CLINT EASTWOOD

FAN PAGE

Common misspelling: Clint Eastwod, Klint Eastwood

Table of Contents

Biography ▪ News ▪ Websites ▪ Discography ▪ Filmography ▪ Books ▪ Posters ▪ Other Items

CLINT EASTWOOD BIOGRAPHY

The following biography is from Wikipedia.org “The Free Encyclopedia.”

Buy This at Allposters.com

Clinton "Clint" Eastwood, Jr. (born May 31, 1930) is an American film actor, director, producer, composer and politician. Eastwood first came to prominence as a supporting cast member in the TV series Rawhide (1959–1965). He rose to fame for playing the Man with No Name in Sergio Leone's Dollars trilogy of spaghetti westerns (A Fistful of Dollars, For a Few Dollars More, and The Good, the Bad and the Ugly) during the 1960s, and as San Francisco Police Department Inspector Harry Callahan in the Dirty Harry films (Dirty Harry, Magnum Force, The Enforcer, Sudden Impact, and The Dead Pool) during the 1970s and 1980s. These roles, along with several others in which he plays tough-talking no-nonsense police officers, have made him an enduring cultural icon of masculinity.[1][2]

Eastwood won Academy Awards for Best Director and Producer of the Best Picture, as well as receiving nominations for Best Actor, for his work in the films Unforgiven (1992) and Million Dollar Baby (2004). These films in particular, as well as others including Play Misty for Me (1971), The Outlaw Josey Wales (1976), Pale Rider (1985), In the Line of Fire (1993), The Bridges of Madison County (1995), and Gran Torino (2008), have all received commercial success and critical acclaim. Eastwood's only comedies have been Every Which Way but Loose (1978), its sequel Any Which Way You Can (1980), and Bronco Billy (1980); despite being widely panned by critics, the "Any Which Way" films are the two highest-grossing films of his career after adjusting for inflation.

In addition to directing most of his own star vehicles, Eastwood has also directed films in which he did not appear, such as Mystic River (2003) and Letters from Iwo Jima (2006), for which he received Academy Award nominations, and Changeling (2008). He has received considerable critical praise in France in particular, including for several of his films which were panned in the United States, and was awarded two of France's highest honors: in 1994, he received the Ordre des Arts et des Lettres medal and in 2007, was awarded the Légion d'honneur medal. In 2000, he was awarded the Italian Venice Film Festival Golden Lion for lifetime achievement.

Since 1967, Eastwood has run his own production company, Malpaso, which has produced all except four of his American films. He also served as the nonpartisan mayor of Carmel-by-the-Sea, California, from 1986 to 1988, with an eye for small business interests on the one hand and conservation on the other. Eastwood has seven children by five different women and he has married twice.

****

Background Information

Born

Clinton Eastwood, Jr.

May 31, 1930 (age 81)

San Francisco, California, U.S.

Nationality

American

Occupation

Actor, director, producer, and composer

Years active

1955–present

Spouse

Maggie Johnson (1953–84; two children)

Dina Ruiz (1996–present; one child)

Children

Kimber Tunis

Kyle Eastwood

Alison Eastwood

Scott Reeves

Kathryn Reeves

Francesca Fisher-Eastwood

Morgan Eastwood

****

Early life

Eastwood was born in San Francisco to Clinton Eastwood, Sr. (1906–70), a steelworker and migrant worker, and Margaret Ruth (née Runner; 1909–2006), a factory worker.[3] He was nicknamed "Samson" by the hospital nurses as he weighed 11 pounds 6 ounces (5.2 kg) at birth.[4][5][6] After his father died in 1970, Eastwood's mother remarried to John Belden Wood (1913–2004) in 1972, and they remained married until his death 32 years later.[7] Eastwood is of English, Irish, Scottish, and Dutch ancestry[3][8] and was raised in a middle class home with his younger sister, Jean (born 1934).[9][10] His family relocated often as his father worked at different jobs along the West Coast, including at a pulp mill.[11][12] The family settled in Piedmont, California, where Eastwood attended Piedmont Junior High School and Piedmont Senior High School, taking part in sports such as basketball, football, gymnastics, and competitive swimming.[13] He later transferred to Oakland Technical High School where the drama teachers encouraged him to enroll in school plays, but he was not interested. As his family moved to different areas he held a series of jobs including lifeguard, paper carrier, grocery clerk, forest firefighter, and golf caddy.[14]

In 1950, Eastwood began a one-year stint as a lifeguard for the United States Army during the Korean War[15] and was posted to Fort Ord in California.[16] While on leave in 1951 Eastwood was a passenger onboard a Douglas AD bomber that ran out of fuel and crashed into the ocean near Point Reyes.[17][18] After escaping from the sinking aircraft he and the pilot swam 3 miles (5 km) to safety.[19]

Eastwood later moved to Los Angeles and began a romance with Maggie Johnson, a college student.[20] He managed an apartment house in Beverly Hills by day and worked at a gas station by night.[21] He enrolled at Los Angeles City College and married Johnson shortly before Christmas 1953 in South Pasadena.[21]

Film career

1950s

Early career struggles

According to the CBS press release for Rawhide, Universal Studios, known then as the Universal-International film company, was shooting in Fort Ord when an enterprising assistant spotted Eastwood and arranged a meeting with the series' director.[22] According to Eastwood's official biography the key figure was a man named Chuck Hill, who was stationed in Fort Ord and had contacts in Hollywood.[22] Later, in Los Angeles, Hill became reacquainted with Eastwood and managed to sneak him into one of Universal's studios, where he showed him to cameraman Irving Glassberg.[22] Glassberg arranged for an audition with Arthur Lubin who, although impressed with Eastwood's appearance and 6-foot-4-inch (1.93 m) frame,[23] initially questioned his acting skills remarking, "He was quite amateurish. He didn't know which way to turn or which way to go or do anything".[24] Lubin suggested he attend drama classes and arranged for his initial contract in April 1954 at $100 (US$817 in 2012 dollars[25]) per week.[24] After signing Eastwood was initially criticized for his stiff manner, his squint and with hissing his lines through his teeth, a feature that would become a life-long trademark.[26][27][28][29]

In May 1954 Eastwood auditioned for his first role in Six Bridges to Cross, but was rejected by Joseph Pevney.[30] After many unsuccessful auditions he eventually landed a minor role as a laboratory assistant in director Jack Arnold's Revenge of the Creature, a sequel to The Creature from the Black Lagoon.[31] He then worked for three weeks on Lubin's Lady Godiva of Coventry in September 1954, then won a role in February 1955, as a sailor in Francis in the Navy as well as appearing uncredited in another Jack Arnold film, Tarantula, in which he played a squadron pilot.[32][33] In May 1955, Eastwood had a brief appearance in the film Never Say Goodbye, during which he shared a scene with Rock Hudson.[34] Universal presented him with his first television role on July 2, 1955, in NBC's Allen in Movieland, which starred Tony Curtis and Benny Goodman.[35] Although he continued to develop as an actor Universal terminated Eastwood's contract on October 23, 1955.[36][37]

Eastwood then joined the Marsh Agency and although Lubin landed him his biggest role to date in The First Traveling Saleslady (1956) and later hired him for Escapade in Japan, without a formal contract Eastwood struggled.[38] He met financial advisor Irving Leonard, who would later arguably take most responsibility for launching his career in the late 1950s and 1960s, whom Eastwood described as being "like a second father to me".[39] On Leonard's advice Eastwood switched talent agencies to the Kumin-Olenick Agency in 1956, and to Mitchell Gertz in 1957. He landed several small roles in 1956, as a temperamental army officer for a segment of ABC's Reader's Digest series, and as a motorcycle gang member on a Highway Patrol episode.[38] Eastwood had a minor uncredited role as a ranch hand in his first western film, Law Man, in June 1956.[34] The following year he played a cadet in the West Point television series and a suicidal gold prospector in Death Valley Days.[40] In 1955, he played a Navy lieutenant in a segment of Navy Log and in early 1959, he made a notable guest appearance on Maverick, opposite James Garner, as a cowardly villain intent on marrying a rich girl for money.[40] Eastwood had a small part as an aviator in the French picture Lafayette Escadrille and took on a major role as an ex-Confederate renegade in Ambush at Cimarron Pass, a film which Eastwood viewed as disastrous and the lowest point of his career.[41][42][43]

Rawhide

In a long sought-after career breakthrough, Eastwood was cast as Rowdy Yates for the CBS hour-long western series Rawhide in 1958,[45][46] although he was not especially happy with his role. By now, aged almost 30, he felt that his character Rowdy was too young and too cloddish for him to feel comfortable with the part.[47] Filming began in Arizona in the summer of 1958[48] and on release it took just three weeks for Rawhide to reach the top 20 in the TV ratings. Although the series never won an Emmy it was a major success for several years, reaching its peak at number six in the ratings between October 1960 and April 1961.[49] The Rawhide years (1959–65) were some of the most grueling of Eastwood's career. He often filmed for six days a week at an average of twelve hours a day, yet some directors still criticized him for not working hard enough.[44][49] By late 1963 Rawhide's popularity had declined. Lacking freshness in the scripts, it was canceled in the middle of the 1965–66 television season.[50] Eastwood made his first attempt at directing when he filmed several trailers for the show, although he was unable to convince producers to let him direct an episode.[51] In the show's first season Eastwood earned $750 (US$5,697 in 2012 dollars[25]) an episode. At the time of its cancellation he received a $119,000 (US$828,341 in 2012 dollars[25]) compensation package.[52]

1960s

In late 1963 Eastwood's co-star on Rawhide, Eric Fleming, rejected an offer to star in an Italian-made western called A Fistful of Dollars, to be directed in a remote region of Spain by Sergio Leone, who was relatively unknown at the time.[53] Other actors, including Charles Bronson, Steve Reeves, Richard Harrison, Frank Wolfe, Henry Fonda, James Coburn, and Ty Hardin, were also considered for the role. Knowing that he could play a cowboy convincingly Harrison suggested Eastwood, who in turn saw the film as an opportunity to escape from Rawhide. He signed a contract for $15,000 (US$106,211 in 2012 dollars[25]) in wages for eleven weeks' work with a bonus of a Mercedes automobile upon completion and arrived in Rome in May 1964[54][55] Eastwood later spoke about the transition from a television western to A Fistful of Dollars: "In Rawhide I did get awfully tired of playing the conventional white hat. The hero who kisses old ladies and dogs and was kind to everybody. I decided it was time to be an anti-hero."[56] Eastwood was instrumental in creating the Man with No Name character's distinctive visual style and, although a non-smoker, Leone insisted he smoke cigars as an essential ingredient of the "mask" he was attempting to create with the loner character.[57]

Some interior shots for A Fistful of Dollars were done at the Cinecittà studio on the outskirts of Rome, before production moved to a small village in Andalusia, Spain.[58] The film became a benchmark in the development of spaghetti westerns, with Leone depicting a more lawless and desolate world than in traditional westerns; meanwhile challenging stereotypical American notions of a western hero by replacing him with a morally ambiguous antihero. The film's success meant Eastwood became a major star in Italy[59] and he was re-hired by Leone to star in For a Few Dollars More (1965), the second film of the trilogy. Through the efforts of screenwriter Luciano Vincenzoni, the rights to the film and the final film of the trilogy (The Good, the Bad and the Ugly) were sold to United Artists for roughly $900,000 (US$6.26 million in 2012 dollars[25]).[60]

In January 1966 Eastwood met with producer Dino De Laurentiis in New York City and agreed to star in a non-western five-part anthology production named Le streghe ("The Witches") opposite De Laurentiis' wife, actress Silvana Mangano.[62] Eastwood's nineteen-minute installment only took a few days to shoot but his performance did not go down well with the critics, with one saying "no other performance of his is quite so 'un-Clintlike' ".[63] Two months later Eastwood began work on the third Dollars film, The Good, the Bad and the Ugly, in which he again played the mysterious Man with No Name. Lee Van Cleef returned to play a ruthless fortune seeker, while Eli Wallach portrayed the cunning Mexican bandit Tuco. The storyline involves the search for a cache of Confederate gold buried in a cemetery. One day during filming of a scene where a bridge was to be dynamited Eastwood, suspicious of explosives, urged Wallach to retreat to the hilltop saying, "I know about these things. Stay as far away from special effects and explosives as you can."[64] Minutes later crew confusion, over the word "Vaya!", resulted in a premature explosion which could have killed the co-star, while necessitating rebuilding of the bridge.[64]

