"Johannesburg, South Africa." "Spring, 2009." "Clint Eastwood is directing Invictus the story of how Nelson Mandela encouraged a rugby team to contend for the World Cup in 1995 and by so doing, helped break the lingering grip of apartheid on his beloved country." "It was a very inspirational story." "Everybody knows the history of Nelson Mandela." "But this element of his history, I don't think people are that familiar with." "Invictus, with Morgan Freeman and Matt Damon, is about reconciliation and how one man's ideas can reconcile a country." "NARRATOR:" "He's shooting in the very stadium where the Cup final was played." "South Africa's Springboks versus New Zealand's All Blacks named for their uniforms." "What's missing here is most of the crowd." "They will be represented by hundreds of special effect shots." "Rugby was a white man's game." "Mandela's inspiration was to help build his rainbow nation by getting his nation's black majority to root for a team associated with their former oppressors." "As usual, Clint is very much a hands-on director." "He's been doing this since 197 1." "This is the 29th movie he has directed." "NARRATOR:" "In over 30 years at Warner Bros., Clint has made 34 movies." "Many have been action films." "But many have not." "They include romances, comedies and, more recently, they have been touched by tragedy." "He goes where instinct and emotion tell him to go." "Whatever the genre, he walks tall and speaks sparingly." "Hi." "What's up?" "I always liked the studio." "Warner Bros. had great history." "I went over there several times during the '50s to do some television shows." "It was always nice." "There was something small, a little more homey about it." "NARRATOR:" "On this stage, Warner's made many of Clint's early favorites." "EASTWOOD:" "I grew up admiring a lot of the Warner's pictures." "Well, they had a lot of wonderful performers and they were all performers that I enjoyed as a kid." "I liked Cagney, he was short and eastern but he was always a very energetic soul, inside and out." "He was a fearless kind of actor." "One of my favorites roles, of course, is White Heat where he'd played gangsters and shoot people in trunk of cars with a chicken leg in his mouth." "Oh, stuffy, huh?" "I'll give it a little air." "Yeah, I love Bogart." "Well, they didn't try to glamour him up, which is great." "At the beginning of Treasure of Sierra Madre and his hair is all shaved up in the back and he looks really funky." "Starting out with Maltese Falcon." "And then going back and revisiting films like Petrified Forest and High Sierra." "Those were kind of the movies that were appealing to a 16, 17-year-old kid at that particular time." "When I was first acting and I was doing a lot of bit parts the guys would call you in, the acting group or" "Or producers would say:" ""Well, come on in and play it with balls." They'd say, "Play it ballsy."" "And I'd go...." "l didn't even know what they were talking about." "It was hard for me to fathom." "I had never even heard that expression." "They were trying to say take stage, own the room." "That's a trick he began to learn early guesting on shows like Maverick." "Aces up." "Your stage is waiting for you, Maverick." "You selling tickets?" "No." "But you're buying one." "l am?" "Yes, indeed." "You being an understanding soul." "And one that don't like violence." "Let's get out of here." "You don't want any trouble." "You're right, doc." "Not that kind." "Here, doc." "You don't have to be disrespectful to be a masculine kid." "My father was a very gentle person." "He was a strong guy." "He always taught respect for my mother." "It was always respect for the family and that family unit meant a lot." "And that didn't mean he was a pushover." "NARRATOR:" "Clint made his first mark starring as Rowdy Yates on television's Rawhide for seven years." "He achieved movie stardom in the three spaghetti Westerns he made in Italy with Sergio Leone." "Oh, shit." "EASTWOOD:" "When I came to do Dirty Harry, it was 197 1 they had five scripts, they had a big stack of them." "I'm going, "What's all this stuff?" They said, "These are all our rewrites and what we've done with it with different directors different writers, different actors involved."" "I said, "Okay." So I sat and read all these scripts." "Very tough to do, sit and read five scripts all going in different directions." "And I felt myself getting confused with what I first liked in the original script." "So I said, "No, no." l came back to Frank Wells and I said, you know, "l like the first one."" "I said, "I'll do the first script." So that's what we did." "NARRATOR:" "Dirty Harry was the movie that made him a permanent superstar." "Like most pictures that I've done I had no idea whether anybody would ever wanna see them but I figured I'd like to see it." "If I hadn't played in it, I'd like to see it with somebody else so I just kind of went from it from that angle." "I know what you're thinking." ""Did he fire six shots or only five?"" "Tell you the truth, in all this excitement, I've kind of lost track myself." "But being this is a .44 magnum, the most powerful handgun in the world and would blow your head clean off you've got to ask yourself one question. "Do I feel lucky?"" "Well, do you, punk?" "Mr. Mayor, Inspector Callahan." "All right." "Let's have it." "Have what?" "Your report." "What've you been doing?" "For the past three quarters of an hour I've been sitting on my ass in your outer office waiting on you." "Damn it all, Harry, that's the mayor you're talking to." "EASTWOOD:" "Actually, the obsession of the hero, I liked." "The fact that he was obsessed with getting this guy and it became a one-on-one sort of enemy thing." "No more!" "I'm hurt." "Harry may have been a wise guy but he had a passion for vengeance and a lonely guy's soul." "Please get me to the doctor." "The girl, where is she?" "You're trying to kill me." "If I tried that, your head would be splattered over this field." "Where is the girl?" "I want a lawyer." "I said where is the girl?" "l have the right to a lawyer." "Where is the girl?" "I" " I have the right to a lawyer." "Get me to the doctor, please." "I have rights." "Want a lawyer." "Dirty Harry had a very solitary existence." "He didn't have a private life that he cared much about." "All he cared about was this victim, somebody he had never met." "Dirty Harry was seeing it all crumble before him." "Everybody was just sort of sick of worrying about the accused." "And he said, "How about let's worry about the victims for a while."" "We're taught to walk so softly and can tamper around in this whole political correctness that was driving everybody crazy." "I think Dirty Harry defied that." "NARRATOR:" "The Dirty Harry sequels outlined his career in the '70s and '80s but didn't fully define it." "MAN:" "Goddamn it." "There isn't supposed to be any shooting." "Nothing wrong with shooting as long as the right people get shot." "That's it, Callahan." "Give me your star." "Here's a seven-point suppository, captain." "What did you say?" "I said stick it in your ass." "Come on, you