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Clint Eastwood

Clint Eastwood’s Impressive Car Collection: Photo Guide to the Actor’s Love for Classic Rides

Clint Eastwood loves cars and an eye for the classics. Over the years, Eastwood has put together an impressive collection of classic rides. When he’s not busy being acting and directing powerhouse, Eastwood is a bit of a car aficionado.

During his career, Eastwood has collected some hot rods from various eras. The one thing each vehicle has in common is its elegant design. Often, Eastwood also has a personal connection to the vehicle as well. Take a look at some of the vehicles Eastwood has owned with this visual guide.

Clint Eastwood Bought His ‘Honkeytonk Man’ Car

Photo credit: National Motor Museum/Heritage Images via Getty Images

One of the oldest of Eastwood’s collection is the 1937 Lincoln Model-K convertible. (Pictured is a 1935 model, but they’re pretty similar in looks). Eastwood and the car share some personal history. He drove the car in the film “Honkytonk Man.”

That movie was inspired by the life of country music star Jimmie Rodgers. It followed a country singer, dying of tuberculosis, trying to make it to Nashville to record a last few songs. He recruits his nephew to drive the Lincoln Model-K as he becomes too unwell to drive himself. The characters drive in style with a V12 6.8-liter engine under the hood, according to Motorious.

A Young Eastwood Owned an Austin Healey

Photo credit: Earl Leaf/Michael Ochs Archives/Getty Images

Clint Eastwood’s fascination with exotic and luxurious cars started at a young age. Here’s the actor sitting in an Austin Healy back before he was even famous. The car was a popular luxury item for the wealthy in the 1950s, due to its speed. Yes, the car was a bit of a speed demon at least for its era.

At the time, the car could hit 100 miles per hour, making it faster than its competition on the road. Combine that with its convertible design, and you have the perfect vehicle for a joy ride. Even Eastwood thought so.

The Actor Owned a Ferrari 365 GT4 Berlinetta Boxer

Photo credit: Sjoerd van der Wal/Getty Images

Clint Eastwood’s model was a black or dark gray instead of the lighter gray model shown here. The actor bought the 1975 Ferrari 365 GT4 Berlinetta Boxer in 1977. Eastwood’s model had an adventurous soul, having done a bit of globe-trotting. The car was first sold in Italy before making its way to the United States. The vehicle later ended up in Japan after he sold it in 1985.

Eastwood installed a custom roof on the vehicle when he purchased it. Eventually, the Ferrari ended up back in the United States in 2011.

Clint Eastwood Bought the Gran Torino Sport

Photo credit: Alberto E. Rodriguez/Getty Images

Out of all the cars that Clint Eastwood has owned, only the Gran Torino Sport can say it had a movie named after it. That’s right, Eastwood bought the titular vehicle from his 2008 drama “Gran Torino.” That film featured Eastwood as a Korean War veteran bonding with his neighbor, a Hmong man.

Eastwood purchased the car after he filmed the movie. Originally, the film’s production purchased the classic off eBay for the film. With its 300-horsepower output, the Gran Torino Sport can reach 60 mph in under seven seconds. 

Clint Eastwood Owned a Replica of ‘Smokey and the Bandit’ Car

Photo credit: AaronP/Bauer-Griffin/GC Images

Clint Eastwood must have been a fan of “Smokey and the Bandit” because he bought a 1977 Trans Am himself. Of course, the actor maybe wanted to honor longtime pal Burt Reynolds. The two actors were friends for years, up until Reynolds’ death in 2018.

In fact, Reynolds loved to tell the story of how he and Eastwood got fired from Universal in the same year. It couldn’t have been because of their taste in cars.

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Clint Eastwood

Jigarthanda Double X confronts tribal land struggle with a searing question: “Rulers, why?”