The Dollars trilogy was not shown in the United States until 1967 when A Fistful of Dollars opened in January, For a Few Dollars More in May, and The Good, the Bad and the Ugly in December.[65] All the films proved successful in cinemas, particularly The Good, the Bad and the Ugly which eventually earned $8 million (US$52.6 million in 2012 dollars[25]) in rental earnings and turned Eastwood into a major film star.[65] All three films received generally bad reviews and marked the beginning of Eastwood's battle to win the respect of American film critics.[66] Judith Crist described A Fistful of Dollars as "cheapjack",[67] while Newsweek considered For a Few Dollars More as "excruciatingly dopey".[66] Renata Adler of The New York Times remarked that The Good, the Bad and the Ugly was "the most expensive, pious and repellent movie in the history of its peculiar genre",[68] despite the fact that it is now widely considered one of the finest films in the history of cinema.[69][70] Time magazine highlighted the film's wooden acting, especially Eastwood's, although critics such as Vincent Canby and Bosley Crowther of The New York Times praised Eastwood's coolness in playing the tall, lone stranger.[71] Leone's unique style of cinematography was widely acclaimed, even by some critics who panned the acting.[66]

Stardom brought more "tough guy" roles for Eastwood. He signed for the American revisionist western Hang 'Em High (1968), in which he featured alongside Inger Stevens, Pat Hingle, Dennis Hopper, Ed Begley, Bruce Dern, and James MacArthur.[72] A cross between Rawhide and Leone's westerns, the film brought him a salary of $400,000 (US$2.53 million in 2012 dollars[25]) and 25 percent of its net earnings.[72] He plays a man who seeks revenge after being lynched by vigilantes and left for dead.[73] Using money earned from the Dollars trilogy Leonard helped establish Eastwood's production company, Malpaso Productions, named after the Malpaso Creek on Eastwood's property in Monterey County, California. Leonard arranged for Hang 'Em High to be a joint production with United Artists[74] and, when it opened in July 1968, the film became the biggest United Artists opening in history — its box office receipts exceeding all the James Bond films of the time.[75][76] It was widely praised by critics; including Archer Winsten of the New York Post who described Hang 'Em High as, "a western of quality, courage, danger and excitement".[10]

Before the release of Hang 'Em High Eastwood had already begun work on the film Coogan's Bluff, about an Arizona deputy sheriff tracking a wanted psychopathic criminal (Don Stroud) through the streets of New York City. He was reunited with Universal Studios for the project after receiving an offer of $1 million (US$6.58 million in 2012 dollars[25])—more than double his previous salary.[76] Jennings Lang arranged for Eastwood to meet Don Siegel, a Universal contract director who later became one of Eastwood's close friends, with the two forming a close partnership that would last for more than ten years over five films.[77] Filming began in November 1967, before the full script had been finalized.[78] The film was controversial for its portrayal of violence,[79][80] with Eastwood's role creating the prototype for what would later become the macho cop of the Dirty Harry films. Coogan's Bluff also became the first collaboration with Argentine composer Lalo Schifrin, who would later compose the jazzy score to several of Eastwood's films in the 1970s and 1980s, particularly the Dirty Harry film series.

Eastwood was paid $850,000 (US$5.37 million in 2012 dollars[25]) in 1968, for the war epic Where Eagles Dare,[81] about a World War II squad parachuting into a Gestapo stronghold in the mountains. Richard Burton played the squad's commander with Eastwood as his right-hand man. He was also cast as Two-Face in the Batman television show, but the series was canceled before filming could commence.[82]

Eastwood then branched out to star in the only musical of his career, Paint Your Wagon (1969). Eastwood and fellow non-singer Lee Marvin play gold miners who share the same wife (portrayed by Jean Seberg). Bad weather and delays plagued the production while its budget eventually exceeded $20 million (US$120 million in 2012 dollars[25]), extremely expensive for the time.[83] The film was not a critical or commercial success, although it was nominated for a Golden Globe Award for Best Motion Picture – Musical or Comedy.[84]

1970s

In 1970, Eastwood starred in the western Two Mules for Sister Sara with Shirley MacLaine and directed by Don Siegel. The film follows an American mercenary who gets mixed up with a whore disguised as a nun and ends up helping a group of Juarista rebels during the reign of Emperor Maximilian I of Mexico.[85][86] Eastwood once again played a mysterious stranger—unshaven, wearing a serape-like vest, and smoking a cigar.[87] Although the film received moderate reviews[88][89][90] the film is listed in The New York Times Guide to the Best 1,000 Movies Ever Made.[91] Later the same year Eastwood starred as one of a group of Americans who steal a fortune in gold from the Nazis in the World War II film Kelly's Heroes with Donald Sutherland and Telly Savalas. Kelly's Heroes was the last film in which Eastwood appeared that was not produced by his own Malpaso Productions.[92] Filming commenced in July 1969 on location in Yugoslavia and in London.[93] The film received mostly a positive reception and its anti-war sentiments were recognized.[92] In the winter of 1969–70, Eastwood and Siegel began planning his next film, The Beguiled, a tale of a wounded Union soldier held captive by the sexually repressed matron of a southern girl's school.[94] Upon release the film received major recognition in France and is considered one of Eastwood's finest works by the French.[95] However, it grossed less than $1 million (US$5.66 million in 2012 dollars[25]) and, according to Eastwood and Lang, flopped due to poor publicity and the "emasculated" role of Eastwood.[96]

Eastwood's career reached a turning point in 1971.[97] Before Irving Leonard died he and Eastwood had discussed the idea of Malpaso producing Play Misty for Me, a film that was to give Eastwood the artistic control he desired and his debut as a director.[98] The script was about a jazz disc jockey named Dave (Eastwood) who has a casual affair with Evelyn (Jessica Walter), a listener who had been calling the radio station repeatedly at night asking him to play her favorite song—Erroll Garner's "Misty". When Dave ends their relationship the fan becomes violent and murderous.[99] Filming commenced in Monterey in September 1970 and included footage of that year's Monterey Jazz Festival.[100] The film was highly acclaimed with critics such as Jay Cocks in Time, Andrew Sarris in the Village Voice, and Archer Winsten in the New York Post all praising the film, as well as Eastwood's directorial skills and performance.[101] Walter was nominated for a Golden Globe Best Actress Award (Drama) for her performance in the film.

The script for Dirty Harry (1971) was written by Harry Julian Fink and Rita M. Fink. It is a story about a hard-edged New York City (later changed to San Francisco) police inspector named Harry Callahan who is determined to stop a psychotic killer by any means.[102] Dirty Harry is arguably Eastwood's most memorable character and has been credited with inventing the "loose-cannon cop genre", which is still imitated to this day.[103][104] Author Eric Lichtenfeld argues that Eastwood's role as Dirty Harry established the "first true archetype" of the action film genre.[105] His lines (quoted at left) have been cited as among the most memorable in cinematic history and are regarded by firearms historians, such as Garry James and Richard Venola, as the force which catapulted the ownership of .44 Magnum pistols to unprecedented heights in the United States; specifically the Smith & Wesson Model 29 carried by Harry Callahan.[106][107] Dirty Harry proved a phenomenal success after its release in December 1971, earning some $22 million (US$119 million in 2012 dollars[25]) in the United States and Canada alone.[108] It was Siegel's highest-grossing film and the start of a series of films featuring the character of Harry Callahan. Although a number of critics praised his performance as Dirty Harry, such as Jay Cocks of Time magazine who described him as "giving his best performance so far, tense, tough, full of implicit identification with his character",[109] the film was widely criticized and accused of fascism.[110][111][112]

Following Sean Connery's announcement that he would not play James Bond again Eastwood was offered the role but turned it down because he believed the character should be played by an English actor.[113] He next starred in the loner Western Joe Kidd (1972), based on a character inspired by Reies Lopez Tijerina who stormed a courthouse in Tierra Amarilla, New Mexico, in June 1967. Filming began in Old Tucson in November 1971 under director John Sturges. During the filming, Eastwood suffered symptoms of a bronchial infection and several panic attacks.[114] Joe Kidd received a mixed reception, with Roger Greenspun of The New York Times writing that the film was unremarkable, with foolish symbolism and sloppy editing, although he praised Eastwood's performance.[115]

In 1973, Eastwood directed his first western, High Plains Drifter, in which he starred alongside Verna Bloom, Marianna Hill, Billy Curtis, Rawhide's Paul Brinegar and Geoffrey Lewis. The film had a moral and supernatural theme, later emulated in Pale Rider. The plot follows a mysterious stranger (Eastwood) who arrives in a brooding Western town where the people hire him to defend the town against three felons who are soon to be released. There remains confusion during the film as to whether the stranger is the brother of the deputy, whom the felons lynched and murdered, or his ghost. Holes in the plot were filled with black humor and allegory, influenced by Leone.[116] The revisionist film received a mixed reception from critics, but was a major box office success. A number of critics thought Eastwood's directing was "as derivative as it was expressive", with Arthur Knight of the Saturday Review remarking that Eastwood had "absorbed the approaches of Siegel and Leone and fused them with his own paranoid vision of society".[117] John Wayne, who had declined a role in the film, sent a letter of disapproval to Eastwood some weeks after the film's release saying that "the townspeople did not represent the true spirit of the American pioneer, the spirit that made America great".[118]

Eastwood next turned his attention towards Breezy (1973), a film about love blossoming between a middle-aged man and a teenage girl. During casting for the film Eastwood met Sondra Locke for the first time, an actress who would play major roles in many of his films for the next ten years and would become an important figure in his life.[119] Kay Lenz was awarded the part of Breezy because Locke, at 28, was considered too old. The film, shot very quickly and efficiently by Eastwood and Frank Stanley, came in $1 million (US$4.94 million in 2012 dollars[25]) under budget and was finished three days ahead of schedule.[120] Breezy was not a major critical or commercial success; it barely reached the Top 50 before disappearing and was only made available on video in 1998.[121]

Once filming of Breezy had finished, Warner Brothers announced that Eastwood had agreed to reprise his role as Detective Harry Callahan in Magnum Force (1973), a sequel to Dirty Harry, about a group of rogue young officers (among them David Soul, Robert Urich and Tim Matheson) in the San Francisco Police Force who systematically exterminate the city's worst criminals.[122] Although the film was a major success after release, grossing $58.1 million (US$287 million in 2012 dollars[25]) in the United States alone and a new record for Eastwood, it was not a critical success.[123][124] The New York Times critic Nora Sayre panned the often contradictory moral themes of the film, while the paper's Frank Rich called it "the same old stuff".[124]

In 1974, Eastwood teamed up with Jeff Bridges and George Kennedy in the buddy action caper Thunderbolt and Lightfoot, a road movie about a veteran bank robber Thunderbolt (Eastwood) and a young con man drifter, Lightfoot (Bridges). On its release, in spring 1974, the film was praised for its offbeat comedy mixed with high suspense and tragedy but was only a modest success at the box office, earning $32.4 million (US$144 million in 2012 dollars[25]).[125] Eastwood's acting was noted by critics but was overshadowed by Bridges who was nominated for an Academy Award for Best Supporting Actor. Eastwood reportedly fumed at the lack of Academy Award recognition for him and swore that he would never work for United Artists again.[125][126]

Eastwood's next film The Eiger Sanction (1975) was based on Trevanian's critically acclaimed spy novel of the same name. Eastwood plays Jonathan Hemlock in a role originally intended for Paul Newman, an assassin turned college art professor who decides to return to his former profession for one last sanction in return for a rare Pissarro painting. In the process he must climb the north face of the Eiger in Switzerland under perilous conditions. Once again Eastwood starred alongside George Kennedy. Mike Hoover taught Eastwood how to climb during several weeks of preparation at Yosemite in the summer of 1974 before filming commenced in Grindelwald on August 12, 1974.[127][128] Despite prior warnings about the perils of the Eiger the film crew suffered a number of accidents, including one fatality.[129][130] In spite of the danger Eastwood insisted on doing all his own climbing and stunts. Upon its release in May 1975 The Eiger Sanction was a commercial failure, receiving only $23.8 million (US$97.1 million in 2012 dollars[25]) at the box office, and was panned by most critics.[131] Joy Gould Boyum of the Wall Street Journal dismissed the film as "brutal fantasy".[131][132] Eastwood blamed Universal Studios for the film's poor promotion and turned his back on them to make an agreement with Warner Brothers, through Frank Wells, that has lasted to the present day.[133]