guys." "Hurry up." "HARRY:" "You forgot your fortune cookie." "What?" "It says you're shit out of luck." "One of them provided him a line that would ricochet around the world and down the corridors of time." "Go ahead." "Make my day." "EASTWOOD:" "I bounced back and forth in the early '70s and would do something for Universal and then finally in 1976, I had The Outlaw Josey Wales." "I brought that over to Frank Wells." "He had been lobbying me for quite some time to come over on a permanent basis." "So I said, "Well, show me that permanent basis." "I'm coming over."" "So it was a one-day move." "I've been there ever since." "Josey Wales is a peaceable farmer until Civil War border raiders wipe out his family." "No!" "Josey!" "No!" "He retreats into the wilderness and into himself, a lonely, bitter man." "A classic western hero and something more." "EASTWOOD:" "The great American fantasy is a guy who sort of is self-reliant that doesn't have the luxury of depending upon a police department or somebody to come to his rescue." "So he has to kind of handle everything on his own." "Howdy." "Howdy." "I'm getting better at sneaking up on you like this." "Only an Indian can do something like this." "That's what I figured." "You figured?" "Only an Indian could do something like that." "EASTWOOD:" "Chief Dan George was wonderful in the picture but wasn't a professional actor, so he didn't study material much." "He wanted to have cue cards and you couldn't have them do cue cards." "I made him just kind of run the lines and just get him to tell me different stories." "One time, I was playing the scene and the camera was on me." "And then when he was talking, I was mouthing the words." "I was mouthing his words." "I was rooting for him to get the dialogue out so much." "And the focus puller on the picture said, you know:" ""l hate to tell you, but you're mouthing the words with him."" "And I said, "Oh, God."" "And I walked off and I kicked myself." "I said, "Hey, I can't do that."" "Chief?" "Chief." "Hey." "Chief." "I was just wondering." "I suppose that mangy red-bone hound got no place else to go, either." "He might as well ride along with us." "Hell, everybody else is." "NARRATOR:" "Slowly, a surrogate family gathers around him and heals him." "The rescue and restoration of shattered families has been one of Clint's great and almost unnoticed themes ever since." "I'm looking for Josey Wales." "That'd be me." "Maybe in another era Gary Cooper or John Wayne or somebody might have done these same stories." "You a bounty hunter?" "A man has got to do something for a living these days." "Dying ain't much of a living, boy." "NARRATOR:" "Josey's resignation in the face of violence is subtly understated and typical of Clint." "I had to come back." "I know." "You're all alone now, Wales." "Not quite alone." "NARRATOR:" "The pursuit of Josey Wales has been demonic." "And it must end, of course, in deadly confrontation." "NARRATOR:" "Often, in Eastwood movies, the guns are empty." "Sometimes a pointed finger substitutes for them." "Josey!" "Maybe he wishes that in movies, in life gunplay could always be reduced to harmless child's play." "But movies aren't life." "A final reckoning is required." "That's why we go to them." "This courthouse has stood on Warner's back lot since 1930." "It has a secret history too." "It's where the costumes from all Clint's movies are stored." "Clint's long-time costume supervisor is Deborah Hopper." "Do these look familiar to you?" "Yes, they do." "Yes, they do." "We can't forget Dirty Harry." "No." "Everybody loves Dirty Harry." "Rack clothes." "Yeah." "Yes." "And the soulful Unforgettable." "Unforgiven." "It's unforgettable, though, so" "Ha, ha, ha." "Right." "It was unforgettable for me, anyway." "And one of my favorites, Gran Torino." "Yeah." "Mr." "Walt." "Yeah." "And this guy here." "Marine." "Yeah, this is Heartbreak Ridge." "Yeah." "Heartbreak Ridge." "Well, what have we got in here?" "Anything--?" "DEBORAH:" "We've got lots of treasure." "Anything fancy?" "As you can see, we've collected clothes for a long time." "So this is basically-- What lies on this floor is all the extra clothing that we have here." "On every picture that we've been involved with." "DEBORAH:" "Every picture" "What movies were these?" "l should remember, but I don't." "You don't?" "Come on." "Down here, we have just different rows of, you know, pants, shirts." "This particular row, some of it is from Heartbreak Ridge." "These two rows in the front here are from the new movie, Invictus..." "...the rugby movie, Mandela picture." "Yeah." "We have Changeling clothes in the boxes in the back." "There's Mystic River, Midnight in the Garden of Good and Уvil." "l remember all of those." "You do?" "Yeah." "Sort of." "Vaguely." "Vaguely." "Good." "How many clothes do you think we have in here?" "You're guess, what would you think?" "l don't know." "It would be in the thousands, I know" "Thousands, 10,000, 20,000." "It's a lot." "We can costume a lot of movies in here." "Yes, we can." "And I still use them." "l take them with me every time we do-- -l know." "We're an austerity group." "Yes." "But l" " There is a secret closet, though." "Really?" "Where?" "Yeah." "I'll show you." "This is where all the treasures lie, Clint." "Treasures, huh?" "This is your closet." "l see." "With all your clothes from the movies." "Yeah." "Here's the Pale Rider. I remember that." "This is Pale Rider." "Yeah." "And this is" "Would be from the Line of Fire." "Of course, this is from Space Cowboy." "This is your landing suit." "Remember wearing--?" "You-- -l remember because it's heavy." "And you had to wearing a cooling unit to keep you cool." "Had to have air conditioning." "And this is from Play Misty For Me." "Yeah." "That's the first picture I ever directed." "Yeah." "That was a great one." "1970." "How many years ago was that?" "Just" "Thirty-nine, huh?" "Yeah." "Okay." "Yeah." "That's enough." "That's going back far enough." "Who is this guy?" "He must be a friend of yours." "Looks like some sort of deviant." "Okay." "You never know what you're gonna find in here." "Alrighty." "Alright." "Now, ladies and gentlemen the one and only, Bronco Billy McCoy." "Heroism can be tiring and tiresome." "There comes a time in every movie star's life when antiheroism becomes a delightful necessity." "Are you ready, Miss Mitzi?" "MITZI:" "Yes, Bronco Billy." "BILLY:" "All right." "Spin the wheel." "It had that sort of group of outcasts obsolete people doing an obsolete act in the middle of Amer" "All right." "Turn around nice and easy." "Wow." "Ain't nobody faster than Bronco Billy." "Now, look. I don't take kindly with kids playing hooky from school." "I think every kid in America ought to go to school at least up through the 8th grade." "We don't go to school today, Bronco Billy." "It's Saturday." "Well, what should I tell the boys?" "Tell them we're gonna rob a train." "Okay, Billy." "Rob a train?" "Of course, reality has a tendency to thunder right on past our fantasies." "But that doesn't mean that our dreams are meaningless." "Maybe they are the best thing about