AS the final reels of Karthik Subbaraj’s Jigarthanda Double X flicker by, Raghavendra Lawrence, the South Indian choreographer-turned-actor, delivers a speech as ‘Alliyan Caesar’ that resonates with the raw truth.
Caesar’s tribe, guardians of the forest and mountains for generations, faces the grim reality of imminent annihilation. Greedy politicians, their guns aimed through the hands of duty-bound policemen, hunger for the land Caesar and his people call home.
The fight-or-flight dilemma gnaws at Caesar. Violence, he realises, would only stain his land with the blood of men forced to follow orders. Ray Das, the second lead played by Tamil director-turned-actor S.J. Surya, urges retreat, but Caesar’s tribe holds firm.
“Those who abandon their roots never truly return,” one of the elders opines.
Finally, Caesar chooses defiance. Not with guns, but with the song of their ancestors, the thunderous beat of drums, and the defiant steps of their traditional dance. They face the firing line not with fear, but with the unyielding spirit of a people who know no other home.
What happens next is not for me to tell. But this much is clear: Caesar chose the only path left in the face of historical land grabs and the relentless struggle for forest rights.
“Those who abandon their roots never truly return,” one of the elders opines.
In the tapestry of Indian history, where stolen lands and broken promises echo, sometimes the most potent weapon is the unwavering song of resistance, the unyielding beat of a tribe’s heart.
According to a 2022 Observation Report prepared by Cultural Survival, an international indigenous rights organisation with a global indigenous leadership and consultative status with the United Nations’ Economic and Social Council, in India, indigenous peoples face ongoing land grabs, militarisation and violence, fueled by policies that undermine their rights to land and self-determination.
The Observation Report also claims that the Forest Rights Act, 2006, which aimed to redress historical and ongoing land theft, has failed.
The Forest Rights Act (FRA), 2006 recognises the rights of the forest-dwelling tribal communities and other traditional forest dwellers to forest resources, on which these communities were dependent for a variety of things, including livelihood, habitation and other socio-cultural needs.
However, according to a March 2022 document, the number of land claim requests received from tribals in India is 4,429,065 and the number of titles distributed is 2,234,292, which is a disposal rate of just 50.4 percent. A disappointing number.
According to the International Work Group for Indigenous Affairs (IWGIA), indigenous people in the Central India Tribal Belt, which stretches from Gujarat in the west up to Assam in the east and encompasses the states of Madhya Pradesh, Chhattisgarh and Jharkhand, has been particularly affected by the large-scale acquisition of land for mining and other development activities.
In Manipur, a recent case saw tribal communities residing in the foothills evicted from their ancestral forest lands under the claim of it being “reserve forests”. However, critics interviewed by Frontline suspect these evictions to be a prelude to a “land grab” disguised as development in India’s sensitive northeastern border region.
In the tapestry of Indian history, where stolen lands and broken promises echo, sometimes the most potent weapon is the unwavering song of resistance, the unyielding beat of a tribe’s heart.
In recent years, the Tamil film industry has emerged as a powerful voice for the marginalised and the oppressed. Filmmakers such as Pa. Ranjith, Vetrimaaran, Mari Selvaraj and T.J. Gnanavel have carved a distinct path, prioritising human rights narratives that resonate deeply with audiences.
Their stories, often rooted in the struggles of the exploited, landless, tribal, Dalit, and downtrodden communities, shed light on systemic injustices and ignite conversations about social change. With Jigarthanda Double X, Karthik Subbaraj has joined the league.
Karthik, who is known for his Quentin Tarantino-esque touch, unleashes a ‘double dhamaka’ in Jigarthanda Double X. This explosive cocktail churns with Tarantino’s signature non-linear narratives and sharp dialogues, but with a surprising twist: a dash of Clint Eastwood’s rugged cowboy swagger.
With this intoxicating blend of cinematic influences, Karthik weaves a tapestry of narratives, each thread as vibrant and impactful as the last. He plunges us into the struggles of aborigines to protect their land and how Tamil cinema plays its part in the State’s politics as a ‘weapon’.
Greed for land slithers through the narrative, entwined with the machinations of ruthless politicians. Each twist and turn is infused with Karthik’s signature emotive touch, leaving us deeply affected by the human struggles that unfold before our eyes.
Lawrence’s journey in Jigarthanda Double X as Caesar is nothing short of extraordinary. The film takes us on a rollercoaster ride through his life, from a 1970s elephant poacher in the lush forests of Tamil Nadu to a powerful don in Madurai.
But destiny had something else in store for him. In between, the arrival of Hollywood legend Eastwood for a film shoot in a nearby village proves to be a pivotal moment. Caesar receives an inspiring gift from Eastwood, sparking a fascination with the world of cinema.
As the movie progresses in Tarantino’s style, Caesar ends up behind the camera, even while being a don. He embarks on the ambitious project of becoming the first ‘Black’ hero in Tamil cinema, before Rajinikanth.
Interestingly, within both his own life and the film-within-the-film, Caesar emulates Eastwood’s rugged persona. Echoing the cowboy heroes of Eastwood’s Westerns, he even mounts a horse to confront the villain and protect his tribe.
The cowboy music movie added in Jigarthanda Double X doubles its impact. Meanwhile, under Karthik’s masterful handling, Caesar transcends the silver screen, becoming a hero not just in cinema but also in his tribe.
After many twists and turns, as the final celluloid flicker dies down, Caesar’s defiance explodes in a symphony of fire and passion. His song, raw and defiant, rises above the sound of firing guns. His feet pound a primal rhythm.
Greed for land slithers through the narrative, entwined with the machinations of ruthless politicians.
In that charged moment, the line between reel and real blurs, leaving only the incandescent image of a man and his tribe dancing with destiny, unafraid and untamed.
As I watched Caesar unfold, I was caught in that very ‘empathy machine’ Roger Ebert, the Pulitzer Prize-winning film critic, has so eloquently described.
Although set in the 1970s, the film’s stark reality resonates even in 2023.
Today, when Dalits and Adivasis find themselves dispossessed of their land, denied of their fundamental right to belong, one cannot help but echo Caesar’s question: “Rulers, why…?”

