13 his fussiness about his cars: Quoted in Aljean Harmetz, “The Man with No Name Is a Big Name Now,” The New York Times, August 10, 1969.
14 as big as a bat: Quoted in McCooey, “Faceful of Dollars.”
15 Dr. Doolittle style: Quoted in Harmetz, “Man with No Name.”
16 As it turns out: Warga, “Drifted into Stardom.”
17 Clint gives the feeling: Quoted in Harmetz, “Man with No Name.”
18 In a matter of months: See Roberta Brandes Gratz, “Clint Hitches His Wagon to a Song,” New York Post, October 26, 1969.
19 encumbered by a wife: Quoted in Harmetz, “Man with No Name.”
20 tripped across the movie business: Ibid.
21 I’m an actor: Quoted in McCooey, “Faceful of Dollars.”
22 I didn’t realize: Quoted in “Don Rickles Is So Clean He Could Play the Vatican,” Parade press release, December 16, 1993.
23 I can never think of anything: Quoted in Kathleen Carroll, “At War with a Movie—or 3 Days on Location,” New York Daily News, August 17, 1969.
24 I’m always a little closed in: Quoted in Ben Reisfeld, “No One Got Hurt,” Los Angeles Times, September 14, 1969.
25 We went twenty years: Quoted in Ann Guerin, “Clint Eastwood as Mr. Warmth,” Show, February 1970.
26 in a fury: Siegel, Siegel.
27 the film has no resources: Roger Greenspun, “The Screen: Hutton’s ‘Kelly’s Heroes’ Begins Run,” The New York Times, June 24, 1970.
28 a romantic love story: Quoted in Siegel, Siegel. Siegel’s other reminiscences, with the exception of all those noted below, are from the same source.
29 I said, ‘If you’d written this script’: Quoted in Charles Higham, “Suddenly, Don Siegel’s High Camp-us,” The New York Times, July 25, 1972.
30 For the daylight scenes: Quoted in Fuensanta Plaza, Clint Eastwood/Malpaso, p. 22
31 It just hit me wrong: Interview with Carl Pingitore, October 7, 1994. All subsequent quotations from him are drawn from the same source.
32 a nice, ordinary young man: Quoted in Gallafent, Clint Eastwood, p. 81
33 the social construction: J. Haberman, “At War with Ourselves,” Village Voice, October 23, 1986.
34 Women are capable of: Quoted in Kaminsky, Siegel, p. 238
35 I was still: Quoted in Pat McGilligan, “Clint Eastwood,” Focus on Film, Summer-Autumn 1976.
36 a big fish: Eastwood and Schickel, “Director’s Dialogue.”
37 I know exactly: McGilligan, “Clint Eastwood.”
38 with the big red scar: Interview with Jessica Walter, July 27, 1993. All subsequent quotations from her are drawn from the same source.
39 He said, ‘You seem to have it’: Eastwood, “The Padrón.”
40 I didn’t know: Quoted in “That Self-Sufficient Thing,” Time, December 12, 1971.
41 Part of his sex appeal: Ibid.
42 very, very surprised: Interview with Pierre Rissient, June 1, 1993.
43 very fancy, outrageous fantasizing: Vincent Canby, “Clint Eastwood Is Star of Siegel’s ‘The Beguiled,’ ” The New York Times, April 1, 1971.
44 Let me add two words: Quoted in Gene Siskel, “Hype Casting Cowan Knows How to Keep the Stars Shining,” Chicago Tribune, June 4, 1989.
45 too many easy decisions: Roger Greenspun, “Eastwood as Director,” The New York Times, November 14, 1971.
CHAPTER NINE
1 a stunningly well made: Pauline Kael, “The Current Cinema: Saint Cop,” The New Yorker, January 15, 1972. A somewhat-longer version of the review is included in Kael, Deeper into Movies, pp. 484–89.
2 neither tarnished nor afraid: Raymond Chandler, “The Simple Art of Murder,” The Atlantic Monthly, December 1944. Quoted in Philip Durham, Down These Mean Streets a Man Must Go, pp. 95–96.
3 you always had the feeling: Quoted in Richard Schickel, James Cagney: A Celebration, p. 18
4 the studio allowed six nights: Quoted in Judy Fayard, “Who Can Stand 32,580 seconds of Clint Eastwood?” Life, July 23, 1971.