us." "Cowboys and Indians." "Of course, dear." "EASTWOOD:" "There's something so beautifully naive about it all." "A guy who is a shoe salesman in New Jersey who goes out and has this dream of becoming a modern-day Tom Mix." "WOMAN:" "Damn it. I don't have no privacy in my own home no more." "I confronted him about it, Mom." "And I guarantee it won't happen again." "No privacy in your own home." "A whole goddamn bag of Oreo." "Ugh!" "NARRATOR:" "Everyone told Clint not to make a movie where he was upstaged by a monkey." "But instinct trumped doubts." "Every Which Way But Loose was his biggest hit to date." "Clyde, this has gotta stop." "People are gonna talk, you know?" "Bang." "EASTWOOD:" "It was a different kind of a spiritual feeling." "The protagonist, you don't know whether he's a man of the cloth or whether he's some sort of apparition or something." "NARRATOR:" "What we did know was that by now, Clint was doing his best to avoid genre clichés." "l didn't come here to fight." "Then you shouldn't have come at all." "MAN 1 :" "You made a big mistake, tin pan." "You know that?" "Mind if I take a look at your goods?" "You leave them be." "Come on down off of there." "Canvas, burlap and wood." "Looks like the makings for a good fire." "MAN 2:" "Yeah." "You shouldn't play with matches." "There's nothing like a nice piece of hickory." "NARRATOR:" "Clint's nameless character sides with humble tin pan miners defending their claim against industrial mining interests who have all the big guns on their side." "Argh!" "Jesus." "Your work done now, preacher?" "Part of it, leastways." "Ugh!" "EASTWOOD:" "He's definitely an odd character in the spectrum of things." "But he preaches a lot of American ethics in a way that can be violent and they also be very gentle." "Clint likes resurrections." "They've happened in his films dating back to his days with Sergio Leone in Italy." "Here, he confronts the lawman who thought he had killed him in some past life." "That's not necessarily so in this unique Western." "You." "You!" "EASTWOOD:" "At that time, I had done Dirty Harry and various sequels and I was tired of that character." "It was a good script. I liked it." "And the provocativeness of it, I liked." "Any time you take yourself into other dimensions is much more fun as an actor than playing" "Just being conventional and doing your routine or your genre or whatever you're well-known for." "Here is a guy who is obviously-- Has had a failed marriage." "And has failed to the point where he's actually got custody of his daughters." "So that makes him a really interesting character." "In the meantime, he's following a kinky killer." "And he finds himself being intrigued by some of the same things as the killer." "WOMAN:" "Has he contacted you?" "WES:" "No." "I wouldn't be surprised if he did." "Why?" "Once you started going after him, you became closer to him than anyone else." "Unless there's another psychopath out doing the same thing." "I'm not sure how close I wanna get." "There is a darkness inside all of us, Wes." "You, me and the man down the street." "Some have it under control, others act it out." "The rest of us try to walk a tightrope between the two." "Disable your attacker." "Now, several ways of sending him a message are stomping on his toes scratching his eyes hitting this vital point, here in the throat kicking into his kneecaps striking his solar plexus." "And if he still keeps on acting tacky well, then, you can always drop back and punt." "Hi." "She's more of a-- Coming from a more conventional line and all of a sudden, she finds he's got sort of a bizarre side to him." "And it sort of shocks her at first, but then, she's also intrigued by it." "Genevieve Bujold's rape counselor instinctively understands Wes Block and saves him from his darker impulses." "Now why do you think he uses handcuffs?" "Control?" "Do you use them very often?" "Well, that depends." "On what?" "The situation." "When you feel you're threatened?" "Yeah, you could say that." "With these, no one can get to you, huh?" "They'll stop just about anyone." "The strongest men, emotionally, are the most respectful of women." "And the strongest women, the most feminine women are usually respectful of men." "That's the way it is." "It's the in-between group that tries to mess it all up." "Raise it up." "NARRATOR:" "There's nothing in-between about Gunnery Sergeant Tom Highway." "Clint says he's the most extreme parody of traditional masculinity he's ever played." "Side arms up." "My name is Gunnery Sergeant Highway." "And I've drunk more beer and pissed more blood banged more quiff, busted more" "Than all you numbnuts put together." "Now Major Powers has put me in charge of this recon platoon." "We take care of ourselves." "You couldn't take care of a wet dream." "God loves you." "MAN 1 :" "I know that." "You men do not impress me." "Recon platoon kicks butt." "Ow!" "Now, do you ladies think you can slip and slide because your last sergeant was a pussy a short-timer who's just marking the days with queer bait." "You're gonna start acting like Marines right now." "He's been so far out of it, being in the military and going on military excursions for most of his adult life that he has no relationship." "You even remembered the brand." "Bad whiskey, bad sex and bad men, I never forget." "You didn't talk dirty like that when we were married." "Hm." "Always." "Only you were never there to hear it." "Look, Tom, I'm working." "Hey." "You look great." "The lights are low." "No, I mean it. I mean it." "I'd recognize you coming or going." "Please." "Save the banter for your bimbos." "It's late, I'm tired, my feet hurt." "What the hell are you doing here?" "He's been married to the same girl for a while but he doesn't understand a thing about them." "As most of us don't." "But he kind of desperately wants to correct his life." ""Sensual communication." "Meaningful...."" "Panther piss." "Tell me something." "Did we mutually nurture each other?" "I beg your pardon?" "Did we communicate in a meaningful way in our relationship?" "Relationship?" "Mm-hm." "Hell, I thought we were married." "EASTWOOD:" "When I grew up, people didn't have doubts." "You felt what you felt like and you thought what you thought." "And if you had any" " Ha, ha. lf it's-- You're sitting around dwelling on the feminine side of your nature you went out and had a beer and forgot about it." "You know, you didn't" "Guys just didn't think that way." "Women thought their way and men thought their way and somehow everybody would meet in the middle." "NARRATOR:" "This was a time when Clint was questioning the values of the kind of men he had achieved stardom playing." "Never more so than in White Hunter, Black Heart." "I enjoyed playing that character because I admired John Huston as a film director." "I think if he ever focused entirely on a film he would have been under pressure:" ""I've got people depending on me." "I've got audiences depending on this film."" "This way, he never had to think of that." "He was, "I'll make the film." "But in the meantime, what's going on out at Santa Anita?"" ""Got