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Clint Eastwood

Clint Eastwood’s 15 Best Western Quotes


 Eastwood’s iconic Western movie quotes showcase the uncertain nature of life in the Wild West and the peace that comes with having money.
 Eastwood’s portrayal of aging outlaw characters adds a layer of wisdom and life experience to his insightful quotes about life and death.
 The delivery of Eastwood’s famous lines, from serious threats to hilarious quips, solidifies his reputation as one of the most important actors in filmmaking history.


The Western movies of Clint Eastwood are packed full of iconic film quotes. As the definitive embodiment of a lone-man outlaw bandit, Eastwood is forever associated with Westerns and the Wild West as Eastwood can deliver an epic movie quote like no other. Characters such as The Man With No Name in Sergio Leone’s Dollars Trilogy have spoken some of cinema’s most iconic phrases and have solidified Eastwood’s reputation as one of the most important actors of the past seven decades of filmmaking.
Eastwood’s best Western movie quotes are as iconic as they are varied and consist of deathly serious threats by sinister outlaws, hilarious quips by brooding bandits, and words of wisdom from aging desperados. Having played troubled criminals with tragic backstories like in The Outlaw Josey Wales, as well as retired bounty hunters coming back for one last job such as in Unforgiven, Eastwood delivers always a commited performance and adds something unique to the delivery of his famous lines. Eastwood perfected the role of a loner outlaw in Western movies and Eastwood’s quotes will go down in cinema history as some of the best ever uttered on screen.

15. “When A Man’s Got Money In His Pocket, He Begins To Appreciate Peace”
A Fistful Of Dollars (1964)
As the first film in Sergio Leone’s Dollars Trilogy, A Fist Full of Dollars is the film that introduced Clint Eastwood’s iconic character of The Man With No Name to the world. This legendary movie quote about the peace a man feels when he knows he has some money highlights the uncertain nature of life in the Wild West. When a bandit is doing well financially, they have no reason to go out looking for trouble and start to enjoy the quiet and calm. However, when money is tight life is not as peaceful, and outlaws like The Man With No Name find themselves in the midst of conflict.

14. “We All Have It Coming, Kid”
Unforgiven (1992)

Clint Eastwood as Will Munny holding up a rifle in Unforgiven

While the Western movies of Clint Eastwood are full of insightful quotes about the nature of life and death, this assertion that “we all have it coming” from Eastwood as William Munny feels like it is being spoken from a life of experience. Unlike his earlier Western films, Eastwood was already in his 60s when Unforgiven was made, and quotes like this take on an extra layer of significance due to wisdom and life experience that can be felt from his aging character.

13. “You See, My Mule Don’t Like People Laughing. He Gets This Crazy Idea You’re Laughing At Him.”
A Fistful Of Dollars (1964)

A group of men in A Fistful of Dollars

During an epic showdown in A Fistful of Dollars that would see The Man With No Name expertly kill four bandits in the blink of an eye, Clint Eastwood’s character jokingly gives the men time to apologize for laughing, not at him, but at his mule. Eastwood’s deadpan delivery and threatening nature make this quote as sinister as it is hilarious, and the humor quickly turns to action when the bandits realize they’re not going to make it out this confrontation alive. Before the bandits have time to even draw their guns, The Man With No Name quickly shoots and they’re dead.

12. “Alive Or Dead? It’s Your Choice”
For A Few Dollars More (1965)
As the second film in Sergio Leone’s Dollars Trilogy, In For A Few Dollars More audiences were already aware of Clint Eastwood’s The Man With No Name and his iconic portrayal of the outlaw bounty hunter. As Eastwood’s character fights to take Baby “Red” Cavanagh in for a $2,000 bounty, he tells him: “Alive or dead? It’s your choice.” The Man With No Name’s no-nonsense attitude and single-minded approach to achieving his goals make him a fearsome and difficult foe for any rival bandits, who would be wise to take his offer, give themselves up, and come out of the confrontation at least alive.