The Outlaw Josey Wales (1976), a western inspired by Asa Carter's eponymous 1972 novel,[134] has lead character Josey Wales (Eastwood) as a pro-Confederate guerilla who refuses to surrender his arms after the American Civil War and is chased across the old southwest by a group of enforcers. Eastwood cast his young son Kyle Eastwood, Chief Dan George, and Sondra Locke for the first time, against the wishes of director Philip Kaufman.[135] Kaufman was notoriously fired by producer Bob Daley under Eastwood's command, resulting in a fine reported to be around $60,000 (US$231,484 in 2012 dollars[25]) from the Directors Guild of America—who subsequently passed new legislation reserving the right to impose a major fine on a producer for discharging a director and taking his place.[136] The film was pre-screened at the Sun Valley Center for the Arts and Humanities in Idaho during a six-day conference entitled Western Movies: Myths and Images. Invited to the screening were: some 200 esteemed film critics, including Jay Cocks and Arthur Knight; directors such as King Vidor, William Wyler, and Howard Hawks; along with a number of academics.[137] Upon release in August 1976 The Outlaw Josey Wales was widely acclaimed, with many critics and viewers seeing Eastwood's role as an iconic one that related to America's ancestral past and the destiny of the nation after the American Civil War.[137] Roger Ebert compared the nature and vulnerability of Eastwood's portrayal of Josey Wales with his Man with No Name character in the Dollars westerns and praised the film's atmosphere.[138] The film would later appear in Time's "Top 10 Films of the Year".[139]

Eastwood was then offered the role of Benjamin L. Willard in Francis Coppola's Apocalypse Now, but declined as he did not want to spend weeks on location in the Philippines.[140][141] He also refused the part of a platoon leader in Ted Post's Vietnam War film Go Tell the Spartans[140] and instead decided to make a third Dirty Harry film The Enforcer. The film had Harry partnered with a new female officer (Tyne Daly) to face a San Francisco Bay area group resembling the Symbionese Liberation Army. The film, culminating in a shootout on Alcatraz island, was considerably shorter than the previous Dirty Harry films at 95 minutes,[142] but was a major commercial success grossing $100 million (US$386 million in 2012 dollars[25]) worldwide to become Eastwood's highest-grossing film to date.[143]

In 1977, he directed and starred in The Gauntlet opposite Locke, Pat Hingle, William Prince, Bill McKinney, and Mara Corday. He portrays a down-and-out cop who falls in love with a prostitute that he is assigned to escort from Las Vegas to Phoenix, to testify against the mob. Although a moderate hit with the viewing public critics had mixed feelings about the film, with many believing it was overly violent. Eastwood's longtime nemesis Pauline Kael called it "a tale varnished with foul language and garnished with violence". Roger Ebert, on the other hand, gave it three stars and called it "...classic Clint Eastwood: fast, furious, and funny."[144] In 1978, Eastwood starred in Every Which Way but Loose alongside Locke, Geoffrey Lewis, Ruth Gordon and John Quade. In an uncharacteristic offbeat comedy role, Eastwood played Philo Beddoe, a trucker and brawler who roams the American West searching for a lost love accompanied by his brother and an orangutan called Clyde. The film proved a surprising success upon its release and became Eastwood's most commercially successful film at the time. Panned by the critics it ranked high amongst the box office successes of his career and was the second-highest grossing film of 1978.[145]

Eastwood starred in the atmospheric thriller Escape from Alcatraz in 1979, the last of his films to be directed by Don Siegel. It was based on the true story of Frank Lee Morris who, along with John and Clarence Anglin, escaped from the notorious Alcatraz prison in 1962. The film was a major success and marked the beginning of a period of praise for Eastwood from the critics; Stanley Kauffmann of The New Republic lauding it as "crystalline cinema"[146] and Frank Rich of Time describing it as "cool, cinematic grace".[147]

1980s

Eastwood directed the 1980 comedy Bronco Billy as well as playing the lead role in alongside Locke, Scatman Crothers, and Sam Bottoms.[148] His children, Kyle and Alison, also had small roles as orphans.[149] Eastwood has cited Bronco Billy as being one of the most affable shoots of his career and biographer Richard Schickel has argued that the character of Bronco Billy is Eastwood's most self-referential work.[150][151] The film was a commercial failure[152] but was appreciated by critics. Janet Maslin of The New York Times believed the film was "the best and funniest Clint Eastwood movie in quite a while", praising Eastwood's directing and the way he intricately juxtaposes the old West and the new.[153] Later in 1980, Eastwood starred in Any Which Way You Can, the sequel to Every Which Way but Loose. The film received a number of bad reviews from critics, although Maslin described it as "funnier and even better than its predecessor".[152] The film became another box office success and was among the top five highest-grossing films of the year.

In 1982, Eastwood directed and starred alongside his son Kyle in Honkytonk Man, based on the eponymous Clancy Carlile's depression-era novel. Eastwood portrays a struggling western singer Red Stovall who suffers from tuberculosis, but has finally been given an opportunity to make it big at the Grand Ole Opry. He is accompanied by his young nephew (Kyle) to Nashville, Tennessee where he is supposed to record a song. Only Time gave the film a good review in the United States, with most reviewers criticizing its blend of muted humor and tragedy.[154] Nevertheless the film received critical acclaim in France, where it was compared to John Ford's The Grapes of Wrath,[155] and it has since acquired the very high rating of 93 percent on Rotten Tomatoes.[156] In that same year Eastwood directed, produced, and starred in the Cold War-themed Firefox alongside Freddie Jones, David Huffman, Warren Clarke and Ronald Lacey. Based on a 1977 novel with the same name written by Craig Thomas, the film was shot before Honkeytonk Man but was released after it. Russian filming locations were not possible due to the Cold War, and the film had to be shot in Vienna and other locations in Austria to simulate many of the Eurasian story locations. With a production cost of $20 million (US$45.5 million in 2012 dollars[25]) it was Eastwood's highest budget film to date.[157] People magazine likened Eastwood's performance to "Luke Skywalker trapped in Dirty Harry's Soul".[157]

Sudden Impact, the fourth Dirty Harry film, was shot in the spring and summer of 1983 and is widely considered to be the darkest and most violent of the series.[158] By this time Eastwood received 60 percent of all profits from films he starred in and directed, with the rest going to the studio.[159] Sudden Impact was the last film which he starred in with Locke. She plays a woman raped, along with her sister, by a ruthless gang at a fairground and seeks revenge for her sister's now vegetative state by systematically murdering her rapists. The line "Go ahead, make my day", uttered by Eastwood during an early scene in a coffee shop, is often cited as one of cinema's immortal ones; famously quoted by President Ronald Reagan in a speech to Congress and used during the 1984 presidential elections.[160][161][162] The film was the highest-earning of all the Dirty Harry films earning $70 million (US$154 million in 2012 dollars[25]). It received rave reviews with many critics praising the feminist aspects of the film, through its explorations of the physical and psychological consequences of rape.[163]

Tightrope (1984) had Eastwood starring opposite his daughter Alison, Geneviève Bujold, and Jamie Rose in a provocative thriller, inspired by newspaper articles about an elusive Bay Area rapist. Set in New Orleans, to avoid confusion with the Dirty Harry films,[164] Eastwood played a single-parent cop drawn into his target's tortured psychology and fascination for sadomasochism.[165] He next starred in the period comedy City Heat (1984) alongside Burt Reynolds, a film about a private eye and his partner who get mixed up with gangsters in the prohibition era of the 1930s. It grossed around $50 million (US$106 million in 2012 dollars[25]) domestically, but was overshadowed by Eddie Murphy's Beverly Hills Cop and failed to meet expectations.[166]

Eastwood made his only foray into TV direction with the 1985 Amazing Stories episode "Vanessa In The Garden", which starred Harvey Keitel and Sondra Locke. This was his first collaboration with Steven Spielberg, who later co-produced Flags of Our Fathers and Letters from Iwo Jima.[168] Eastwood revisited the western genre when he directed and starred in Pale Rider (1985) opposite Michael Moriarty and Carrie Snodgress. The film is based on the classic 1953 western Shane and follows a preacher descending from the mists of the Sierras to side with the miners during the California Gold Rush of 1850.[169] The title is a reference to the Four Horsemen of the Apocalypse, as the rider of the pale horse is Death, and shows similarities to Eastwood's 1973 western High Plains Drifter in its themes of morality and justice as well as its exploration of the supernatural.[170] Pale Rider became one of Eastwood's most successful films to date. It was hailed as one of the best films of 1985 and the best western in years with Gene Siskel of the Chicago Tribune remarking, "This year (1985) will go down in film history as the moment Clint Eastwood finally earned respect as an artist".[171]

In 1986, Eastwood co-starred with Marsha Mason in the military drama Heartbreak Ridge, about the 1983 United States invasion of Grenada. He portrays an aging United States Marine Gunnery Sergeant and Korean War veteran. The production and filming of Heartbreak Ridge were marred by internal disagreements, between Eastwood and long-time friend and producer Fritz Manes as well as between Eastwood and the United States Department of Defense who expressed contempt for the film.[172][173] At the time the film was a commercial rather than a critical success, only becoming viewed more favorably in recent times.[174] The film was released in 1,470 theaters and grossed $70 million (US$140 million) domestically.[175]

Eastwood starred in The Dead Pool (1988), the fifth and final Dirty Harry film in the series. It co-starred Liam Neeson, Patricia Clarkson, and a young Jim Carrey who plays Johnny Squares, a drug-addled rock star and the first of the victims on a list of celebrities drawn up by horror film director Peter Swan (Neeson) who are deemed most likely to die, the so-called "Dead Pool". The list is stolen by an obsessed fan, who in mimicking his favorite director, systematically makes his way through the list killing off celebrities, of which Dirty Harry is also included. The Dead Pool grossed nearly $38 million (US$70.6 million), relatively low receipts for a Dirty Harry film and it is generally viewed as the weakest film of the series, although Roger Ebert perceived it to be as good as the original.[176][177]

Eastwood began working on smaller, more personal projects, and experienced a lull in his career between 1988 and 1992. Always interested in jazz he directed Bird (1988), a biopic starring Forest Whitaker as jazz musician Charlie "Bird" Parker. Alto saxophonist Jackie McLean and Spike Lee, son of jazz bassist Bill Lee and a long time critic of Eastwood, criticized the characterization of Charlie Parker remarking that it did not capture his true essence and sense of humor.[178] Eastwood received two Golden Globes for the film, the Cecil B. DeMille Award for his lifelong contribution, and the Best Director award. However, Bird was a commercial disaster earning just $11 million, which Eastwood attributed to the declining interest in jazz among black people.[179]

Carrey would again appear with Eastwood in the poorly received comedy Pink Cadillac (1989) alongside Bernadette Peters. The film is about a bounty hunter and a group of white supremacists chasing an innocent woman who tries to outrun everyone in her husband's prized pink Cadillac. The film was a disaster, both critically and commercially,[180] earning barely more than Bird and marking the lowest point in Eastwood's career in years.[181]

1990s

Eastwood directed and starred in White Hunter Black Heart (1990), an adaptation of Peter Viertel's roman à clef, about John Huston and the making of the classic film The African Queen. Shot on location in Zimbabwe in the summer of 1989,[182] the film received some critical attention but with only a limited release earned just $8.4 million (US$14.1 million in 2012 dollars[25]).[183] Later the same year Eastwood directed and co-starred with Charlie Sheen in The Rookie, a buddy cop action film. Critics found the macho jiving between Eastwood and Sheen unconvincing and passed the film off as "blatant racial Hispanic stereotyping".[184] An ongoing lawsuit filed by Stacy McLaughlin resulted in no Eastwood films showing in cinemas in 1991—the third time in his career.[185] The suit was in response to Eastwood allegedly ramming McLaughlin's car while backing out of his parking space at Malpaso.[186] Eastwood won the suit and agreed to pay McLaughlin's court fees if she did not appeal.[185]

In 1992, Eastwood revisited the western genre in the self-directed film Unforgiven, where he played an aging ex-gunfighter long past his prime opposite Gene Hackman, Morgan Freeman, Richard Harris, and his then girlfriend Frances Fisher. Scripts existed for the film as early as 1976 under titles such as The Cut-Whore Killings and The William Munny Killings but Eastwood delayed the project, partly because he wanted to wait until he was old enough to play his character and to savor it as the last of his western films.[185] By re-envisioning established genre conventions in a more ambiguous and unromantic light the picture laid the groundwork for later westerns such as Deadwood. Unforgiven was a major commercial and critical success, with nominations for nine Academy Awards[188] including Best Actor for Eastwood and Best Original Screenplay for David Webb Peoples. It won four, including Best Picture and Best Director for Eastwood. Jack Methews of the Los Angeles Times described it as "the finest classical western to come along since perhaps John Ford's 1956 The Searchers.[189] In June 2008 Unforgiven was acknowledged as the fourth best American film in the western genre, behind Shane, High Noon, and The Searchers, in the American Film Institute's "AFI's 10 Top 10" list.[190][191]

Eastwood played Frank Horrigan in the Secret Service thriller In the Line of Fire (1993) directed by Wolfgang Petersen and co-starring John Malkovich and Rene Russo. Horrigan is a guilt-ridden Secret Service agent, haunted by his failure to react in time to save John F. Kennedy's life.[192] As of 2011, it was the last time he acted in a film that he did not direct himself. The film was among the top 10 box office performers in that year, earning a reported $200 million (US$304 million in 2012 dollars[25]) in the United States alone.[193] Later in 1993, Eastwood directed and co-starred with Kevin Costner in A Perfect World. Set in the 1960s,[194] Eastwood plays a Texas Ranger in pursuit of an escaped convict (Costner) who hits the road with a young boy (T.J. Lowther). Janet Maslin of The New York Times remarked that the film was the highest point of Eastwood's directing career[195] and it has since been cited as one of his most underrated directorial achievements.[196][197]

At the May 1994 Cannes Film Festival Eastwood received France's Ordre des Arts et des Lettres medal[198] then on March 27, 1995, he was awarded the Irving G. Thalberg Memorial Award at the 67th Academy Awards.[199] His next appearance was in a cameo role as himself in the 1995 children's film Casper and continued to expand his repertoire by playing opposite Meryl Streep in the romantic picture The Bridges of Madison County in the same year. Based on a best-selling novel by Robert James Waller and set in Iowa,[200] The Bridges of Madison County relates the story of Robert Kincaid (Eastwood), a photographer working for National Geographic, who has a love affair with middle-aged Italian farm wife Francesca (Streep). The film was a hit at the box office and highly acclaimed by critics, despite unfavorable views of the novel and a subject deemed potentially disastrous for film.[201] Roger Ebert remarked that "Streep and Eastwood weave a spell, and it is based on that particular knowledge of love and self that comes with middle age."[202] The Bridges of Madison County was nominated for a Golden Globe for Best Picture and won a César Award in France for Best Foreign Film. Streep was also nominated for an Academy Award and a Golden Globe.