this great-looking chick who lives on the other side of town." "I've gotta meet her."" "He's got" " Always got something that's taking him a little bit away." "The meantime in this film was hunting." "Уspecially for the grandest prize of them all." "You have to get started on the film, John." "You can leave if you want." "I'm staying." "The company arrives in Entebbe the day after tomorrow." "I'm staying." "Jesus Christ, John, will you be reasonable?" "I am being reasonable." "I don't give a damn if the company gets here tomorrow or if they got here three days ago." "I'm staying until I get my elephant." "He had this obsession about an elephant." "It's certainly the largest animal." "I never understood that." "Personally, I don't shoot any animal." "I don't look at it from a religious morality but I just feel that they're here too." "There are guys like this." "I mean, there are guys like him." "It's a fascinating character." "I always felt about it that you didn't need to take a pill for manhood." "You're" " You are what you are." "And you don't need to put on an act." "And I used to" " Some of the old-time directors used to do that." "That was part of the thing is going-- Kick people around a lot of contention, a lot of arguments and stuff like that." "And it wasn't necessarily a masculine thing to do at all." "It was just a contentious thing to do." "You're about to blow this whole picture out of your nose, John." "And for what?" "To commit a crime." "To kill one of the rarest, most noble creatures that roams the face of this crummy earth." "And in order for you to commit this crime you're willing to forget all of us, and let this whole thing go down the drain." "You're wrong, kid." "It's not a crime to kill an elephant." "It's bigger than all that." "It's a sin to kill an elephant." "EASTWOOD:" "He just, like" " He wanted to commit the ultimate sin of some sort." "Viertel wrote this in, that he comes to this culmination." "Within himself, he comes to this thing where he's:" ""Is this elephant--?" "Is too magnificent to shoot?" And it all comes apart." "No." "Then his friend is killed." "And it really makes him believe that what he's done" "Look what he's done, look what his obsessions have brought upon us." "Question:" "Does cowardice lurk at the heart of macho posturing?" "Or does some kind of morality finally assert itself here?" "That's for the audience to determine." "Clint won't say." "Honkytonk Man is Clint's most modest film." "RED :" "Well, I've never seen you Look quite so sad" "He's a guy who's afraid of success." "And there's a lot of guys like that." "They have a certain little knack and an opportunity to go to the Grand Ole Opry the Ryman Auditorium and maybe play and...." "But they're afraid" " So afraid of failure that they just automatically will it." "His son Kyle played opposite him." "Uncle Red don't you think maybe you have a problem when you're drinking?" "Only when I can't get it." "I mean, don't you think you might need some help with your drinking?" "No. I do quite well all by myself." "Aren't there doctors that--?" "Look, Hoss." "If you wanna be my sidekick and chauffeur, that's fine." "If I want a nursemaid and a wife to bitch at me I'll go out and get myself one." "Understand?" "Alcoholism, chasing women" "The habits that, of course, none of us had." "But anyway" "So I lost my woman" "And you lost your man" "And who knows who's right or who's wrong" "But I've got my guitar And I've got a plan" "Throw your arms around this honkytonk man" "Throw your arms around this honkytonk man" "And we'll get through this night The best way we can" "NARRATOR:" "Self-destructiveness is one of life's great mysteries to Clint." "Maybe because he's so lacking in that impulse." "Clint shoots more on location than at the studio." "But there are notable exceptions." "So this is New York street as it was in the old days." "We had Diane Venora up there in the window, looking out." "Okay." "Just pull right in." "A little more." "Come here, Thunder." "Whoops." "Whoa." "Forest Whitaker out here on a white horse." "This was the film Bird." "And we emulated New York." "This was a passion project for Clint." "The biography of his musical hero, Charlie Parker." "Where are we going?" "What's-her-name didn't ask Valentino no questions." "Vilma Banky." "And he had her in front of him and she was in a swoon." "He seemed to be somewhat possessed." "I don't know whether it was insecurity or being blessed with a certain talent that frustrated him and...." "Or whatever." "Or being-- Having an interracial relationship at that particular time in history might have been very difficult too." "This was in the '40s." "Go, Bird." "EASTWOOD:" "I like jazz players." "They were doing something that wasn't obviously commercial." "The people were playing for themselves." "If you wanted to listen, fine." "If you didn't, that's fine too." "It wasn't as showbizzy like pop music is now where there's lights and costumes and things that were very important to the act besides the music." "They just stood up and performed." "NARRATOR:" "The sources of Bird's greatness and self-hatred were a mystery to Clint and the basis of the film's resonance." "EASTWOOD:" "Bird, of course, went in from alcoholism into drugs." "And so these guys they just let the temptations of life take them off the trail of their talent." "You think of all the people who have had talent a knack for something, and didn't follow through." "That's kind of where the crime comes in." "There's always that thing in the back of your mind." ""Do I really know how to do this?"" "You could say the same about actors." "If they haven't acted for a long time, they'd walk into a scene and you wonder, "Do I still know what I'm doing here?"" "Charlie Parker, a guy who is that brilliant, has a great knack." "And he's" " You know, self-destruct rather than enjoying the fruit of the labor, so to speak." "Very nice, Charlie." "Very nice." "They're gonna talk about you when you dead, Bird." "More than they do now." "They're gonna shovel you under like they love to do." "They're gonna talk about you." "My secret...." "My secret is if they kill me, it won't be because I helped them." "Charles Christopher Parker Junior preliminary diagnosis, heart attack." "Stocky, male, negro approximately 65 years of age." "He was 34." "1992's Unforgiven was Clint's first fully-acknowledged masterpiece." "Like many of his best films, it drew strength from its genre roots and from the desire to transcend those roots." "Unlike them, he held on to it for a decade until the time was right to make it." "EASTWOOD:" "It was something I could sit on and bank." "I hung on to it like a nice little gold watch and rubbed it." "I think it's nice and kind of nice feeling to know that I had it back there." "I ain't gonna hold it against her." "She knew me back then." "She knew what a no-good son of a bitch I was." "She just ain't allowing that I've changed." "She don't realize I ain't like that no more." "Well, you know, Will-- -l ain't the same, Ned." "Claudia, she straightened me up cleared me of drinking whiskey and