5 a sad and perhaps inevitable step downward: Roger Greenspun, “Screen: ‘Dirty Harry’ and His Devotion to Duty,” The New York Times, December 23, 1971.
6 bound to upset: Jay Cocks, “Cinema: Outside Society,” Time, January 3, 1972.
7 we are gradually being conditioned: Pauline Kael, “Stanley Strangelove,” The New Yorker, January I, 1972. Reprinted in Kael, Deeper into Movies, p. 475
8 the real target: Eric Patterson, “Every Which Way but Lucid: The Critique of Authority in Clint Eastwood’s Police Movies,” Journal of Popular Film and Television, Fall 1982.
9 the basic contest: Kael, “Saint Cop.”
10 crime is caused by deprivation: Ibid.
11 on sensual and primitive levels: Kael, “Author’s Note,” in Deeper into Movies, p. XV.
12 a pragmatic willingness to kill: Lawrence Alloway, Violent America: The Movies, 1946–1964, p. 11
13 to dig into the sexiness: Pauline Kael, “Peckinpah’s Obsession,” The New Yorker, January 29, 1972. Reprinted in Kael, Deeper into Movies, pp. 494–99.
14 Those saved by the social revolutions: Thomson, “Forgiven.”
15 which unites our lumpen proles: Henry Louis Gates, Jr., “Annals of Race: Thirteen Ways of Looking at a Black Man,” The New Yorker, October 23, 1995.
16 Somewhere along the line: Quoted in James Wolcott, “On Television: The Dennis Menace,” The New Yorker, June 11, 1994.
17 I don’t make political movies: Quoted in Paul Gardner, “Siegel at 59: Director, Rebel, Star,” The New York Times, May 31, 1973.
18 Not once throughout Dirty Harry: Siegel, Siegel, p. 373
19 in a world of bureaucratic corruption: Quoted in R. Allen Kider, “Dirty Clint,” Good Times, December 1977.
20 Harry is a terribly honest character: Quoted in Guy Flatley, “At the Movies,” The New York Times, December 17, 1976.
21 It’s just the story: Quoted in Stuart M. Kaminsky, Clint Eastwood, pp. 125–26.
22 Nietzschian superman: Garrett Epps, “Does Popeye Doyle Teach Us How to Be Fascist?” The New York Times, May 21, 1972.
23 a virtually fascist endorsement: Mellen, Big Bad Wolves, p. 294
24 I’d hate to turn around: Quoted in Charles Champlin, “A Mellow Eastwood Keeps His Edge,” Los Angeles Times, June 30, 1984.
CHAPTER TEN
1 Name all of: Interview with Joe Hyams, June 30, 1994.
2 I’d take the script: Quoted in Patrick Goldstain, “Hey, Crime Does Pay,” Los Angeles Times Calendar, October 18, 1995.
3 Clint doesn’t like indecision: Interview with James Fargo, January 31, 1994. All subsequent quotations from him are drawn from the same source.
4 I would have liked: Interview with Verna Bloom, February 23, 1994. All subsequent quotes from her are drawn from the same source.
5 part ghost story: Vincent Canby, “‘High Plains Drifter’ Opens on Screen,” The New York Times, April 20, 1973.
6 male sexual fantasy: Judith Crist, “Git ’Em Up, Move ’Em On,” New York, April 30, 1973.
7 I called him Bill: Quoted in James Brady, “In Step With: Kay Lenz,” Parade, May 23, 1993.
8 I could have been wearing tinfoil: Quoted in Mary Murphy, “Actress Who Grew into Role,” Los Angeles Times, February 18, 1974.
9 Where’s Gregory Peck: Quoted in Weinraub, “Even Cowboys.”
10 It’s not good writing: Ibid.
11 I’ll be so old: Quoted in Peter Biskind, “Any Which Way He Can,” Premiere, April 1993.
12 Whichever way you want it: Quoted in Bridget Byrne, “Eastwood’s Round ’em Up, Move ’em Out Film Making Style,” Los Angeles Herald-Examiner, June 24, 1973.
13 You have to learn: Quoted in Post interview.
14 that silent containment: Interview with Hal Holbrook, December 11, 1995.
15 wooden impassivity: Pauline Kael, “Killing Time,” The New Yorker, January 14, 1974. Reprinted in Pauline Kael, Reeling, pp. 251–56.
16 It is the essentially gentle: Robin Wood, Hollywood from Vietnam to Reagan, p. 223
17 I’ve got to talk to you: Quoted in interview with Michael Cimino, September 24, 1993. All subsequent quotations from him are drawn from this source.