As well as directing the 1997 political thriller Absolute Power, Eastwood once again appeared alongside co-star Gene Hackman. Eastwood played the role of a veteran thief who witnesses the Secret Service cover up of a murder. The film received a mixed reception from critics and was generally viewed as one of his weaker efforts.[203] Maitland McDonagh of TV Guide remarked, "The plot turns are no more ludicrous than those of the average political thriller, but the slow pace makes their preposterousness all the more obvious. Eastwood's acting limitations are also sorely evident, since Luther is the kind of thoughtful thief who has to talk, rather than maintaining the enigmatic fortitude that is Eastwood's forte. Disappointing."[204] Later in 1997, Eastwood directed Midnight in the Garden of Good and Evil, based on the novel by John Berendt and starring John Cusack, Kevin Spacey, and Jude Law, a film which received a mixed response from critics.[205]

Eastwood directed and starred in True Crime (1999), which also featured his young daughter Francesca Fisher-Eastwood. He plays Steve Everett, a journalist recovering from alcoholism given the task of covering the execution of murderer Frank Beechum (Isaiah Washington). The film received a mixed reception with Janet Maslin of The New York Times writing, "True Crime is directed by Mr. Eastwood with righteous indignation and increasingly strong momentum. As in A Perfect World, his direction is galvanized by a sense of second chances and tragic misunderstandings, and by contrasting a larger sense of justice with the peculiar minutiae of crime. Perhaps he goes a shade too far in the latter direction, though."[207] If some reviews for True Crime were positive, commercially it was a box office bomb—earning less than half its $55 million (US$72.5 million in 2012 dollars[25]) budget—and easily became Eastwood's worst performing film of the 1990s aside from White Hunter Black Heart, which only had limited release.[208]

2000s

In 2000 Eastwood directed and starred in Space Cowboys alongside Tommy Lee Jones, Donald Sutherland, and James Garner as one of a group of veteran "ex-test pilots" who are sent into space to repair an old Soviet satellite. The original music score was composed by Eastwood and Lennie Niehaus. Space Cowboys was well-received and holds a 79 percent rating at Rotten Tomatoes.[209] The film received a moderately favorable review from Roger Ebert, "it's too secure within its traditional story structure to make much seem at risk — but with the structure come the traditional pleasures as well."[210] The film grossed over $90 million in its United States release, more than Eastwood's two previous films combined.[211] The following year he played an ex-FBI agent on the track of a sadistic killer (Jeff Daniels) in the thriller Blood Work, loosely based on the 1998 novel of the same name by Michael Connelly. The film was a failure, grossing just $26.2 million (US$32 million in 2012 dollars[25]) on an estimated budget of $50 million (US$61 million in 2012 dollars[25]), and received mixed reviews with a consensus at Rotten Tomatoes calling it "well-made but marred by lethargic pacing".[212] Eastwood did, however, win the Future Film Festival Digital Award at the Venice Film Festival.

Eastwood directed and scored the crime drama Mystic River (2003), a film about murder, vigilantism, and sexual abuse, set in Boston. Starring Sean Penn, Kevin Bacon, and Tim Robbins, Mystic River was lauded by critics and viewers alike. The film won two Academy Awards, Best Actor for Penn and Best Supporting Actor for Robbins, with Eastwood garnering nominations for Best Director and Best Picture.[213] Eastwood was named Best Director of the Year by the London Film Critics Circle and the National Society of Film Critics. The film grossed $90 million (US$107 million in 2012 dollars[25]) domestically on a budget of $30 million (US$35.8 million in 2012 dollars[25]).[214]

The following year Eastwood found further critical and commercial success when he directed, produced, scored, and starred in the boxing drama Million Dollar Baby, playing a cantankerous trainer who forms a bond with female boxer (Hilary Swank) who he is persuaded to train by his lifelong friend (Morgan Freeman). The film won four Academy Awards: Best Picture, Best Director, Best Actress (Swank), and Best Supporting Actor (Freeman).[215] At age 74 Eastwood became the oldest of eighteen directors to have directed two or more Best Picture winners.[216][217] He also received a nomination for Best Actor and a Grammy nomination for his score.[218] A. O. Scott of The New York Times lauded the film as a "masterpiece" and the best film of the year.[219]

In 2006 Eastwood directed two films about World War II's Battle of Iwo Jima. The first, Flags of Our Fathers, focused on the men who raised the American flag on top of Mount Suribachi and was followed by Letters from Iwo Jima, which dealt with the tactics of the Japanese soldiers on the island and the letters they wrote home to family members. Letters from Iwo Jima was the first American film to depict a war issue completely from the view of an American enemy.[220] Both films received praise from critics and garnered several nominations at the 79th Academy Awards, including Best Director, Best Picture, and Best Original Screenplay for Letters from Iwo Jima. At the 64th Golden Globe Awards Eastwood received nominations for Best Director in both films. Letters from Iwo Jima won the award for Best Foreign Language Film.

Eastwood next directed Changeling (2008), based on a true story set in the late 1920s. Angelina Jolie stars as a woman who is reunited with her missing son only to realize that he is an impostor.[221] After its release at several film festivals the film grossed over $110 million (US$112 million in 2012 dollars[25]), the majority of which came from foreign markets.[222] The film was highly acclaimed, with Damon Wise of Empire describing Changeling as "flawless".[223] Todd McCarthy of Variety described it as "emotionally powerful and stylistically sure-handed" and stated that Changeling was a more complex and wide-ranging work than Eastwood's Mystic River, saying the characters and social commentary were brought into the story with an "almost breathtaking deliberation".[224] Film critic Prairie Miller said that, in its portrayal of female courage, the film was "about as feminist as Hollywood can get" whilst David Denby argued that, like Eastwood's Million Dollar Baby, the film was "less an expression of feminist awareness than a case of awed respect for a woman who was strong and enduring."[225] Eastwood received nominations for Best Original Score at the 66th Golden Globe Awards, Best Direction at the 62nd British Academy Film Awards and director of the year from the London Film Critics' Circle.

After four years away from acting Eastwood ended his "self-imposed acting hiatus"[226] with Gran Torino, which he also directed, produced, and partly scored with his son Kyle and Jamie Cullum. Biographer Marc Eliot called Eastwood's role "an amalgam of the Man with No Name, Dirty Harry, and William Munny, here aged and cynical but willing and able to fight on whenever the need arose."[227] Eastwood has said that the role will most likely be the last time he acts in a film.[228] It grossed close to $30 million (US$30.6 million in 2012 dollars[25]) during its wide release opening weekend in January 2009, the highest of his career as an actor or director.[229] Gran Torino eventually grossed over $268 million (US$274 million in 2012 dollars[25]) in theaters worldwide becoming the highest-grossing film of Eastwood's career so far, without adjustment for inflation.

His 30th directorial outing came with Invictus, a film based on the story of the South African team at the 1995 Rugby World Cup, with Morgan Freeman as Nelson Mandela and Matt Damon as rugby team captain François Pienaar. Freeman had bought the film rights to John Carlin's book on which the film is based.[230] The film met with generally positive reviews; Roger Ebert gave it three and a half stars and described it as a "very good film... with moments evoking great emotion",[231] while Variety's Todd McCarthy wrote, "Inspirational on the face of it, Clint Eastwood's film has a predictable trajectory, but every scene brims with surprising details that accumulate into a rich fabric of history, cultural impressions and emotion."[232] Eastwood was nominated for Best Director at the 67th Golden Globe Awards.

2010s

In 2010, Eastwood directed the drama Hereafter, again working with Damon, who portrayed a psychic. The film had its world premiere on September 12, 2010 at the 2010 Toronto International Film Festival and was given a limited release on October 15, 2010.[234][235] Hereafter received mixed reviews from critics, with the consensus at Rotten Tomatoes being, "Despite a thought-provoking premise and Clint Eastwood's typical flair as director, Hereafter fails to generate much compelling drama, straddling the line between poignant sentimentality and hokey tedium."[236] In the same year, Eastwood served as executive producer for a Turner Classic Movies (TCM) documentary about jazz pianist Dave Brubeck, Dave Brubeck: In His Own Sweet Way, to commemorate Brubeck's 90th birthday.[237]

Eastwood directed the 2011 biopic of J. Edgar Hoover, J. Edgar, focusing on the former FBI director's scandalous career and controversial private life. It starred Leonardo DiCaprio as Hoover,[238] Armie Hammer as Clyde Tolson, and Damon Herriman as Bruno Hauptmann. In January 2011, it was announced that Eastwood is in talks to direct Beyoncé Knowles in a third remake of the 1937 film A Star Is Born.[239] Production has been delayed due to Knowles' pregnancy. In October 2011, Entertainment Weekly indicated that Eastwood was in talks to star in the baseball drama Trouble with the Curve, in which he would play a veteran baseball scout who travels with his daughter for a final scouting trip. Robert Lorenz, who worked with Eastwood as an assistant director on a few of his films, is in talks to direct the film.[240]

Directing style

Beginning with the thriller Play Misty for Me, Eastwood has directed over 30 films in his career; including westerns, action films, and dramas. From the very early days of his career, Eastwood had been frustrated by directors insisting that scenes be re-shot multiple times and perfected, and when he began as a director in 1971, he made a conscious attempt to avoid any aspects of directing he had been indifferent to as an actor. As a result, Eastwood is renowned for his efficient film directing and ability to reduce filming time and to keep budgets under control. Eastwood usually avoids actors rehearsing and prefers most scenes to be completed on the first take.[241][242] In preparation for filming Eastwood rarely uses storyboards for developing the layout of a shooting schedule.[243][244][245] He also attempts to reduce script background details on characters to allow the audience to become more involved in the film,[246] considering their imagination a requirement for a film that connects with viewers.[246][247] Eastwood has indicated that he lays out a film's plot to provide the audience with necessary details, but not "so much that it insults their intelligence."[248] According to Life magazine, "Eastwood's style is to shoot first and act afterward. He etches his characters virtually without words. He has developed the art of underplaying to the point that anyone around him who so much as flinches looks hammily histrionic."[249]

Interviewers Richard Thompson and Tim Hunter note that Eastwood's films are "superbly paced: unhurried; cool; and [give] a strong sense of real time, regardless of the speed of the narrative"[250] while Ric Gentry considers Eastwood's pacing to be "unrushed and relaxed".[251] Eastwood is fond of low-key lighting and back-lighting to give his movies a "noir-ish" feel.[242][252]

Eastwood's frequent exploration of ethical values has drawn the attention of scholars who have explored Eastwood's work from ethical and theological perspectives, including his portrayal of justice, mercy, suicide, and the angel of death.[253]