all." "Because we're going on this killing that don't mean I'm gonna go back to being the way I was." "I just need the money." "Get a new start for them youngsters." "Yeah." "Yeah." "Better finish him before he gets clear." "They're trying to claim a reward by killing the cowboys who grievously wounded a prostitute." "It's harder to do than they thought." "MUNNY:" "He gets in those rocks, we ain't gonna get him." "Unless we go down there." "Ain't you gonna shoot?" "Will." "MAN 1 :" "Can't hide forever, you bastards." "Will...." "l ain't very good with one of these." "MAN 2:" "Get behind the rocks." "Go on." "Sound speed." "Six hundred, take one." "Marker." "EASTWOOD:" "I tried to do some rewrites on Unforgiven with David Peoples." "He said fine." "He was just anxious to have it made because it'd been sitting around for years." "He said, "Go ahead, anything you wanna do with it."" "And so I started writing and fooling with things and tried changing things." "And, all of a sudden, I've realized I was taking it-- l was wrecking it." "I called him, I said, "Forget what I said about that." "I'm gonna shoot it the way it is."" "Unforgiven really talked about the regret of violence." "What's it like for anybody?" "All of a sudden look back on it one day and you say:" ""What the hell have I done?" "What the hell have I been involved with?"" "It's a hell of a thing killing a man." "You take away all he's got and all he's ever gonna have." "Yeah." "Well, I guess they had it coming." "We all have it coming, kid." "NARRATOR:" "The film brings Clint's Will Munny into deadly conflict with Gene Hackman's sadistic and self-righteous sheriff." "Five forty-eight, take one, mark." "Look down there." "Look down at him." "Look down at him." "You can't believe it." "Just look back over at me." "LITTLE BILL:" "Cowardly son of a bitch." "You just shot an unarmed man." "Well, he should have armed himself if he's gonna decorate his saloon with my friend." "You'd be William Munny out of Missouri killer of women and children." "That's right." "I've killed women and children." "Killed just about everything that walks or crawled at one time or another." "And I'm here to kill you, Little Bill." "For what you did to Ned." "EASTWOOD:" "Roll." "MAN 1 :" "Rolling." "MAN 2:" "Quiet, please." "MAN 3:" "B mark." "Misfire." "Kill the son of a bitch." "Just like that:" "Bang." "The Unforgiven would be a great one to be the last western for me because it captured the imagination of audiences and film critics liked it." "And everybody agreed it was a pretty good picture." "And I don't what else I'd have to say." "I don't deserve this." "To die like this." "I was building a house." "Deserve's got nothing to do with it." "I'll see you in hell, William Munny." "Yeah." "EASTWOOD:" "In A Perfect World, I worked with young T.J who was a very young kid, a very natural actor." "But I knew he was only good on first takes." "Second take, maybe." "But first takes really good." "So I just made sure that we just started rolling, no slates." "None of that crap." "Let's go." "When I just go like that:" "Everybody starts rolling." "And the sound guy has to be on the ball and the" "Because he's not gonna hear any bells or whistles." "Everybody has to stay coordinated." "It wasn't a commercial movie in the line of what people thought were commercial movies." "That made it all the more intriguing to me. I don't" "I've long ago given up wanting to make a movie with the concern about what it does and where the audience is." "I would rather face the danger of it and have the fun and the freedom of making some comment that is maybe to an older audience or an audience that is more mature." "Phillip, you have a goddamn red, white and blue American right to eat cotton candy, ride roller coasters." "I do?" "Hell, yes, you do." "NARRATOR:" "It's the story of an escaped criminal and the relationship that develops between him and his child hostage." "It's a bond that's both sweet and ultimately tragic." "I think he sees himself in the boy in the life that he never had and he" "And it's the only sort of camaraderie I think he'd had as an adult because he was sort of a bitter guy and had taken a bad road in life." "Me and you got a lot in common, Phillip." "The both of us is handsome devils." "We both like RC Cola." "And neither one of us got an old man worth a damn." "EASTWOOD:" "In the scene with the family, when he takes them hostage his maniacal side comes out." "NARRATOR:" "Butch suspects the father of being abusive, as his own father was." "The little boy is torn and so he ends up saving the family, or interfering because he thinks he's gonna kill them." "And we don't know as the audience whether he is gonna kill them or not." "NARRATOR:" "At its most basic level, the film was a long chase with the law drawing ever closer to the fugitive." "Do they wanna shoot you?" "Chief, we got an armed killer and an innocent boy out there." "You clean?" "As a whistle." "All right, keep him locked down." "Don't squeeze till I say when, you hear?" "Where the hell are you going?" "I wasn't planning on being in it at all." "And, in fact, I was very set against it." "Kevin comes in, "No, you gotta be in it." "You gotta be in it." "You gotta play the sheriff."" "So finally I said okay." "I'm unarmed so throw your gun down." "Do I know you, friend?" "No." "Not really." "Oh." "Well, look. I wanna talk to the boy." "Then we can take care of business." "How's that?" "Only take a second." "Okay." "I wanna give you something." "Hold him. lf he makes a move" "Give it a second." "Maybe someday you'll get to go." "He's going for his weapon." "No!" "WOMAN:" "Oh, God." "SALLY:" "No!" "Keep everybody back." "Butch." "Damn, boss." "Shot twice in the same day." "Okay." "Get ready and go." "Directing and acting is much more difficult because you have to keep constantly switching your brain." "After you get something laid out, then you have to step in and go through it sort of half in the directing mind and half in the acting." "And then at some point you gotta be able to switch the directing mind out of it just do the shot." "You can't" "Either way, you can't be thinking about how the shot is working out as you're acting it." "Or otherwise you're gonna be driven crazy." "Meryl Streep, when we worked together on Bridges of Madison County she commented that she thought that I made that switch pretty well." "Because she had worked with other actor-directors where she felt that they'd never stopped directing even when they're in the scene." "There's a glint when looking at them differently than as the character's looking at them." "She wasn't fond of the book." "I talked to her, I said:" ""l wasn't fond either." "I'd like you to look at the script."" "I thought the book was just an idea, that was an interesting idea." "And so I send her the script." "She called me the next day and she says, "l like this."" "She says, "l really like this."" "And I said, "Okay, you wanna do it?" She says, "Yes."" "I said, "Okay." "This is a handshake over the phone."" "So we did." "So we started very few weeks later." "NARRATOR:" "In a way, it