11. “It’s A Hell Of A Thing, Killin’ A Man”
Unforgiven (1992)

Will Munny from Unforgiven

In a heart-to-heart between Clint Eastwood’s character of William Munny and Jaimz Woolvett as The Schofield Kid in Unforgiven, The Kid becomes emotional from having shot and killed several men. The aging killer Munny implies past days when he was young and innocent when he tells The Kid that “it’s a hell of a thing, killin’ a man.” Over the years Munny has likely killed countless people throughout the violent past of his outlaw days, and there is a sadness in Eastwood’s delivers of this line that implies a sense of regret about his past actions.

10. “Every Gun Makes Its Own Tune”
The Good, The Bad, And The Ugly (1966)

Clint Eastwood as Blondie aims his revolver at unseen enemy forces in The Good, The Bad, and The Ugly

The Good the Bad and the Ugly

Release DateDecember 29, 1967
DirectorSergio Leone
CastAldo Giuffrè , Eli Wallach , Clint Eastwood , Lee Van Cleef , Luigi Pistilli
Runtime178 minutes

In The Good, the Bad and the Ugly Blonde states that “every gun makes its own tune” which highlights the unique and individual nature of every firearm. While it is true no two guns are identical, this iconic quote also highlights that every gun has a story to tell, especially in the Wild West when bandits like Blondie have faced countless foes and shot at many different enemies.

9. “The Dead Can Be Very Useful Sometimes”
A Fistful of Dollars (1964)

Clint Eastwood as

In A Fistful of Dollars, The Man With No Name carefully places the bodies of dead soldiers by a grave in a plan to stir up conflict between two rival families. Eastwood’s character states that the dead can often be very useful and highlights that the deceased have “helped me out of tough spots more than once” as they don’t talk and if done right, they can be made to look alive. This quote showcases the cunning nature of Eastwood’s The Man With No Name and how he always thinks outside of the box and bends situations to his favor.

8. “Dying Ain’t Much Of A Living, Boy”
The Outlaw Josey Wales (1976)

Clint Eastwood in The Outlaw Josey Wales

The 1976 revionist Western movie The Outlaw Josey Wales was directed by Clint Eastwood who also starred as the titular bandit. The film tells the story of a Missouri farmer and Confederate guerrilla who ends up on the run from Union soldiers who murdered his family. In the line “dying ain’t much of a living, boy” Josey Wales highlights the uncertain nature of life as an outlaw, but to keep afloat he is forced to persevere. While Josey’s life is one spent always on the move, the alternative is just to give up and die.

7. “I’m Here To Kill You, Little Bill”
Unforgiven (1992)


This line delivered by Clint Eastwood as William Munny in Unforgiven signals the most pivotal moment of the entire film. The journey of Munny’s character has been building up to the moment he confronts Sherriff Bill Daggett for killing his partner in crime Ned Logan. The calm and collective demeanor in which Eastwood delivers the line highlights the seriousness of the moment feeds into the themes of morality, vengeance, and the consequences of violence seen in Unforgiven.

6. “It’s What People Know About Themselves Inside That Makes ‘Em Afraid”
High Plains Drifter (1973)

Close-up of Clint Eastwood in High Plains Drifter

In High Plains Drifter, a film that Clint Eastwood directed himself, Eastwood plays a mysterious nameless figure, known as The Stranger, who dishes out justice in a corrupt mining town. The quote perfectly encapsulates the insightful nature of Eastwood’s character who, despite not revealing much about his own life, appears to have some innate insight into what makes people tick and how the past catches up with those who have checkered histories. The quote recalls the themes of justice and revenge seen in High Plains Drifter.

5. “‘Bout Time This Town Had A New Sheriff.”
High Plains Drifter (1973)

Clint Eastwood as The Stranger in the The Sheriff and the Mayor Scene High Plains Drifter (1973)

Clint Eastwood’s character of The Stranger in High Plains Drifter is highly attuned to the corrupt nature of the mining town of Lago in the Old West. When the residents of the town hire The Stranger to protect them after he kills the three gunmen who had been tormenting them, The Stranger takes full advantage of his new role and appoints a downtrodden dwarf as both sheriff and mayor. Eastwood’s assertation that it is time the town had a new sheriff, highlights understanding that the town needs new authority figures if it is ever going to rise above its previous subjugated state.

