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Clint Eastwood


What is a film without a director? Every director, from Ava Duvernay to Chloe Zhao, has their own particular voice: a set of themes they repeatedly explore, their narrative and visual quirks, and even in some cases their preferred stable of actors to work with. This idea is neatly summarized in the notion of auteur theory, which categorizes a film director as the author of the movie (the term was popularized by the French film journal Cahiers du cinéma — “auteur” just means “author” in French).

But what if a film’s producers or lead actors decide their director isn’t the right artist to lead the making of the movie, even after the director has worked for months — or even years! — on developing the project, only to replace the original director with themselves? Since the mid-1970s, it’s expressly forbidden to do so, thanks to the Directors Guild of America (DGA) instituting The Eastwood Rule, named for, but not in honor of, Clint Eastwood.


Clint Eastwood Invictus director

It’s easy to assume that The Eastwood Rule is named in honor of the much-decorated actor/director, but it’s really a rebuke from his colleagues in the DGA. In 1976, after two decades as an actor most famous for his roles as a handsome, lanky, and taciturn quick-draw artist in Westerns on TV and the big screen, Clint Eastwood was starring in “The Outlaw Josey Wales.” The director of the picture, Philip Kaufman, was taking a very deliberate approach to casting and rehearsals, which was putting the film behind schedule. Eastwood and Kaufman clashed, badly. 

According to Patrick McGilligan’s biography “Clint: The Life and Legend”: “Kaufman’s methodical pace was anathema to him. The introspective Kaufman made Clint nervous, pacing around in his leather cowboy hat like Sergio Leone, studiously weighing his options and framing his shots.” 

After over a month of clashes between Eastwood and Kaufman, the actor was able to leverage his clout as the lead actor and a co-producer to have Kaufman removed from the project, taking on the director’s responsibilities himself, as described in “Clint: The Life and Legend.” Good for Eastwood, maybe, but the DGA was not impressed, fining the new director $60,000 (according to the Bureau of Labor Statistics, that’s about $300,000 in 2022) and adopting a new clause in their contracts that stipulated imposing harsher fines and revoking a director’s membership in the guild if a producer violated the rule a second time by firing and personally taking over as director.


Clint Eastwood holding oscar statues

In an ironic twist, Eastwood himself was already protected from exactly the kind of power play he had executed on the set of “The Outlaw Josey Wales.” According to a 2010 evaluation of Eastwood’s career to date in The New Yorker, in the late 1960s, he had secured his own ability to wield creative control over key aspects of filmmaking such as the screenplay, choosing his director, and who to cast in primary roles. This shrewd move was accomplished by Eastwood establishing Malpaso Productions; now, rather than negotiating with him as an individual actor, studios were forced to negotiate with his company.

Clint Eastwood’s fierce protection of his creative independence has born fruit for the five decades since. His most acclaimed run of films began with 1993’s “Unforgiven” and to date continued through 2015’s “American Sniper.” Having won best picture and best director — the two most prestigious Academy Awards — twice, for “Unforgiven” in 1993 and “Million Dollar Baby” in 2005, he has nothing to prove artistically but continues to release a film nearly every year.


Clint Eastwood Western Outlaw Josey Wales

So how did Clint Eastwood’s creative coup on the set of “The Outlaw Josey Wales” pan out for the film itself? It’s hard to imagine a better outcome for the young actor-director: The film was released to very strong reviews in 1976 (per the review aggregator Rotten Tomatoes), and as noted by the British Film Institute, has gone on to enjoy a contemporary reputation as an early high-water mark in Eastwood’s directorial career.

According to The New Yorker’s profile of Eastwood, legendary film auteur Orson Welles even described “The Outlaw Josey Wales” as being in the same league as classic Westerns by John Ford and Howard Hawks. Over time, many others have agreed with his assessment: In 1996, The National Film Preservation Board selected it for inclusion in their National Film Registry, an annual list honoring 25 films that exemplify “the range and diversity of American film heritage.”

The Eastwood Rule — and the inside-baseball scandal that produced it — clearly hasn’t hurt Clint Eastwood’s career one bit and has protected his fellow directors from some measure of studio interference in their creative processes. Seems like a win-win!