was Clint's most surprising movie." "A full-out romance." "Hi." "You know, I get the distinct feeling that I'm lost." "I don't think he's out searching for housewives in middle America or something." "It just" " Fate kind of drives him that way." "I'm looking for a bridge." "One of those covered bridges in this neighborhood." "It would be easier to tell you if the roads were marked." "Yeah, it certainly would." "Well, I can take you if you want." "Or I can tell you." "I can take you or tell you." "Either way it's up to you. I don't care." "I wouldn't wanna take you away from what you're doing." "No. I was just going to have some ice tea and then split the atom, but that can wait." "Okay." "Oh, there you are." "Oh, you caught me." "I was just picking you some flowers." "Oh?" "Men still do that, don't they?" "I'm not out of date, am I?" "I mean, picking flowers for a woman as a sign of appreciation." "No, not at all." "Except those are poisonous." "I'm kidding." "I'm sorry." "I'm just kidding." "I never" " I'm so sorry." "Are you sadistic by nature or what?" "No." "EASTWOOD:" "She's got two wonderful kids and her husband is okay." "He's kind of a guy who probably doesn't show her a whole lot of attention." "She gets this fantasy trip thrown at her." "Then all of a sudden it's, "How do I deal with that emotionally?" "What kind of morality?" "How does this affect everything I believe in in life."" "That's kind of what I like in stories, in movies, in plays where fate takes you in a way that you're totally unprepared for." "There would be nothing tragic" "In all my dreams of you lf you want me to stop, tell me now." "It doesn't matter" "Where you are" "No one's asking you to." "Because I can see" "How fair you are" "I'm not gonna apologize." "Nobody's asking you to." "I'm not gonna be made to feel I've done something wrong." "You're not gonna be made to feel anything." "You've carved this part for yourself in the world where you get to be a voyeur, a hermit a lover whenever you feel like it." "The rest of us are supposed to feel grateful for this brief moment you've touched our" " Go to hell." "It isn't human not to be lonely and it isn't human not to be afraid." "You're a hypocrite and you're a phony." "I don't want to need you." "What?" "Because I can't have you." "To me it was more of a woman's story." "It was her dilemma more than his." "I will only say this once." "I've...." "I've never said it before." "But this kind of certainty comes but just once in a lifetime." "And she has the dilemma at the end when the relationship finally culminates and becomes very serious then she's the one who has to make the ultimate choice." "NARRATOR:" "Like all good romances, this one ends in sadness." "Poignancy resonates with us." "Happy endings are easier to do and easier to forget." "This Scoring Stage bears Clint's name." "The studio was planning to shut it down." "But Clint spoke up to urge its rescue and restoration." "It's something he's proud of." "And then they call it the Eastwood Sound Stage." "And so then they told me that because of that they restored the whole thing and they're back in business." "I told Daly, I said if I had known that I would have asked you to change the name on the tower too and put Eastwood Bros. But it didn't quite work out that way." "I didn't play it that far." "But many of my films that were scored here" " Most of them" " Almost all of them." "And I'm pleased." "I'm pleased to throw in." "If I just had a little bit to do with it, that's fine by me." "We even did Mystic River in this Sound Stage." "And that kind of went like this:" "This is one of Clint's most complex films." "Covering many decades and characters." "The story begins with three kids playing on a Boston street one of whom is abducted and sexually abused." "Even though it's a tough subject matter, it was an easy film to make." "In." "I liked the book." "It was a very visual book. I could-- l just saw it." "I saw it in my mind." "I like the ironies in it." "It just fell together kind of nicely." "And the actors who read this story all liked it." "I mean, everybody I've-- Sometimes the actors call up and say:" ""Gee, I wanna be in that picture." And I say:" ""What part were you interested in?" "Any part."" "NARRATOR:" "The abducted child grows up to be Tim Robbins' ruined man." "Another becomes Kevin Bacon's troubled detective." "The third boy grows up to be Sean Penn's small-time criminal now going straight." "Until tragedy strikes." "EASTWOOD:" "Then all of a sudden, the daughter's taken away from him through a tragic murder." "COP 1 :" "Hey." "COP 2:" "Hold on." "Grab him." "Stop that guy." "COP 4:" "Hey, hey." "COP 5:" "Hey, you." "COP 4:" "You're not going in there." "COP 5:" "Take it easy." "Enough." "Come on." "COP 1 :" "Hey." "COP 2:" "Relax." "Is my daughter in there?" "Is that my daughter in there?" "Is that my daughter in there?" "No!" "No!" "No!" "I loved her the most." "Because when we were sitting in that kitchen that night it was like we were the last two people on earth." "You know, forgotten." "Unwanted." "And it's really starting to piss me off, Dave, because I can't even cry for her." "My own little daughter and I can't even cry for her." "Jimmy." "You're crying now." "Fate took this story in a certain way and there's no returning back from it." "There was no way any human being could manipulate it." "Admit." "Admit it, Dave." "Admit what you did." "Admit it." "Yeah." "Yeah, I did it." "EASTWOOD:" "He actually ends up killing the wrong person." "Why?" "Why?" "A dream of youth." "I don't remember having one." "So it was the dream?" "The dream, yeah." "You'd know what I mean if you got in that car instead of me." "But I didn't get in that car, Dave." "Yeah." "Come here." "You did." "You're wasting your time." "l told you I don't train girls." "l thought you might change your mind." "There's dozens of trainers who train girls." "Won't have any trouble finding one." "Don't hardly need a dozen, boss." "You'll do fine." "Don't call me boss." "Now, I'm not your boss." "So don't you be calling me that." "Willie, are you ready to work?" "WILLIE:" "Anytime." "If I stop calling you boss, will you train me?" "No." "Might as well just keep calling you it." "EASTWOOD:" "When we started, everybody interpreted it as a woman's boxing movie." "And my theory is it wasn't." "It was a father-daughter love story and that's the way I approached telling it." "FRANKIE:" "You're not breathing right." "That's why you're panting." "So it's your birthday, huh?" "How old does that make you?" "I'm 32, Mr. Dunn." "And I'm here celebrating the fact that I spent another year waitressing which is what I've been doing since 13." "And according to you, I'll be 37 before I can even throw a decent punch." "Which, after working this speed bag for a month I now realize may be God's simple truth." "Other truth is my brother is in prison, my sister cheats on welfare by pretending one of her babies is still alive." "My daddy's dead and my mama weighs 312 pounds." "If I was thinking straight, I'd go back home find a used trailer, buy a deep fryer and some