18 You are that guy: Quoted in Stephen Farber, “Star without a Smash,” Movieline, October 4–10, 1985.
19 returned rentals of a solidly profitable level: Stephen Bach, Final Cut, pp. 82–83.
20 flamed out: Mike Hoover, “Man against Mountain and Vice Versa during the Filming of ‘The Eiger Sanction,’ ” American Cinematographer, August 1975.
21 it sounds real close: Ibid.
CHAPTER ELEVEN
1 exposed by an Alabama newspaperman: See “Is Forrest Carter Really Asa Carter?” The New York Times, July 26, 1976.
2 wrote a piece: See Dan T. Carter, “The Transformation of a Klansman,” The New York Times, October 4, 1991.
3 If Forrest Carter was: Clint Eastwood, “Happy Transformation,” The New York Times, October 16, 1991.
4 Today we live: Quoted in “SelfMade Man,” People, September 6, 1976.
5 I suppose they see me: Quoted in “Portrait of a Mean B.O. Winner,” Variety, September 15, 1976.
6 the saga of it: Clint Eastwood’s remarks on the appeal of this project are drawn from Eastwood and Schickel, “Director’s Dialogue.”
7 the original novel: Quoted in Allen Barra, “Philip Kaufman: Right Stuff! Wrong Package,” Washington Post, August 1, 1993.
8 Philip Kaufman asked for: Thomson, “Forgiven.”
9 He just had a great charisma: Eastwood and Schickel, “Director’s Dialogue.”
10 Oh, the stumps look fine: Quoted in Anthea Disney, “Sondra Locke Enjoys Her Life as Clint Eastwood’s Sidekick,” Los Angeles Herald-Examiner, April 14, 1978.
11 the weird two: Quoted in Lois Armstrong, “Off the Screen: Sondra Locke’s Stock Rises in Surviving Eastwood’s Mayhem and Hollywood’s Whispers,” People, February 13, 1978.
12 would act, feel and think: Quoted in Peer J. Oppenheimer, “They Call Her ‘The Beautiful Fake,’ ” Family Weekly, November 24, 1968.
13 I do all the stuff: Quoted in “Portrait of a Mean B.O. Winner,” Variety.
14 an oddly abashed form: Jack Kroll, “Erb-Man,” Newsweek, September 13, 1976.
15 He says Kael actually feels: Quoted in Mary Murphy, “Clint and Kael,” Los Angeles Times, April 12, 1976.
16 She was taken by Last Tango: Quoted in Larry Cole, “Clint’s Not Cute When He’s Angry,” Village Voice, May 24, 1976.
17 That was a wonderful film: “The Merv Griffin Show,” no. 2725, taped July 1, 1982 (transcript).
CHAPTER TWELVE
1 Their effort was better: Associated Press, “Dirty Harry Script Is Right on Target,” Los Angeles Times, September 3, 1976.
2 I thought the woman: Quoted in Todd Coleman, “Clint’s Women,” unpublished article, January 31, 1996.
3 When my lawyer: Quoted in “Tyne Daly Gets Her Gun,” People, January 31, 1977.
4 Harry has found: Marjorie Rosen, “Dirty Harry Meets His Better Half,” Ms., March 1977.
5 The girl’s part is: Richard Thompson and Tim Hunter, “Clint Eastwood, Auteur,” Film Comment, January-February 1978.
6 a single thought: Vincent Canby, “Screen: Eastwood ‘Gauntlet,’ ” The New York Times, December 22, 1977.
7 sophisticated character interplay: Tom Allen, “Dirty Harry Cleans Up His Act,” Village Voice, December 26, 1977.
8 Everybody would love: Quoted in Armstrong, “Locke’s Stock Rises.”
9 I have just finished: Clint Eastwood, “Mail,” People, March 6, 1978.
10 had the notion: Interview with Alain Silver, September 27, 1994.
11 That picture’s going: Interview with Barry Reardon, September 23, 1993.
12 Their relationship, in the beginning: Interview with Richard Tuggle, July 26, 1994. All subsequent quotations from him are drawn from the same source.
13 an artist and director: Interview with Michael D. Eisner, December 11. 1995.
14 If I lost my squint: Quoted in William Bates, “Clint Eastwood: Is Less More?” The New York Times, June 17, 1979.
15 this is not a great film: Vincent Canby, “Screen: ‘Alcatraz’ Opens,” The New York Times, June 22, 1979.