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Clint Eastwood

The Shining Actor Broke Down Into Tears While Working With Clint Eastwood After Being Traumatized By Stanley Kubrick On Set

Director Stanley Kubrick is known for being a taskmaster on his sets. Many actors have recounted horror stories about the director’s dedication to details and how they had to endure as much as a hundred takes due to Kubrick’s penchant for perfectionism.
Scatman Crothers, the actor who played Dick Hallorann in Kubrick’s adaptation of The Shining also recounted memories of going on multiple takes for simple shots. In fact, Crothers was affected so strongly by Kubrick’s style that when he next worked with director Clint Eastwood, he broke into tears as he was satisfied with a single take.
Scatman Crothers On Stanley Kubrick’s Style Of Filmmaking

Scatman Crothers

Scatman Crothers

Actor and musician Scatman Crothers got to work on Stanley Kubrick’s The Shining after being recommended by his frequent collaborator Jack Nicholson. Nicholson and Crothers had featured in three movies before and while shooting for the classic One Flew Over The Cuckoo’s Nest, Nicholson told him that there was a role waiting for him.
Crothers was cast after he met Stanley Kubrick in the role of Dick Hallorann, the chef of the Overlook Hotel and a man who also possesses the power to ‘shine’ like Danny Torrance. Crothers was reportedly amused by Kubrick’s insane dedication to perfection and the number of takes he filmed to get what he wanted.

Stanley KubrickStanley Kubrick

Talking to Scraps From the Loft, Crothers spoke about Stanley Kubrick’s directing style,
“Stanley shot 87 takes of the scene in the ballroom with all of the cast. Even the part where I get out of the Sno-Cat and walk to the hotel door—a scene that has no dialogue—took 40 takes. Around the 39th take, I asked Stanley, ‘How do you want me to do it?’ He answered. ‘Walk a little bit to your left.’ So I said. ‘Look, show me how you want me to walk, give me the rhythm,’ and then we got the shot.”
Crothers reportedly also performed the stunts in the film on his own, in the scene where he gets struck with an axe by Jack Nicholson. The scene reportedly took twenty-five takes to get right.
Scatman Crothers Broke Down In Tears While Working With Clint Eastwood

Clint EastwoodClint Eastwood

After his grueling stint on The Shining with director Stanley Kubrick, Scatman Crothers went on to work with director Clint Eastwood on the Western-comedy Bronco Billy. The director is known for being extremely efficient and reportedly often films only one take for every shot. This was a polar opposite experience for Crothers, who had by then become used to Kubrick’s intense style.
The actor reportedly broke down in tears after his performance was given the thumbs up by Eastwood after one take. Crotehrs spoke about the directors’ differing working styles,
“Clint’s much more of an easy-going director Clint would do a shot once or twice and I’d ask him, ‘Is that alright?’…Clint would answer, ‘Well sure. Scat.’ I’d say. ‘Okay, man!’ because after working with Stanley [Kubrick] for so long, I was used to doing anywhere from 15 to 30 takes.”
The actor would years later be in tears yet again after being asked how it was to work with such legendary directors. Crothers assured that they were tears of joy.

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Clint Eastwood

You Won’t Believe How Much Clint Eastwood Was Earning Before He Landed His First Leading Role in a Movie

With a career spanning over 6-decades, Clint Eastwood has made a mammoth fortune with his net worth standing at $375M following his contribution to the field of acting, filmmaking, and composing. However, it wasn’t always sunshine and rainbow when it came to his salary in the entertainment industry, especially during his early 20s when he was just starting out as an actor.
Although it took Eastwood a while to land his first acting gig after getting rejected for Six Bridges to Cross, the following year, he made his acting debut in Revenge of the Creature. But after a string of minor and often uncredited roles, his career eventually picked up the pace with the western series Rawhide, for which he wasn’t exactly paid boatloads of money.
Clint Eastwood in Cry Macho