Politics

Eastwood registered as a Republican to vote for Dwight D. Eisenhower in 1952, and supported Richard Nixon's 1968 and 1972 presidential campaigns. He later criticized Nixon's handling of the Vietnam War and his morality during Watergate.[254][255] He has disapproved of America's wars in Korea (1950–1953), Vietnam (1964–1973), and Iraq (2003–2011), believing that the United States should not be overly militaristic or play the role of global policeman. He considers himself too individualistic to be either right-wing or left-wing, describing himself as a "political nothing" and a "moderate" in 1974[255] and a "libertarian" in 1997.[256] Eastwood has stated that he does not see himself as conservative or "ultra-leftist."[257] At times, he has supported Democrats in California, including Representative Sam Farr in 2002, and Governor Gray Davis, whom he voted for in 1998, and hosted a $5,000 per ticket fundraiser for in 2003.[258] A self-professed "liberal on civil rights" (see the 1974 Playboy interview),[259] Eastwood has stated that he is pro-choice on abortion.[260] He has endorsed the notion of allowing gays to marry[257] and contributed to groups supporting the Equal Rights Amendment for women.[261]

As a politician Eastwood has made successful forays into both local and state government. In April 1986 he was elected mayor for one term in his home town of Carmel-by-the-Sea, California – a small, wealthy town and artist community on the Monterey Peninsula.[262] During his term he tended towards supporting small business interests and advocating environmental protection.[263] In 2001 Eastwood was appointed to the California State Park and Recreation Commission by Governor Davis,[264] then reappointed in 2004 by Governor Arnold Schwarzenegger.[264] As the vice chairman of the commission, in 2005 along with chairman Bobby Shriver, he led the movement opposed to a six-lane 16-mile (26 km) extension of California State Route 241, a toll road that would cut through San Onofre State Beach. Eastwood and Shriver supported a 2006 lawsuit to block the toll road and urged the California Coastal Commission to reject the project, which it duly did in February 2008.[265] In March 2008 Eastwood and Shriver's non-reappointment to the commission on the expiry of their terms[265] prompted the Natural Resources Defense Council (NDRC) to request a legislative investigation into the decision.[266] Governor Schwarzenegger appointed Eastwood to the California Film Commission in April 2004.[267] He has also acted as a spokesman for Take Pride in America, an agency of the United States Department of the Interior which advocates taking responsibility for natural, cultural, and historic resources.[268]

During the 2008 United States Presidential Election Eastwood endorsed John McCain, whom he has known since 1973, but nevertheless wished Barack Obama well upon his subsequent victory.[269][270] In August 2010, Eastwood wrote to the British Chancellor of the Exchequer George Osborne to protest the decision to close the UK Film Council, warning that the closure could result in fewer foreign production companies choosing to work in the UK.[271] When asked his opinion of the 2012 Republican presidential candidates in February 2012, Eastwood replied that Texas Congressman Ron Paul was "'as good as anybody else' in the race but that he will decide on a candidate in another month or two after 'listening to all that crap on television.'"[272]

[Added by PopStarsPlus] There was a bit of controversy over the Superbowl Half-Time advertisement for Chrysler, in which Clint Eastwood had appeared.  Some called it a pro-Obama ad in support of his bail-out of the auto industry.  Mr. Eastwood responded to the claims during an interview with Bill O'Reily, stating “I just want to say that the spin stops with you guys, and there is no spin in that ad — on this I am certain,” He continued by also stating that “It was meant to be a message about just about job growth and the spirit of America. I think all politicians will agree with it. I thought the spirit was okay.”

Personal life

Relationships

Although reported as being happily married to his second wife since 1996, Eastwood previously fathered at least seven children by five different women and has been described as a "serial womanizer".[4][5] According to biographers, Eastwood has always had a strong sexual appetite and particularly so during the 1970s. He allegedly engaged in affairs with many women, including actresses Catherine Deneuve, Peggy Lipton, Jean Seberg, Jamie Rose, Inger Stevens, Jo Ann Harris, Jill Banner, script analyst Megan Rose, and swimming champion Anita Lhoest.[273]

Eastwood married Maggie Johnson on December 19, 1953, six months after they met on a blind date.[274] While separated from Johnson, Eastwood had an affair with dancer Roxanne Tunis, with whom he had his first child, Kimber (born June 17, 1964); he did not publicly acknowledge her until 1996.[275] After a reconciliation, he had two children with Johnson: Kyle Eastwood (born May 19, 1968) and Alison Eastwood (born May 22, 1972). Eastwood filed for divorce in 1979, after a long separation, but the $25 million (US$52.9 million in 2012 dollars[25]) divorce settlement was not finalized until May 1984.[276][277]

Eastwood entered a relationship with actress Sondra Locke in 1975 and they lived together for fourteen years despite the fact that she remained married (in name only) to her gay husband, Gordon Anderson.[278][279] They co-starred in six films together: The Outlaw Josey Wales, The Gauntlet, Every Which Way but Loose, Bronco Billy, Any Which Way You Can, and Sudden Impact. Early on in the relationship, Locke had two abortions and a subsequent tubal ligation.[280][281] The couple separated acrimoniously in 1989; Locke filed a palimony suit against Eastwood after he changed the locks on the home they shared. She sued him a second time, for fraud, regarding an alleged phony directing contract he gave her in settlement of the first lawsuit.[282] Locke and Eastwood went on to resolve the dispute with a non-public settlement in 1999.[283] Her memoir The Good, the Bad, and the Very Ugly includes a harrowing account of their years together.[284] Although Locke settled her cases with Eastwood which meant they never went up on appeal, the trial court improperly disclosed part of the September 1996 trial of one of Locke's cases to the public. The Supreme Court of California agreed to review that issue because of the importance of the constitutional issues at stake, and ultimately held in 1999, that there is a constitutional right of public access to judicial proceedings.[285]

During his cohabitation with Locke, Eastwood had an affair with flight attendant Jacelyn Reeves. According to biographers they met at the premiere of Pale Rider where they conceived a son, Scott Reeves (born March 21, 1986).[286] They also had a daughter, Kathryn Reeves (born February 2, 1988), although neither of them were publicly acknowledged until years later.[287] Kathryn served as Miss Golden Globe at the 2005 ceremony where she presented Eastwood with an award for Million Dollar Baby.[288]

In 1990, Eastwood began living with actress Frances Fisher, whom he had met on the set of Pink Cadillac (1989).[289] They co-starred in Unforgiven and had a daughter, Francesca Fisher-Eastwood (born August 7, 1993).[290] The couple ended their relationship in early 1995,[291] but remain friends and later appeared together in True Crime.

Eastwood subsequently began dating Dina Ruiz, an anchorwoman 35 years his junior, whom he had first met when she interviewed him in 1993.[290] They married on March 31, 1996, when Eastwood surprised her with a private ceremony at his home on the Shadow Creek Golf Course in Las Vegas.[292] After their wedding, Dina commented "The fact that I am only the second woman he has married really touches me."[293] The couple has one daughter, Morgan Eastwood (born December 12, 1996).

Eastwood has two grandchildren: Clinton (born 1984) and Graylen (born 1994), by Kimber and Kyle respectively.[294]

Leisure

Despite smoking in some of his films, Eastwood is a life-long non-smoker, has been conscious of his health and fitness since he was a teenager, and practices healthy eating and daily Transcendental Meditation.[295][296][297] He opened an old English-inspired pub called the Hog's Breath Inn in Carmel-by-the-Sea in 1971.[298] Eastwood eventually sold the pub and now owns the Mission Ranch Hotel and Restaurant, also located in Carmel-by-the-Sea.[299][300]

Eastwood is a keen golfer and owns the Tehàma Golf Club. He is also an investor in the world-renowned Pebble Beach Golf Links and donates his time every year to charitable causes at major tournaments.[299][301][302] Eastwood is a licensed pilot and often flies his helicopter to the studios to avoid traffic.[303][304]

Music

Eastwood has had a passion for music all his life. He particularly favors jazz, classic rhythm-and-blues, and country-and-western music. He is also a pianist and composer.[305] Jazz has played an important role in Eastwood's life from a young age and, although he never made it as a professional musician, he passed on the influence to his son Kyle Eastwood, a successful jazz bassist and composer. Eastwood developed as a boogie-woogie pianist early on and had originally intended to pursue a career in music by studying for a music theory degree after graduating from high school. In late 1959 he produced the album Cowboy Favorites, released on the Cameo label.[305]

Eastwood has his own Warner Bros. Records-distributed imprint Malpaso Records, as part of his deal with Warner Brothers, which has released all of the scores of Eastwood's films from The Bridges of Madison County onward. Eastwood co-wrote "Why Should I Care" with Linda Thompson and Carole Bayer Sager, which was recorded by Diana Krall.[306] Eastwood composed the film scores of Mystic River, Grace Is Gone (2007), Changeling, and J. Edgar, and the original piano compositions for In the Line of Fire. He also wrote and performed the song heard over the credits of Gran Torino.[299] The music in Grace Is Gone received two Golden Globe nominations by the Hollywood Foreign Press Association for the 65th Golden Globe Awards. Eastwood was nominated for Best Original Score, while the song "Grace is Gone" with music by Eastwood and lyrics by Carole Bayer Sager was nominated for Best Original Song.[307] It won the Satellite Award for Best Song at the 12th Satellite Awards. Changeling was nominated for Best Score at the 14th Critics' Choice Awards, Best Original Score at the 66th Golden Globe Awards, and Best Music at the 35th Saturn Awards. On September 22, 2007, Eastwood was awarded an honorary Doctor of Music degree from the Berklee College of Music at the Monterey Jazz Festival, on which he serves as an active board member. Upon receiving the award he gave a speech claiming, "It's one of the great honors I'll cherish in this lifetime."[308]

Awards and honors

Eastwood has been recognized with multiple awards and nominations for his work in film, television, and music. His widest reception has been in film work, for which he has received Academy Awards, Directors Guild of America Awards, Golden Globe Awards, and People's Choice Awards, among others. Eastwood is one of only two people to have been twice nominated for Best Actor and Best Director for the same film (Unforgiven and Million Dollar Baby) the other being Warren Beatty (Heaven Can Wait and Reds). Along with Beatty, Robert Redford, Richard Attenborough, Kevin Costner, and Mel Gibson, he is one of the few directors best known as an actor to win an Academy Award for directing. On February 27, 2005, he became one of only three living directors (along with Miloš Forman and Francis Ford Coppola) to have directed two Best Picture winners.[309] At age 74, he was also the oldest recipient of the Academy Award for Best Director. Eastwood has directed five actors in Academy Award–winning performances: Gene Hackman in Unforgiven, Tim Robbins and Sean Penn in Mystic River, and Morgan Freeman and Hilary Swank in Million Dollar Baby.

On August 22, 1984, Eastwood was honored at a ceremony at Grauman's Chinese theater to record his hand and footprints in cement.[310] Eastwood received the AFI Life Achievement Award in 1996, and received an honorary degree from AFI in 2009. On December 6, 2006, California Governor Arnold Schwarzenegger and First Lady Maria Shriver inducted Eastwood into the California Hall of Fame located at The California Museum for History, Women, and the Arts.[311] In early 2007, Eastwood was presented with the highest civilian distinction in France, Légion d'honneur, at a ceremony in Paris. French President Jacques Chirac told Eastwood that he embodied "the best of Hollywood".[312] In October 2009, he was honored by the Lumière Award (in honor of the Lumière Brothers, inventors of the Cinematograph) during the first edition of the Lumière Film Festival in Lyon, France. This award honors his entire career and his major contribution to the 7th Art. In February 2010, Eastwood was recognized by President Barack Obama with an arts and humanities award. Obama described Eastwood's films as "essays in individuality, hard truths and the essence of what it means to be American."[313]

Eastwood has also been awarded at least three honorary degrees from universities and colleges, including an honorary degree from the University of the Pacific in 2006, an honorary Doctor of Humane Letters from the University of Southern California on May 27, 2007, and an honorary Doctor of Music degree from the Berklee College of Music at the Monterey Jazz Festival on September 22, 2007.[314][315]

Academy Awards

Filmography

Eastwood has contributed to over 50 films over his career as actor, director, producer, and composer. He has acted in several television series, most notably starring in Rawhide. He started directing in 1971, and made his debut as a producer in 1982, with Firefox, though he had been functioning as uncredited producer on all of his Malpaso Company films since Hang 'Em High in 1968. Eastwood also has contributed music to his films, either through performing, writing, or composing. He has mainly starred in western, action, and drama films. According to the box office-revenue tracking website, Box Office Mojo, films featuring Eastwood have grossed a total of more than US$1.68 billion domestically, with an average of $37 million per film.[316]

Films

^ I Credited for performing a song in the film
^ II Credited for writing song(s) for the film
^ III Credited for composing song(s) for the film
^ IV Credited for original score

Television

^ V Executive producer

[Source: Wikipedia at http://en.wikipedia.org/wiki/Clint_Eastwood_filmography)

Notes

1.^ Fischer, Landy & Smith, p. 43

 2.^ Kitses, p. 307

 3.^ a b Eliot, p. 13

 4.^ a b Amara, Pavan; Sundberg, Charlotte (May 30, 2010). "Eastwood at 80". The Independent (London). Archived from the original on January 16, 2011.

