled cars when we see them on the street, lest it be…
A haul of $500,000
A $500,000 Loot (1974)
Eastwood’s career also took its time in heist films and buddy movies, and one of his seventies films was A haul of $500,000.
The movie of Michael Cimino paired Clint Eastwood with Jeff Bridges to plan and carry out a robbery of the supposedly impregnable Bank of Montana.
“Lightning”‘s (Eastwood) former partners form an uneasy alliance with them that could be more problematic than beneficial.
A $500,000 Loot is a great film that, despite all the technological advances, has aged quite well, being released in 1974.
The seducer
The Seducer (1971)
We cannot forget the heartthrob Clint Eastwood: to think that the actor only plays tough guys who would crack you like a nut for looking at them wrong would be unfair.
The seducer It takes us to the American Civil War, where the actor plays a northern soldier wounded in combat who is rescued by a young woman from a girls’ school.
After taking him to school, when the soldier recovers, he becomes a conqueror who drives everyone crazy, and by crazy we mean that the school becomes the headquarters of Celos International.
Alcatraz escape
Escape from Alcatraz (1979)
Don Siegel and Clint Eastwood have collaborated on numerous occasions throughout their respective careers. In 1979, director and actor signed Alcatraz escape.
See if we tend to forget this film, consolega, that even a certain editor of this website – yours truly – forgot about it when writing a news story about The Rock and stating that Sean Connery He was the first to escape from prison.
The best prison series: Vis a vis, Wentworth, Prison Break...
Clint Eastwood plays a tremendously insightful and intelligent inmate who has had enough of the prison system after several successful escapes.
In the end they intern him in the maximum security prison of Alcatraz, in San Francisco Bay, daring him to escape from where no one has managed to escape. A challenge that he gladly accepted.
Two mules and a woman
Two Mules and a Woman (1970)
In fact, Don Siegel was also in the director’s chair of Two mules and a womanone of Clint Eastwood’s westerns that we most often overlook.
Nor is it a bad film if there is a logical reason for it to be an unnoticed Western, but other films by the actor, such as The Good, the Bad and the Ugly, The Legend of the Nameless City, Death Had a Price or A Fistful of Dollarsthey tend to overshadow it.
License to kill
License to Kill (1975)
In addition to sharing a title with one of the James Bond films, although the 007 film came almost three decades later, License to kill was one of Clint Eastwood’s first films as an actor and director.
Released in 1975, this thriller uses the trope of the protagonist who reaches a dark past that he thought he had left behind.
Eastwood plays a former hitman who worked for an international organization.
Although he is retired, he is blackmailed and ordered to kill one of the three people trying to summit the Eiger in the Swiss Alps.
A perfect world
A Perfect World (1993)
A perfect world is a film that had the bad luck to see the light of day a year after Unforgiven and, in many ways, is overshadowed even by In the line of firealso released in 1993.
This road movie with a sixties setting puts Clint Eastwood in the shoes of a Texas ranger in charge of hunting down fugitives who have kidnapped a child during their escape.
suicide route
Suicide Route (1977)
Among Clint Eastwood’s police thrillers in the seventies, we also find the frequently forgotten Suicide Route.
The actor plays an alcoholic police officer who has the mission of escorting a prostitute from Las Vegas to Phoenix, although the obstacles they will encounter to prevent the witness from giving a statement will be constant.
Space Cowboys
Space Cowboys (2000)
More than forgotten, Space Cowboys It is usually vilified without much reason, since it is a very entertaining product without being, by any means, the best thing that Clint Eastwood has done.
The actor and director surrounds himself with some of the biggest names in Hollywood who have been sporting gray hair for decades for one last rodeo, yes, in orbit.
When a Russian satellite leaves its orbit, the creator of its systems is tasked with repairing it, but he will only go into orbit in the company of the companions he was able to fly with in the past.
None of the Clint Eastwood films that we have mentioned today are bad, far from it, but they are works that tend to be buried in that ocean of masterpieces that the actor and director has left behind throughout his many decades in the industry.

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