4. “Sometimes, Trouble Just Follows A Man”
The Outlaw Josey Wales (1976)

Clint Eastwood as the Outlaw Josey Wales

The story of The Outlaw Josey Wales starring Clint Eastwood is one constant hardship that is best summed in his quote: “Sometimes, trouble just follows a man.” The circumstances of Josey Wales’ life is one of consistent trouble and difficulties starting with the murder of his family by a band of pro-Union militants. This unasked-for torment is what sets in motion the outlaw lifestyle of Josey Wales as he continually must flee and fight in the lawless land of the Old West.

3. “When You Hang A Man, You Better Look At Him.”
Hang ‘Em High (1968)

hang em high poster

Clint Eastwood plays Marshal Jed Cooper in Hang ‘Em High, an innocent man who survives a hanging from a posse who accuses him of murder. In search of vengeance, Cooper hunts down one of the men and before taking his revenge shows him the scar on his next from the unsuccessful lynching. Cooper’s like of “when you hang a man, you better look at him” highlights the cold-hearted nature with which he was almost put to death, and the importance of an outlaw remembering the faces of all those they have wronged, because they might come one day.

2. “I Have A Very Strict Gun Control Policy; If There’s A Gun Around, I Want To Be In Control Of It.”
The Outlaw Josey Wales (1976)

the outlaw josey wales poster cry macho

Clint Eastwood’s character of Josey Wales in The Outlaw Josey Wales has experienced incredible hardship following the murder of his wife and child. As such, he is always on his guard and aware of how in the Old West bandits like him end up dead if they are not very careful. Josey Wales “gun control policy” is a humorous representation of the character’s alert and distrustful nature, and that if an outlaw wants to stay alive, they need to take control of the situations they are in and ensure all potential dangers have been addressed.

1. “You See, In This World, There’s Two Kinds Of People, My Friend. Those With Loaded Guns, And Those Who Dig.”
The Good, the Bad and the Ugly (1966)
Clint Eastwood’s The Man With No Name persona that is seen across Sergio Leone’s Dollars Trilogy is encapsulated by this iconic movie quote. The outlaw attitude of the Old West is heard in the way that Eastwood’s character, known in The Good, the Bad and the Ugly as Blondie, highlights the power his gun grants him and demands that the grueling work of digging for hidden treasure be done by Mexican bandit Tuco alone. It is a badass line that highlights both the serious and funny sides of the Spaghetti Western genre.

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Clint Eastwood

Clint Eastwood’s favourite John Ford movie

While both worked heavily in that particular arena at the same time, the intersection never happened.
Of course, they were at very different points in their careers, with Eastwood at the beginning of his as Ford’s was winding down. And yet, the former’s eight-season stint on Rawhide and subsequent headline role in Sergio Leone’s Dollars trilogy still coincided with a period where Ford was helming westerns at a rapid rate.
Between Eastwood’s Rawhide debut in 1959 and the release of The Good, the Bad and the Ugly in 1966, the filmmaker helmed The Horse Soldiers, Sergeant Rutledge, Two Rode Together, How the West Was Won, and Cheyenne Autumn. Four of them featured John Wayne – who eventually ended up feuding with Eastwood – making it a major ‘what if’ of the western that the stars never quite aligned.
Despite that, Eastwood’s favourite film of Ford’s wasn’t even a tale of white hats and black hats firing their six-shooters at each other, but a drama set in Wales. When asked by the American Film Institute to name his personal top choices, the future Academy Award-winning director and producer opted for How Green Was My Valley, alongside William A. Wellman’s The Ox-Bow Incident and John Huston’s The Treasure of the Sierra Madre.
Adapted from Richard Llewellyn’s novel of the same name, Roddy McDowall starred as the youngest son of a coal-mining family caught up in the rapid-fire socioeconomic change of the early 20th century. Tracing the trials and tribulations of the Morgan clan as multiple generations reckon with personal and professional upheaval, How Green Was My Valley proved to be a massive success and was recognised as an immediate classic.
The movie garnered five Academy Awards from ten nominations, including ‘Best Picture’ and ‘Best Director’ in amongst an insanely stacked field that also numbered Orson Welles’ Citizen Kane and Howard Hawks’ Sergeant York. That achievement is a testament to the powerful portrait of working-class life Ford has assembled, considering the seminal status of many films it ended up beating to both trophies.
Eastwood may have become a staple of the western and then used it as a springboard to a resurgence of his own following the acclaimed Unforgiven decades later. Still, his number one film from Ford isn’t even set in America, never mind occupying the same narrative or thematic space as a cavalcade of each man’s most notable and important contributions to cinema.
Westerns might be the first thing to come to mind when the names Eastwood and Ford were bandied around, then, but their respective legacies stretch far beyond that.

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