 5.^ a b c Day, Elizabeth (November 2, 2008). "Gentle Man Clint". The Guardian (London). Archived from the original on January 16, 2011.

 6.^ McGilligan, p. 22

 7.^ "BRETTEVILLE, Frances Mein De". The San Francisco Chronicle. February 22, 2004.

 8.^ Smith, p. 116

 9.^ Schickel, p. 27

 10.^ a b Zmijewsky, p. 12

 11.^ Eliot, p. 15

 12.^ Leung, Rebecca (February 6, 2005). "Two Sides Of Clint Eastwood: Lesley Stahl Talks To Oscar-Nominated Actor And Director". CBS Evening News. Archived from the original on January 16, 2011.

 13.^ Kapsis and Coblentz, p. 123 (interviewer Tim Cahill)

 14.^ Eliot, p. 17

 15.^ Eliot, pp. 18–19

 16.^ Eliot, p. 23

 17.^ Frank (1982), p. 12

 18.^ Schickel, p. 53

 19.^ Eliot, p. 25

 20.^ Eliot, p. 26

 21.^ a b McGilligan, pp. 55–56

 22.^ a b c McGilligan, p. 52

 23.^ Baldwin, p. 61

 24.^ a b McGilligan, p. 60

 25.^ a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af Consumer Price Index (estimate) 1800–2008. Federal Reserve Bank of Minneapolis. Retrieved December 7, 2010.

 26.^ McGilligan, p. 62

 27.^ University of Southern California. Division of Cinema; American Film Institute; Center for Understanding Media (1972). Filmfacts. Division of Cinema of the University of Southern California. p. 423. Retrieved January 13, 2011.

 28.^ Press, p. 100

 29.^ Stillman, pp. 130–132

 30.^ McGilligan, p. 63

 31.^ McGilligan, p. 64

 32.^ Fitzgerald & Magers, p. 264

 33.^ McGilligan, p. 80

 34.^ a b McGilligan, p. 81

 35.^ McGilligan, p. 86

 36.^ Eliot, p. 36

 37.^ Hughes, p. xxi

 38.^ a b McGilligan, p. 85

 39.^ Schickel, p. 185

 40.^ a b McGilligan, p. 87

 41.^ Frayling, p. 45

 42.^ O'Brien, p. 40

 43.^ McGilligan, p. 93

 44.^ a b McGilligan, p. 111

 45.^ McGilligan, p. 95

 46.^ Eliot, p. 45

 47.^ Miller, Kenneth. "RD Face to Face: Clint Eastwood". Reader's Digest Australia. Archived from the original on July 26, 2008.

 48.^ O'Brien, p. 29

 49.^ a b McGilligan, p. 110

 50.^ McGilligan, p. 125

 51.^ Emery, p. 81

 52.^ Hughes, p. xxvi

 53.^ McGilligan, p. 126

 54.^ Eliot, p. 59

 55.^ McGilligan, p. 128

 56.^ Hughes, p. 4

 57.^ McGilligan, p. 131

 58.^ McGilligan, p. 134

 59.^ Mercer, p. 272

 60.^ McGilligan, p. 148

 61.^ McGilligan, p. 133

 62.^ McGilligan, p. 150

 63.^ McGilligan, p. 151

 64.^ a b McGillagan, p. 156

 65.^ a b McGilligan, p. 157

 66.^ a b c McGilligan, p. 158

 67.^ Crist, Judith (February 2, 1967). "Plain Murder All the Way". New York World Journal Tribune.

 68.^ Adler, Renata (January 25, 1968). "The Screen:Zane Grey Meets the Marquis de Sade". The New York Times. Retrieved January 9, 2011.

 69.^ Active Interest Media, Inc. (2005-09–2005–10). American Cowboy. Active Interest Media, Inc.. p. 10. ISSN 10793690. Retrieved January 13, 2011.

 70.^ Johnston, p. 277

 71.^ Crowther, Bosley (February 2, 1967). "A Fistful of Dollars (1964)". The New York Times. Retrieved January 9, 2011.

 72.^ a b McGilligan, p. 159

 73.^ McGilligan, p. 160

 74.^ McGilligan, p. 162

 75.^ Clint Eastwood's Stock Hits New High, United Artists press release, 1968

 76.^ a b McGilligan, p. 165

 77.^ McGilligan, p. 167

 78.^ McGilligan, p. 169

 79.^ Lloyd and Robinson, p. 417

 80.^ Slocum, p. 205

 81.^ McGilligan, p. 172

 82.^ Eliot, p. 83

 83.^ McGilligan, p. 173

 84.^ "Paint Your Wagon (1969)". The New York Times. Archived from the original on January 9, 2011.

 85.^ Frayling, p. 7

 86.^ Smith, p. 76

 87.^ Schickel, p. 226

 88.^ McGilligan, p. 182

 89.^ Kauffman, Stanley (August 1, 1970). "Stanley Kauffman on Films". The New Republic.

 90.^ Schickel, p. 227

 91.^ Canby, Maslin, and Nichols

 92.^ a b McGilligan, p. 184

 93.^ McGilligan, p. 183

 94.^ McGilligan, p. 185

 95.^ McGilligan, p. 190

 96.^ a b McGilligan, p. 189

 97.^ McGilligan, p. 196

 98.^ McGilligan, p. 192

 99.^ McGilligan, p. 193

 100.^ McGilligan, p. 194

 101.^ McGilligan, p. 195

 102.^ McGilligan, p. 205

 103.^ Mathijs and Mendik, p. 79

 104.^ Cardullo, p. 51

 105.^ Lichtenfeld, p. 23

 106.^ Communications, Emmis (March 2003). Orange Coast Magazine. Emmis Communications. p. 23. ISSN 02790483. Retrieved January 13, 2011.

 107.^ Sweeney, p. 21

 108.^ Schickel, p. 272

 109.^ McGilligan, p. 210

 110.^ Schickel, p. 273

 111.^ Schickel, p. 281

 112.^ Baker, p. 99

 113.^ Boucher, Geoff (September 7, 2010). "Clint Eastwood as Superman or James Bond? 'It could have happened,' he says". Los Angeles Times Hero Complex. Archived from the original on December 11, 2010.

 114.^ McGilligan, p. 219

 115.^ Greenspun, Roger (July 20, 1972). "Joe Kidd (1972)". The New York Times. Retrieved January 23, 2010.

 116.^ McGilligan, p. 221

 117.^ McGilligan, p. 223

 118.^ Schickel, p. 291

 119.^ McGilligan, p. 229

 120.^ McGilligan, p. 230

 121.^ McGilligan, p. 231

 122.^ McGilligan, p. 233

 123.^ Eliot, p. 153

 124.^ a b McGilligan, p. 236

 125.^ a b McGilligan, p. 241

 126.^ McGilligan, p. 240

 127.^ Schickel, p. 314

 128.^ McGilligan, p. 244

 129.^ Schickel, p. 315

 130.^ Zmijewsky, p. 176

 131.^ a b McGilligan, p. 253

 132.^ Schickel, p. 316

 133.^ McGilligan, p. 256

 134.^ McGilligan, p. 257

 135.^ McGilligan, p. 261

 136.^ McGilligan, p. 264

 137.^ a b McGilligan, p. 266

 138.^ Ebert, Roger (January 1, 1976). "The Outlaw Josey Wales". Chicago Sun-Times. Archived from the original on January 23, 2011.

 139.^ McGilligan, p. 267

 140.^ a b McGilligan, p. 268

 141.^ Kitses, p. 305

 142.^ McGilligan, p. 273

 143.^ McGilligan, p. 278

 144.^ Ebert, Roger (January 1, 1977). "The Gauntlet". Chicago Sun-Times. Archived from the original on December 11, 2010.

 145.^ McGilligan, p. 302

 146.^ McGilligan, p. 307

 147.^ Zmijewsky, p. 213

 148.^ McGilligan, p. 317

 149.^ Munn, p. 174

 150.^ Schickel, p. 362

 151.^ Schickel, p. 365

 152.^ a b Maslin, Janet (December 17, 1980). "Any Which Way You Can (1980): Screen: Clint and Clyde". The New York Times. Archived from the original on January 9, 2011.

 153.^ Maslin, Janet (June 11, 1980). "Bronco Billy (1980): Eastwood Stars and Directs 'Bronco Billy'". The New York Times. Archived from the original on January 9, 2011.

 154.^ Schickel, p. 383

 155.^ Schickel, p. 384

 156.^ "Honkytonk Man (1982)". Rotten Tomatoes. Retrieved 1 May 2011.

 157.^ a b Schickel, p. 378

 158.^ Zmijewsky and Pfeiffer, p. 232

 159.^ Munn, p. 194

 160.^ Smith, p. 100

 161.^ "Frankly, My Dear, I Don't Give A Damn". AFI's 100 Years... 100 Movie Quotes, American Film Institute. Archived from the original on March 7, 2011.

 162.^ Rogin, p. 7

 163.^ McGilligan, p. 352

 164.^ Schickel, p. 389

 165.^ McGilligan, p. 361

 166.^ Schickel, p. 400

 167.^ Munn, p. 95

 168.^ Halbfinger, David M. (September 21, 2006). "The Power of an Image Drives Film by Eastwood". The New York Times. Archived from the original on December 11, 2010.

 169.^ McGilligan, p. 371

 170.^ McGilligan, p. 375

 171.^ McGilligan, p. 378

 172.^ McGilligan, p. 398

 173.^ McGilligan, p. 406

 174.^ Schickel, p. 421

 175.^ McGilligan, p. 407

 176.^ The Film journal. Pubsun Corp.. 1 July 1988. p. 24. Retrieved 1 May 2011.

 177.^ Ebert, Roger (1992). Roger Ebert's movie home companion. Andrews and McMeel. ISBN 9780836262438. Retrieved 1 May 2011.

 178.^ McGilligan, p. 433

 179.^ Schickel, p. 435

 180.^ Schickel, p. 442

 181.^ McGilligan, p. 437

 182.^ McGilligan, p. 452

 183.^ McGilligan, p. 461

 184.^ McGilligan, p. 460

 185.^ a b c McGilligan, p. 467

 186.^ McGilligan, p. 466

 187.^ Canby, Vincent (August 7, 1992). "Unfo". Retrieved January 17, 2011.

 188.^ McGilligan, p. 475

 189.^ McGilligan, p. 473

 190.^ American Film Institute (June 17, 2008). "AFI Crowns Top 10 Films in 10 Classic Genres". ComingSoon.net. Retrieved January 17, 2011.

 191.^ "Top Western". American Film Institute. Archived from the original on January 30, 2011.

 192.^ Schickel, p. 471

 193.^ McGilligan, p. 480

 194.^ McGilligan, p. 481

 195.^ Maslin, Janet (November 24, 1993). "A Perfect World; Where Destiny Is Sad and Scars Never Heal". The New York Times. Archived from the original on December 11, 2010.

 196.^ Hinson, Hall (November 24, 1993). "'A Perfect World'". The Washington Post. Archived from the original on December 11, 2010.

 197.^ McGilligan, pp. 485–6

 198.^ McGilligan, p. 491

 199.^ Verlhac and Bogdanovich, p.144

 200.^ McGilligan, p. 492

 201.^ McGilligan, p. 503

 202.^ Ebert, Roger (June 2, 1995). "The Bridges of Madison County". Chicago Sun-Times. Archived from the original on January 30, 2011.

 203.^ "Absolute Power (1997)". Rotten Tomatoes. Retrieved January 13, 2011.

 204.^ McDonagh, Maitland. "Absolute Power review". TV Guide. Archived from the original on January 14, 2011.

 205.^ Ebert, Roger (November 21, 1997). "Midnight in the Garden of Good and Evil". Chicago Sun-Times. Archived from the original on December 11, 2010.

 206.^ Gallafent, p. 10

 207.^ Maslin, Janet (March 19, 1999). "True Crime". The New York Times. Retrieved January 30, 2011.

 208.^ McGilligan, p. 539

 209.^ "Space Cowboys (2000)". Rotten Tomatoes. Retrieved February 16, 2011.

 210.^ Ebert, Roger (August 4, 2000). "Space Cowboys". Chicago Sun-Times. Retrieved February 16, 2011.

 211.^ Hughes, p.152

 212.^ "Blood Work (2002)". Rotten Tomatoes. Retrieved January 10, 2011.