Oreos." "Problem is, this is the only thing I ever felt good doing." "If I'm too old for this, then I got nothing." "That enough truth to suit you?" "NARRATOR:" "Hilary Swank won an Oscar for her performance in this exquisite and unlikely movie." "I won the best supporting actor prize." "Clint was named best director of the year's best picture." "EASTWOOD:" "They were people on the edge of society in this broken-down little gym." "But...." "And somehow she becomes something." "EASTWOOD:" "She becomes something and he becomes something with her." "The father that she never had and the daughter he's never had." "A relationship where everything is wonderful and then all of a sudden the bottom falls out." "And then, of course, it deals with the ultimate thing." "NARRATOR:" "No Eastwood movie is more memorably or more tragically fated." "EASTWOOD:" "What happens when you have the dilemma of how to handle a family situation?" "And that gives the drama to the picture." "Conflict like that, the inner conflicts and outer conflicts are the basics of all drama." "A picture wouldn't work without it really." "A lot of people, after Million Dollar Baby, thought: "Well, oh, he's pro euthanasia."" "I'm not pro euthanasia." "But the drama is being tested to the absolute ultimate of what would you do in that situation." "Then we see a guy who destroys himself and his soul by becoming involved in it." "I'm gonna disconnect your air machine." "Then you're gonna go to sleep." "And I'll give you a shot and you'll stay asleep." "In foreign LANGUAGE]" "Means my darling." "My blood." "NARRATOR:" "It was a tough little movie and also a very tender one." "Hey, can we stop just up here?" "Yeah." "MAGGIE:" "This place has the best lemon pie around." "None of that can-filling crap." "The car came in here." "It was at night, of course." "And then we drove right by." "And then you pan over." "And you saw the little restaurant right there." "Now I can die and go to heaven." "So this is it." "It looks a lot different now." "It doesn't look quite as good as it did then." "But this cabin and this lake have been used in many, many pictures." "But each time, everybody dresses it differently." "And the shot you are making right now is sort of the last shot of the picture where we go though the window that's frosted." "And we see Frankie." "Maybe he owns the place." "Maybe he just" "He's having lemon meringue pie." "We don't know." "He has disappeared somewhere into the world after she dies." "Camera rolling." "Marker." "EASTWOOD:" "I bought the book, Flags of Our Fathers and started the picture." "I was doing the prep for the picture." "And the more preparation I did for that picture, the more I started thinking:" ""l wonder what it was like for the other side."" "Especially after having traveled to Iwo Jima and crawled through the tunnels of Iwo Jima where the enemy was holed up." "NARRATOR:" "Dutiful men often doomed by that quality are among Clint's favorite protagonists." "Such a man was the Japanese commander on Iwo Jima." "EASTWOOD:" "And so I went off to Iceland, to shoot Flags of Our Fathers." "On that trip I had in my hand both Flags of Our Fathers and Letters from Iwo Jima." "And so all the time I was shooting Flags I was also shooting an occasional shot for Letters." "So as I was editing Flags, we had to wait a while because we had visuals effects that needed to be made." "During that period, we went off to Iwo Jima and made Letters from Iwo Jima." "There was a lot of jurisdictional problems between the navy and the army and General Kuribayashi." "He brought everybody together." "He came up with this idea of digging tunnels and stashing everything underground and everybody else thought he was kind of crazy." "He knew they were just holding out." "He knew there was gonna be no possibility that they would ever leave that island." "NARRATOR:" "General Kuribayashi didn't believe in this war or in the planning for the Iwo Jima battle." "There's some speculation that he was sent there as a penalty for not being an insider in the military thing." "But he did feel very strongly for his troops and felt very bad about having to do this job." "He also felt bad about even being in the war to begin with." "Because he had toured through America." "And he had liked America, knew a lot of Americans." "How would you feel if America and Japan were to enter war?" "I believe they would make splendid allies." "No, I think she means against each other." "The United States is the last country in the world that Japan should fight." "But if this were to happen I would serve my duty to my country." "Like virtually all of the Japanese troops their commander paid the ultimate price." "EASTWOOD:" "Actually, we don't know how Kuribayashi died." "But they never did find him." "Ken Watanabe mentioned something earlier about maybe a gun instead of the sword." "And I said, "Hang on that thought for a moment."" "The next day, I came back, I told him what I was gonna do." "I said, "We'll do that."" "This seemed interesting with the gun." "The idea of the gun came to be." "I worked backwards and worked it in the story and wrote the sequence where he" "They have this" " He's with-- As a flashback, he's with Americans." "And they present him with this pearl-handled Colt." "Captain Kuribayashi please accept as a token of our friendship this 1911, Colt .45." "EASTWOOD:" "We'll do that and then at the beginning, I'll do another sequence." "The young kids are speculating on how he got this American pistol." "And then at the end, he uses the American pistol to off himself." "NARRATOR:" "The miracle of this movie is the way it enlists our sympathy for our once hated enemy." "Roll sound." "Three fifty-three." "Take two." "NARRATOR:" "Gran Torino is about a bitter, racist, isolated old man." "Maybe the most anti-heroic figure Clint has ever played." "Bringing him to a state of grace is a tough journey through emotionally constricted space." "Get up." "Get off my lawn." "Listen, you don't wanna fuck with me." "Did you hear me?" "I said, get off my lawn, now." "You fucking crazy?" "Go back in the house." "Yeah, I blow a hole in your face and then I go in the house." "And I sleep like a baby." "You can count on that." "We used to stack fucks like you 5 feet high in Korea." "Use you for sandbags." "Okay." "He's crazy." "He just wants to be left alone." "He'll take a shot at anybody who comes on his property." "Thank you." "Get off my lawn." "He's a reticent hero, so to speak." "And I played a lot of those." "Most of the people that I've played were all reticent, in some way or another." "NARRATOR:" "That reticence is shattered by his reluctant but slowly growing, recognition of the basic humanity of his Asiatic neighbors." "Ever notice how you come across somebody once in a while that you shouldn't have fucked with?" "That's me." "The fuck?" "The fuck?" "Motherfucker crazy." "What's wrong with this nigga?" "What the hell?" "Get in the truck." "This crazy motherfucker." "What's wrong with him, man?" "He" " He point his finger at us." "Oh, shit." "Come on, now." "Hey, pops." "Come on, now." "Question:" "Can