Clint Eastwood
Clint Eastwood Made $700 per Episode for His First Major Project
While it was Sir Sergio Leone’s Dollars trilogy that earned Clint Eastwood international stardom, prior to playing the lead in the Western, it was his part in Rawhide that put him on the map. And for his role of Ramrod Rowdy Yates, he reportedly made around $700 per episode which approximately adds up to $6000 in today’s dollars that pales in comparison to his huge paydays.
A few years after marking his debut in the hit western, the actor would eventually find himself playing the iconic Man with No Name in 1964’s A Fistful of Dollars, which he agreed for $15000.
Rawhide (1959)Rawhide (1959)
Clint Eastwood Almost Didn’t Return for the The Good, the Bad and the Ugly
For the first installment in his Dollars trilogy, Sir Sergio Leone originally aimed to cast James Coburn in the badass role, but eventually let go of his plans for budget issues, as Coburn charged $25000.
Per BBC (via Farout Magazine), Leone stated,
“I really wanted James Coburn, but he was too expensive. The Italian cinema is very poor. We got Clint for $15,000, Coburn wanted $25,000.”
Following the mammoth success of A Fistful of Dollars, Eastwood’s paycheck witnessed a healthy spike for the sequel, as the studio offered him $50,000. But for the threequel, the Unforgiven Star made an astonishing $$250K following his reluctance to reprise the role in The Good, the Bad and the Ugly, with Sir Leone almost recasting Charles Bronson in the role.
Also read: “I don’t like it when it’s dumb”: Yellowstone Star Kevin Costner Revealed He Hates Western Genre Despite Sharing Clint Eastwood’s Rare Record In Hollywood
Clint Eastwood in The Good, the Bad, and the Ugly (1966)Clint Eastwood | The Good, the Bad, and the Ugly
Thankfully, the American icon went on to star in the threequel, often considered the best the genre has to offer, and the film became the biggest success of the trilogy, making around $38 Million.
The Dollars Trilogy is available to rent on Apple TV.


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Clint Eastwood

Disaster Drama Film Hereafter: Everything You Need to Know

The disaster drama movie “Hereafter,” directed by Clint Eastwood, explores the supernatural and the philosophical. The movie, which came out in 2010, looks at life after death through a series of interconnected stories.
The goal of this blog is to give a full picture of “Hereafter,” including its plot, cast, production information, reviews, and more.

“Hereafter” combines three separate stories, all of which are about death and the future. The movie starts with a dramatic scene of the 2004 Indian Ocean tsunami.

It then follows the lives of three characters: a French writer who has a near-death experience, a psychic in San Francisco who can talk to the dead, and a schoolboy in London who loses his twin brother. The people in these stories seek answers to life’s most important questions.
Cast Members
Matt Damon plays psychic George Lonegan, who has trouble with his powers. Cécile de France plays journalist Marie Lelay, who survives the tsunami. And Frankie and George McLaren play the London twins, Marcus and Jason.

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In supporting roles, Bryce Dallas Howard, Jay Mohr, and Thierry Neuvic are also in the cast.


The story is more interesting by supporting actors like Bryce Dallas Howard, who plays George’s girlfriend Melanie, and Jay Mohr, who plays George’s brother Billy. Their performances are crucial to the movie’s study of relationships and the afterlife.
The Clint Eastwood movie “Hereafter” is known for taking a careful and thoughtful look at the subject. The production was well planned, especially the scene with the wave, which got great reviews for its realistic appearance.
Filming Locations
The movie was made in many places, such as San Francisco, Paris, and London. The different places give the movie’s look at death and the afterlife a global feel.

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Makers Team

The movie did well because of Eastwood’s direction, Peter Morgan’s script, and Tom Stern’s cinematography. The people who made this movie collaborated to bring this complicated story to life.

Reviews from Critics and FFans
Critical reviews of “Hereafter” were mixed. Some people liked how big the story was and how Eastwood directed it, but others thought it moved too slowly. It was, however, usually well-received by audiences who liked how reflective it was.
Where to Watch It?
It is possible to watch “Hereafter” on services like Netflix. This thought-provoking movie can be watched from the comfort of people’s homes by many people.
Matt Damon plays George Lonegan in a way that stands out for being subtle and deep. As Marie Lelay, Cécile de France gives an engaging performance that successfully shows the emotional journey of her character.

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Frankie and George McLaren, who are twins, give moving performances that capture the innocence and pain of youth.

The film “Hereafter” deals with deep and often unanswerable questions about life after death. The movie is a one-of-a-kind cinematic experience thanks to Clint Eastwood’s nuanced direction, the cast’s powerful performances, and the plot that weaves together different lives and experiences.
“Hereafter” is a movie that makes you think and feel deeply, whether you’re interested in its existential ideas or the emotional journeys of its characters.

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