 213.^ "Acclaim flows for 'Mystic River' at Oscars". The New Zealand Herald. Reuters. March 2, 2004. Archived from the original on January 23, 2011.

 214.^ "Mystic River". Box Office Mojo. Retrieved September 4, 2009.

 215.^ Roberts and Skutt, p. 689

 216.^ "Directing: Directors with 2 or More Directing Awards". Academy of Motion Picture Arts and Sciences. Retrieved January 10, 2011.

 217.^ D'Angelo, Jennifer (February 28, 2005). "'Million Dollar Baby' Wins Best Picture Oscar". FOX News. Archived from the original on January 10, 2011.

 218.^ Eliot, p. 313

 219.^ Scott, A. O. (December 14, 2004). "3 People Seduced by the Bloody Allure of the Ring". The New York Times. Archived from the original on January 30, 2011.

 220.^ Eliot, p. 320

 221.^ Eliot, p. 327

 222.^ McClintock, Pamela (March 10, 2009). "Clint mints overseas box office". Variety. Archived from the original on December 11, 2010.

 223.^ Wise, Damon (May 20, 2008). "Clint Eastwood's Changeling Is The Best Of The Festival So Far". Empire. Archived from the original on January 13, 2011.

 224.^ McCarthy, Todd (May 20, 2008). "'Changeling' review". Variety. Archived from the original on January 13, 2011.

 225.^ Denby, David (March 8, 2010). "Out of the West". The New Yorker. Archived from the original on January 13, 2011.

 226.^ Turan, Kenneth (December 12, 2008). "Review: 'Gran Torino'". Los Angeles Times. Archived from the original on December 11, 2010.

 227.^ Eliot, p. 329

 228.^ Jamieson, Alistair (November 23, 2008). "Clint Eastwood to retire from acting". The Daily Telegraph (London). Archived from the original on December 11, 2010.

 229.^ "Clint Eastwood leads box office with 'Gran Torino'". Forbes. Reuters. January 11, 2009. Archived from the original on January 10, 2011.

 230.^ Keller, Bill (August 15, 2008). "Entering the Scrum". The New York Times. Archived from the original on March 12, 2011.

 231.^ Ebert, Roger (December 9, 2009). "Invictus". Chicago Sun-Times. Archived from the original on March 12, 2011.

 232.^ McCarthy, Todd (November 27, 2009). "Invictus". Variety. Archived from the original on March 12, 2011.

 233.^ The Eastwood Factor (Extended Edition) (DVD). Warner Home Video. June 1, 2010. Event occurs at 1:26:15.

 234.^ Punter, Jennie (August 17, 2010). "Eastwood, Boyle among new Toronto entries". Variety. Archived from the original on January 10, 2011.

 235.^ Mercer, Benjamin (October 11, 2010). "Eastwood's 'Hereafter': Matt Damon Shines, Despite Schmaltz". The Atlantic. Archived from the original on January 10, 2011.

 236.^ "Hereafter Movie Reviews, Pictures – Rotten Tomatoes". Rotten Tomatoes. Retrieved October 30, 2010.

 237.^ Mergner, Lee (November 29, 2010). "In Dave Brubeck's Own Sweet Way". JazzTimes. Archived from the original on January 13, 2011.

 238.^ Rosenberg, Adam (June 18, 2010). "Leonardo DiCaprio To Star In J. Edgar Hoover Biopic". MTV.com. Archived from the original on January 22, 2011.

 239.^ Magrath, Andrea (January 21, 2011). "A Star Is Born... again: Clint Eastwood in talks to direct Beyonce in yet another remake of Hollywood classic". Daily Mail (London). Archived from the original on January 22, 2011.

 240.^ Breznican, Anthony (October 5, 2011). "Clint Eastwood may act again in baseball drama -- Breaking". Entertainment Weekly. Archived from the original on October 5, 2011.

 241.^ Munn, p. 160

 242.^ a b Kapsis and Coblentz, pp. 196–197 (interviewer Peter Biskind)

 243.^ Kapsis and Coblentz, p. 65 (interviewer Ric Gentry)

 244.^ Kapsis and Coblentz, p. 173 (interviewer Denise Abbott)

 245.^ Kapsis and Coblentz, p. 235 (interviewer Pascal Mérigeau)

 246.^ a b Kapsis and Coblentz, pp. 67–68 (interviewer Ric Gentry)

 247.^ Kapsis and Coblentz, p. 91 (interviewer David Thomson)

 248.^ Kapsis and Coblentz, p. 60 (interviewer Ric Gentry)

 249.^ Fayard, Judy (July 23, 1971). Who can stand 32,580 seconds of Clint Eastwood?. Time Inc.. p. 46. ISSN 00243019. Retrieved March 8, 2011.

 250.^ Kapsis and Coblentz, p. 45 (interviewers Richard Thompson and Tim Hunter)

 251.^ Kapsis and Coblentz, p. 71 (interviewer Ric Gentry)

 252.^ Kapsis and Coblentz, p. 143 (interviewer Milan Pavolić)

 253.^ Sara Anson Vaux, The Ethical Vision of Clint Eastwood (Wm. B. Eerdmans, 2011)

 254.^ Eliot, p. 115

 255.^ a b "Clint Eastwood: 1974 Playboy Interview". Playboy. February 1974. Archived from the original on January 23, 2011.

 256.^ "Clint Eastwood: 1997 Playboy Interview". Playboy. March 1997. Archived from the original on January 29, 2011.

 257.^ a b McCafferty, Dennis (January 25, 2004). "American Icon series – Clint Eastwood". USA Weekend.

 258.^ Cooper, Marc (May 8, 2003). "Left Coast Notes". The Nation. Archived from the original on January 23, 2011.

 259.^ WebCite query result

 260.^ "Clint Eastwood: 1997 Playboy Interview". Playboy. March 1997. Archived from the original on January 23, 2011.

 261.^ Schickel, p. 380

 262.^ Eliot, p. 227

 263.^ The Economist. The Economist Newspaper Ltd.. 1986. Retrieved January 16, 2011.

 264.^ a b "'Terminator' fires Clint Eastwood, Shriver". USA Today. Associated Press. March 20, 2008. Archived from the original on January 9, 2011.

 265.^ a b Young, Samantha (March 20, 2008). "Schwarzenegger removes his brother-in-law and Clint Eastwood from Calif. parks panel". San Diego Union Tribune. Archived from the original on December 11, 2010.

 266.^ "Group wants probe into governor's removal of Eastwood, Shriver". San Diego Union Tribune. Associated Press. March 22, 2008. Archived from the original on December 11, 2010.

 267.^ "Schwarzenegger to boost Hollywood". BBC News Online. April 16, 2004. Archived from the original on January 9, 2011.

 268.^ Go Ahead. Make His Day. Boy Scouts of America. June 2005. p. 15. ISSN 00068608. Retrieved January 23, 2011.

 269.^ Aguilar, Lou (July 18, 2008). "Real Men Vote for McCain". National Review. Archived from the original on December 11, 2010.

 270.^ "Clint Eastwood On "Gran Torino," Getting Old And The Spike Lee Feud". Huffingtonpost.com. December 10, 2008. Archived from the original on December 11, 2010.

 271.^ "Clint Eastwood writes plea to save UK Film Council". BBC News Online. August 9, 2010. Archived from the original on January 23, 2011.

 272.^ Ballasy, Nicholas (2012-02-02) Clint Eastwood: Ron Paul is ‘as good as anybody else', The Daily Caller

 273.^ Eliot, p. 211

 274.^ Munn, p. 19

 275.^ Eliot, p. 68

 276.^ Eliot, p. 176

 277.^ Eliot, p. 6

 278.^ Locke Biography

 279.^ Locke, Sondra (1997). The good, the bad, and the very ugly: a Hollywood journey. Morrow. p. 45. ISBN 9780688154622.

 280.^ Eliot, p. 193

 281.^ "Sondra Locke Suing Clint Eastwood". Lewiston Journal. Associated Press. April 28, 1989. Retrieved April 29, 2010.

 282.^ O'Neill, Ann W. (September 18, 1996). "Sondra Locke Suing Clint Eastwood". Los Angeles Times. Retrieved April 29, 2010.

 283.^ Huffaker, Donna (May 25, 1999). "Eastwood's Ex Settles With Warner Bros.". Los Angeles Daily News (Highbeam Research). Retrieved April 29, 2010.

 284.^ "Book Review: Book Review: 'The Good, the Bad and the Very Ugly', by Sondra Locke – EW.com". Entertainment Weekly.

 285.^ NBC Subsidiary (KNBC-TV), Inc. v. Superior Court, 20 Cal. 4th 1178, 86 Cal. Rptr. 2d 778, 980 P.2d 337 (1999).

 286.^ Eliot, p. 226

 287.^ Eliot, p. 236

 288.^ HFPA - Miss/Mr. Golden Globe

 289.^ McGilligan, p. 434

 290.^ a b Eliot, p. 289

 291.^ McGilligan, p. 501

 292.^ "Clint's wife expecting". Toronto Star. Reuters. September 6, 1996. Retrieved March 7, 2011.

 293.^ Eliot, p.295

 294.^ Clint Eastwood Biography - Yahoo! Movies

 295.^ McGilligan, p. 108

 296.^ Oates, p. 17

 297.^ Corliss, Richard (August 10, 1992). "The Last Roundup". Time.

 298.^ McGilligan, p. 204

 299.^ a b c Headlam, Bruce (December 10, 2008). "The Films Are for Him. Got That?". The New York Times. Archived from the original on January 10, 2011.

 300.^ "Welcome to Mission Ranch". Mission Ranch Hotel and Restaurant. Archived from the original on January 9, 2011.

 301.^ Weiss, Kenneth R. (June 14, 2007). "California rejects Clint Eastwood's Monterey golf course". Los Angeles Times. Archived from the original on January 9, 2011.

 302.^ "Clint Eastwood "Makes Their Day"". The Stroke Association. March 18, 2002. Archived from the original on January 9, 2011.

 303.^ Schickel, p. 25

 304.^ Eliot, p. 131

 305.^ a b McGilligan, p. 114

 306.^ "Krall, Eastwood Team For 'crime'". Billboard (AllBusiness.com). March 11, 1999. Archived from the original on December 11, 2010.

 307.^ "Hollywood Foreign Press Association 2008 Golden Globe Awards For the Year Ended December 31, 2007". goldenglobes.org. December 13, 2007. Archived from the original on 2007. Retrieved January 19, 2011.

 308.^ "Clint Eastwood Receives Berklee Degree at Monterey Jazz Festival (news release)". Berklee College of Music. September 24, 2007. Archived from the original on December 11, 2010.

 309.^ French, Philip (February 25, 2007). "Interview: Clint Eastwood, 'I figured I'd retire gradually, just ride off into the sunset ...'". The Guardian (London). Archived from the original on January 30, 2011.

 310.^ Eliot, p. 213

 311.^ Matier, Phillip; Ross, Andrew (December 6, 2006). "Eastwood to share top billing in Hall of Fame". San Francisco Chronicle. Archived from the original on January 10, 2011.

 312.^ "Eastwood receives French honour". BBC News Online. February 17, 2007. Archived from the original on December 11, 2010.

 313.^ Simmons, Christine (February 25, 2010). "Bob Dylan, Clint Eastwood get White House awards". USA Today. Archived from the original on January 17, 2011.

 314.^ Bowen, Rebecca (September 13, 2007). "Berklee awards Clint Eastwood honorary doctorate". Paste. Archived from the original on January 17, 2011.

 315.^ "An honorary Trojan". Los Angeles Times. May 12, 2007. Retrieved January 17, 2011.

 316.^ "Clint Eastwood". Box Office Mojo. Retrieved January 16, 2011.

Bibliography

Baker, Brian (2006). Masculinity in Fiction and Film: Representing Men in Popular Genres, 1945–2000. Continuum International Publishing Group. ISBN 9780826486523.

 Baldwin, Louis (1999). Turning Points: Pivotal Moments in the Careers of 83 Famous Figures. McFarland. ISBN 9780786406265.

 Canby, Vincent; Maslin, Janet; Nichols, Peter (1999). The New York Times Guide to the Best 1000 Movies Ever Made. New York: Times Books. ISBN 0812930010.

 Cardullo, Bert (2010). Screen Writings: Genres, Classics, and Aesthetics. Anthem Press. ISBN 9781843318378.

 Eliot, Marc (2009). American Rebel: The Life of Clint Eastwood. New York: Harmony Books. ISBN 9780307336880.

 Emery, Robert J. (2003). The Directors: Take 3. Allworth Press. ISBN 1581152450.