he learn to love anything but his antique muscle car?" "EASTWOOD:" "And I didn't want people to say, "This is a variation of Dirty Harry."" "Walt Kowalski is not Dirty Harry." "I think maybe because he's fed up with the political niceties." "That's a similarity." "But I don't think they're the same guy." "But Dirty Harry would have probably settled it much, much sooner." "You're a good man, Wally." "I wish our father would have been more like you." "Don't go calling me Wally." "No." "I'm serious." "He was really hard on us." "Really traditional." "And really old school." "Yeah." "Well, I'm old school." "Yeah." "But you're an American." "What's that supposed to mean?" "You like him, don't you?" "Are you kidding?" "He tried to steal my car." "Aha." "And you spend time with him." "Teach him how to fix things." "Saved him from that fucked cousin of ours." "Hey." "Watch your language, lady." "And you're a good man." "I'm not a good man." "Get me another beer, dragon lady." "This one's empty." "EASTWOOD:" "He sees a generation he doesn't think much of." "And then he finally helps a minority kid who lives next door who is being persecuted by neighborhood violence." "And he comes to the rescue." "Back off me, man." "What the fuck, man?" "l didn't think your ass would've came." "Shut up, gook." "I got nothing to say to a shrimp-dick midget like you." "What you gonna do punk-ass old man?" "You bitch." "Kind of jumpy, aren't we?" "Shut the fuck up." "Got a light?" "MAN 1 :" "What the fuck?" "Now me, I've got a light." "Hail Mary, full of grace...." "NARRATOR:" "Walt knows he's dying, but in his final moment he at last finds redemption." "With his death, he assures the end of terror in his neighborhood." "Invictus is about a very different kind of heroism." "Good morning." "NARRATOR:" "It was a project I developed and brought to Clint." "He just called me up and says, "I've got a really good script." "I'd love you to direct." And I said, "Okay, who's doing it?"" "And he said, "Nobody." "And it's about Nelson Mandela."" "When somebody says, "l got a good script" you always go, "Okay, we'll be the judge of that." That kind of thing." "And I read it." "So I called him back, and I said, "It is a good script." "And yes, I'll do it."" "It's Francois." "NARRATOR:" "Matt Damon plays the captain of a rugby team enlisted by Nelson Mandela, not just to win a championship but to achieve by so doing a symbolic victory over age-old prejudice." "Captain of the Springboks." "A very difficult job." "Not compared to yours, Mr. President." "Well, no one is trying to tear my head off while I'm doing mine." "Yes, sir." "It's something in history that should be told." "And it should be told now. I mean, the world can use this story now." "We need inspiration, Francois." "Because in order to build our nation we must all exceed our own expectations." "So, what's he like?" "He's not like anyone I've ever met before." "Yeah, I hope." "What did he want?" "I think he wants us to win the World Cup." "NARRATOR:" "There was more to the story than just winning games." "The team had to reach out to the black population to involve them in a sport that was alien to them." "The idea was to symbolize, through sports the possibility of a larger reconciliation." "All right." "One, two, three." "Whoa!" "Ha, ha, ha." "Unification was his obsession." "He was a man who could forgive the people who jailed him after 27 years." "He says that there's strength in forgiveness." "He had philosophies that are great." "He took a sport that was being played by one segment of the population in South Africa and made it a unifying factor for his presidency." "Go, go, go!" "And it was successful." "The final match is suspensefully staged." "It brings to an end the most inspiring movie Clint Eastwood has ever made." "Yeah!" "I want to thank you for what you have done for our country." "No, Mr. President." "Thank you for what you have done for our country." "Yes, it's a true story." "But unlike most true stories, it's a triumphant one." "It also represents, in a clear-cut way, some of the principles that have guided Clint Eastwood's life and career." "Clint lives in Carmel on the Monterey Peninsula in Northern California." "He discovered it when he was stationed at nearby Fort Ord during the Korean War." "EASTWOOD:" "I always liked it." "I'd come down here on days off." "You'd get a day like this, I'd say, "Yeah, I wouldn't mind living in a place like this." "And if I ever made a buck, maybe I'd come back and try to live here."" "And so I did when I got the Rawhide series in the late '50s, early-'60s." "I bought a little house down here and kept it for many years." "It's a nice place to be." "I came here first in 1951." "I think I had my first legal beer at this joint." "He's very much part of the community." "He's owned this hotel and restaurant for many years." "He preserves the place as it was when he first encountered it." "I just wanted to keep it alive." "It's a beautiful property with a certain tradition to it." "It's great." "He's also a builder." "He created the Tehama Golf Course on undeveloped property he had owned for years." "It's part of the pleasure of living here." "He doesn't really need to toss a coin in the fountain to assure his return to Carmel." "Golf is one of Clint's passions." "But he approaches it with a certain irony." "Erase that one." "It does make you crazy." "But I think it's the fact that you think that some day you're gonna be able to master it and the real" "The real deal is, you never really do." "So you're always playing against yourself rather than an opponent." "Basically, you're kind of playing against your own central nervous system." "And it takes your mind off everything else." "It's a sport you can play at any age in your life." "I was always in it for the long haul." "I love playing golf, but I don't wanna have to play it." "It's" " You play it because it's enjoyable, you know?" "And...." "But I don't want to have to get up in the morning and say "How many holes of golf am I gonna play?"" "There are other places in the world I could" " I'm sure I could get along in." "But this is the place I always wanted to be." "I'm fairly well-known in most parts of the world." "But it's nice to be here, someplace where nobody cares that much about it." "I continue working and everybody wonders why I continue working at this stage." "I keep working because there's new stories." "There's a new book come along, or there's a new script comes along that is interesting and worth telling." "And as long as people want me to tell them, I'll be there doing them." "I'm always exploring outside of the box." "That keeps me from falling in a pattern of just saying "Okay, westerns were successful for me, so I'll just do westerns." "Cop dramas were successful, I can just do cop dramas." "And call it day and have a paycheck and a few beers and a nice life."" "That wasn't enough." "Personally, it wasn't enough." "I just keep buzzing along and enjoying myself." "NARRATOR:" "After all these years, walking in his footsteps remains one of the movies' great pleasures."