 Fischer, Lucy; Landy, Marcia; Smith, Paul (2004). Stars: The Film Reader: Action Movie Hysteria of Eastwood Bound. London: Routledge. ISBN 0415278937.

 Fitzgerald, Michael G.; Magers, Boyd (2002). Ladies of the Western: Interviews With Fifty-One More Actresses from the Silent Era to the Television Westerns of the 1950s and 1960s. Jefferson, N.C.: McFarland. ISBN 0786411406.

 Frank, Alan (1982). Clint Eastwood: Screen Greats. New York: Exeter. ISBN 0896731359.

 Frayling, Christopher (1992). Clint Eastwood. London: Virgin. ISBN 0863693075.

 Gallafent, Edward (1994). Clint Eastwood. New York: Continuum. ISBN 0826406653.

 Hughes, Howard (2009). Aim for the Heart. London: I.B. Tauris. ISBN 9781845119027.

 Johnston, Robert K. (2007). Reframing Theology and Film: New Focus for an Emerging Discipline. Baker Academic. ISBN 9780801032400.

 Kapsis, Robert E.; Coblentz, Kathie, ed. (1999). Clint Eastwood: Interviews. Jackson: University Press of Mississippi. ISBN 1578060702.

 Kitses, Jim (2004). Horizons West. British Film Institute. ISBN 1844570509.

 Lichtenfeld, Eric (2007). Action Speaks Louder. Middletown, Connecticut: Wesleyan University Press. ISBN 0819568015.

 Lloyd, Ann; Robinson, David (1987). The Illustrated History of the Cinema. New York: Macmillan. ISBN 0029192412.

 Mathijs, Ernest; Mendik, Xavier (July 7, 2004). Alternative Europe: Eurotrash and Exploitation Cinema Since 1945. Wallflower Press. ISBN 9781903364932.

 McGilligan, Patrick (1999). Clint: The Life and Legend. London: Harper Collins. ISBN 0006383548.

 Mercer, Jane (1975). Great Lovers of the Movies. New York: Crescent Books. ISBN 0517131269.

 Munn, Michael (1992). Clint Eastwood: Hollywood's Loner. London: Robson. ISBN 9780860517900.

 Oates, Bob (1976). Celebrating the Dawn: Maharishi Mahesh Yogi and the TM Technique. New York: Putnam. ISBN 0399118152.

 O'Brien, Daniel (1996). Clint Eastwood: Film-Maker. London: B. T. Batsford. ISBN 071347839X.

 Ivy Press (November 1, 2005). Heritage Vintage Movie Poster Signature Auction 2005 Catalog #624. Heritage Capital Corporation. ISBN 9781599670041.

 Roberts, James B.; Skutt, Alexander (2006). The Boxing Register: International Boxing Hall of Fame Official Record Book. Ithaca, N.Y.: McBooks Press. ISBN 1590131215.

 Rogin, Michael Paul (1988). Ronald Reagan, the Movie and Other Episodes in Political Demonology. University of California Press. ISBN 9780520064690.

 Schickel, Richard (1996). Clint Eastwood: A Biography. New York: Knopf. ISBN 9780679429746.

 Slocum, J. David (2001). Violence and American Cinema. New York: Routledge. ISBN 0415928109.

 Smith, Paul (1993). Clint Eastwood: A Cultural Production: Volume 8 of American Culture. Minneapolis: University of Minnesota Press. ISBN 0816619603.

 Stillman, Deanne (1981). Getting Back at Dad. Wideview Books. ISBN 9780872237254.

 Sweeney, Patrick (December 13, 2004). The Gun Digest Book of Smith & Wesson. Gun Digest Books. ISBN 9780873497923.

 Verlhac, Pierre-Henri; Bogdanovich, Peter (September 1, 2008). Clint Eastwood: A Life in Pictures. Chronicle Books. ISBN 9780811861540.

 Zmijewsky, Boris; Lee Pfeiffer (1982). The Films of Clint Eastwood. Secaucus, New Jersey: Citadel Press. ISBN 0806508639.

Further reading

Engel, Leonard (2007). Clint Eastwood, Actor and Director: New Perspectives. Salt Lake City: University of Utah Press. ISBN 0874809002.

 Gabbard, Glen O. (2001). Psychoanalysis and Film. London; New York: Karnac Books. ISBN 1855752751.

 Johnstone, Iain (2007). The Man with No Name: The Biography of Clint Eastwood. London: Plexus. ISBN 085965026X.

 Thompson, Douglas (2005). Clint Eastwood: Billion Dollar Man. London: John Blake. ISBN 9781857825725.

*    *    *    *

The above biography has been copied in part or in whole from an article on Wikipedia.org "The Free Encyclopedia."  It has been modified under the GNU Free Document License Section 5 in the following manner: (1) All links within the article have been removed, including text links such as "[#]"; (2) The "[Edit]" text and link have been removed [if you would like to update the article, you may do so from the original page]; (3) the table of Contents links and text have been removed; and (4) all of the sections of the original article have not been copied. All of the above text is available under the terms of the GNU Free Document License.

URL of Original Article: http://en.wikipedia.org/wiki/Clint_Eastwood

Date Article Copied: February 2012

We will try to replace this article with an original biography in the near future, but we hope this will be of help to our visitors in the mean time.

Clint Eastwood Contact Information: Click the following link to Contact Any Celebrity

Go to WhosDatedWho.com to find out who has or who is dating Clint Eastwood?

CLINT EASTWOOD NEWS

Clint Eastwood News Resources

ContactMusic.com

FindArticles.com

Google.com

InBoxRobot.com

NYTimes.com

Topix.net

CLINT EASTWOOD WEBSITES

For information about submitting a site, or about how these websites are ranked, please CLICK HERE.

Clint Eastwood Official Website:

Clint Eastwood Fan Sites:

Rating: Highest = 4 J's

Celebrity & Commercial Sites:

Rating: Highest = 4 J's

JJJ ¾ ClintEastwood.net

JJJ ½ IMDB.com

JJJ Tiscali.co.uk

JJ ¾ AOL.com

JJ¾ PBS.com

JJ ½ www.PopStarsPlus.com

JJ ½ Clint Eastwood on TVGuide.com

JJ ¼ AskMen.com – Clint Eastwood

JJ ¼ CelebrityWonder.com

JJ ¼ Wikipedia.org

JJ DestinationHollywood.com

JJ Relationships with Clint Eastwood

JJ SensesOfCinema.com

JJ StarPulse.com

JJ TheGoldenYears.com

J ¾ AceShowbiz.com

J ¾ MSN.com

J ¾ TV.com

J ¾ Yahoo.com

J ½ Answers.com

J ½ Bullz-Eye.com

J ½ HelloMagazine.com

J ½ Moono.com

J ½ MovieActors.com

J ½ NNDB.com

J ¼ HollywoodCultMovies.com

J ¼ InfoPlease.com

J ¼ RottenTomatoes.com

J ¼ The-Movie-Times.com

J ¼ The-Numbers.com

J ¼ Thespian.net

J ¼ TV-Now.com

J Façade.com

J Seeing-Stars.com   

J TriviaTribute.com

J Who2.com

¾ HSX.com

Clint Eastwood Articles and Interviews

• Clint Eastwood Interview (Henry Sheehan: HenrySheehan.com: Nov. 19, 2003)

• Clint Eastwood Interview (Michael Parkinson: Gaurdian.co.uk: Oct. 7, 2003)

• Time Interview: Clint Eastwood Opens Up (PR: Time.com: Feb, 20, 2005)

• Plant Your Feed And Tell The Truth (Tony Macklin: BrightLightsFilm.com: Feb. 2005)

• Video Interview: Clint Eastwood (Steav Head: Filmforce.IGN.com: Jan. 4, 2005)

Clint Eastwood Pictures (pics, photos, photographs, images, gallery, etc.)

AbsoluteNow.com

AllMoviePhoto.com

AOL.com

CelebrityPicturesArchive.com

CelebrityWonder.com

Clint Eastwood pictures at Celevs.com

Clint Eastwood Pictures

Google.com

IMDb.com

MoreThings.com

MSN.com

PerfectPeople.net

SuperiorPics.com

Virtual-History.com

WireImage.com

Yahoo.com

Clint Eastwood Multimedia (Downloads, Wallpaper, Videos, Screen Savers, etc.)

AOL.com (songs/videos)

CelebrityGame.com (online games)

CelebrityWonder.com (video)

CelebrityWonder.com (wallpaper)

DesktopTotal.com (wallpaper)

DestinationHollywood.com (clip gallery)

StarPulse.com (videos)

Clint Eastwood Quotations

BrainyQuote.com

Clint Eastwood quotes at CelebsQuotes.com

QuotationsPage.com

ThinkExist.com

WikiQuote.org

Clint Eastwood Song Lyrics

Not available at this time.

Clint Eastwood Related Websites

Million Dollar Baby (WarnerBros.com)

Clint Eastwood Links Pages

Clago.com

CLINT EASTWOOD DISCOGRAPHY: ALBUMS, SINGLES, COMPILATIONS, BOXED SETS, ETC.

If you are interested in writing album reviews, CLICK HERE.

Clint Eastwood Videos

Clint Eastwood Chrysler Superbowl Commercial

CLINT EASTWOOD ON VIDEO, A FILMOGRAPHY

If you are interested in writing movie reviews, CLICK HERE.

Year

1955

1955

1955

1955

1956

Title

Francis in the Navy

Lady Godiva

Revenge of the Creature

Tarantula

Away All Boats

Role

Jonesey

First Saxon

Lab Technician

Jet Squadron Leader

Marine

Year

1956

1956

1956

1957

1958

Title

The First Traveling Saleslady

Never Say Goodbye

Star in the Dust

Escapade in Japan

Ambush at Cimarron Pass

Role

Lt. Jack Rice

Will

Tom

Dumbo Pilot

Keith Williams

Year

1958

1959-1966

1964

1965

1966

Title

Lafayette Escadrille (With You in My Arms)

Rawhide (TV series)

A Fistful of Dollars

For a Few Dollars More

The Good, the Bad and the Ugly

Role

George Moseley

Rowdy Yates

Joe

Monco

Joe

Year

1967

1968

1968

1968

1969

Title

The Witches

Coogan's Bluff

Hang 'Em High

Where Eagles Dare

Paint Your Wagon

Role

Charlie

Deputy Sheriff Walt Coogan

Marshal Jed Cooper

Lt. Morris Schaffer

Pardner

Year

1970

1970

1971

1971

1971

Title

Kelly's Heroes

Two Mules for Sister Sara

The Beguiled

Dirty Harry

Play Misty for Me

Role

Private Kelly

Hogan

Corporal John McBurney

Harry Callahan

David Garver

Year

1972

1973

1973

1974

1975

Title

Joe Kidd

High Plains Drifter

Magnum Force

Thunderbolt and Lightfoot

The Eiger Sanction

Role

Joe Kidd

The Stranger

Harry Callahan

John Doherty

Dr. Jonathan Hemlock

Year

1976

1976

1977

1978

1979

Title

The Enforcer

The Outlaw Josey Wales

The Gauntlet

Every Which Way But Loose

Escape from Alcatraz

Role

Harry Callahan

Josey Wales

Ben Shockley

Philo Beddoe

Frank Morris

Year

1980

1980

1982

1982

1983

Title

Any Which Way You Can

Bronco Billy

Firefox

Honkytonk Man

Sudden Impact

Role

Philo Beddoe

Bronco Billy McCoy

Mitchell Gant

Red Stovall

Harry Callahan

Year

1984

1984

1985

1986

1988

Title

City Heat

Tightrope

Pale Rider

Heartbreak Ridge

The Dead Pool

Role

Lieutenant Speer

Wes Block

Preacher

Gunnery Sgt. Tom Highway

Harry Callahan

Year

1989

1990

1990

1992

1993

Title

Pink Cadillac

The Rookie

White Hunter Black Heart

Unforgiven

A Perfect World

Role

Tommy Nowak

Nick Pulovski

John Wilson

William Munny

Chief Red Garnett

Year

1993

1995

1997

1999

2000

Title

In the Line of Fire

The Bridges of Madison County

Absolute Power

True Crime

Space Cowboys

Role

Agent Frank Horrigan

Robert Kincaid

Luther Whitney

Steve Everett

Dr. Frank Corvin

Year

2002

2004

Title

Blood Work

Million Dollar Baby

Role

Terry McCaleb

Frankie Dun

Year

2008

2008

Title

Role

Year

2011

Coming

Title

Role

CLINT EASTWOOD BOOKS & MAGAZINES

CLINT EASTWOOD POSTERS AND PHOTOGRAPHS

CLINT EASTWOOD PRODUCTS & OTHER ITEMS

CLINT EASTWOOD AUCTION ITEMS