16 With Francis Coppola’s budget: Quoted in Bates, “Clint Eastwood: Is Less More?”
17 I wanted to say something: Quoted in Vinocur, “Clint Eastwood, Seriously.”
CHAPTER THIRTEEN
1 sexy legend: John Love, “Clint Eastwood: A Sexy Legend at 50,” Cosmopolitan, July 1980.
2 the intelligence and the financing: Quoted in Connie Bruck, Master of the Game, p. 279
3 My father’s dream: Quoted in Vinocur, “Clint Eastwood, Seriously.”
4 Clint’s greatest moment: Interview with Frank Wells, October 12, 1993.
5 Clint takes the bullshit: Interview with Henry Bumstead, June 3, 1993.
6 They don’t do that for many: Quoted in Jack Mathews, “Eastwood,” USA Today, August 13–17, 1984.
7 the truth is not: James Wolcott, “Is That a Gun in Your Pocket?” Vanity Fair, July 1985.
8 the sixties was largely: Robert Mazzocco, “The Supply-Side Star,” The New York Review of Books, April 1, 1982.
9 amphetamine aesthetic: Andrew Sarris, “Films in Focus: Cold Wars and Cold Futures,” Village Voice, July 6, 1982.
10 is not the establishment: Ibid.
11 was not somebody we ought: Quoted in Michael J. Berlin, “POW Raid Leader Surrenders to Thais,” New York Post, February 28, 1983.
12 looks like a kid: Quoted in Vernon Scott, “Scott’s World: East-wood and Son Co-Star,” UPI dispatch, January 6, 1983.
13 the steely compassion: Mailer, “All the Pirates.”
14 So they came to me: Quoted in Roger Ebert, “Clint Eastwood—America’s Major Feminist Filmmaker,” San Francisco Examiner, July 18, 1984.
15 the makings of: David Ansen, “Gunning Their Way to Glory,” Newsweek, December 12, 1983.
16 They make contact with: David Denby, “Movies: The Last Angry Men,” New York, January 16, 1984.
17 feminist filmmaker: Tom Stempel, “Let’s Hear It for Eastwood’s ‘Strong’ Women,” Los Angeles Times Calendar, March 11, 1984.
18 It’s very simple: Quoted in Ebert, “Feminist Filmmaker.”
19 As far as the tormented: Quoted in Carrie Rickey, “In Like Clint,” Fame, November 1988.
20 Here is one of the basic lessons: William Goldman, Adventures in the Screenwriting Trade, p. 37
21 Just too dumb: Quoted in Ebert, “Feminist Filmmaker.”
22 warming with her tomgirl body: Kathleen Murphy, “The Good, the Bad & the Ugly: Clint Eastwood as Romantic Hero,” Film Comment, May–June 1996.
23 He’s become a very troubled: David Denby, “Beyond Good and Evil,” New York, August 27, 1984.
CHAPTER FOURTEEN
1 diffuse: Interview with Richard Benjamin, January 4, 1994. All subsequent quotations from him are drawn from the same source.
2 The Clint Eastwood Magical Respectability: Vinocur, “Clint Eastwood, Seriously.”
3 Oh, I get it: Quoted in William Goldman, Hype and Glory, p. 117
4 then I thought: Aljean Harmetz, “Eastwood Top Event at Cannes,” The New York Times, May 13, 1985.
5 Basically I wanted to have: Quoted in Michael Henry, “Clint Eastwood, on ‘Pale Rider.’ ” Interview included in Cannes Press Kit, April 1, 1995.
6 I guess maybe I felt: Ibid.
7 contemporary and remembered: Michael Wilmington, “Westerns Return on a ‘Pale Rider,’ ” Los Angeles Times, June 28, 1985.
8 very much the obliging: Quoted in Rachel Abromowitz, “The Best Little Girl in Town,” Premiere, July 1995.
9 We’re very close friends: Quoted in Ansen, “American Icon,” Newsweek, July 22, 1985.
10 appendage: Nancy Mills, “Locke Exercises Control over ‘Ratboy
,’ Her Career,” Los Angeles Times, August 19, 1986.
11 It’s all my fault: Quoted in Mills, “Locke Exercises Control.”
12 If you don’t tell me: Quoted in interview with Eileen Padberg, March 15, 1996. All subsequent quotations from her are drawn from the same source.
13 to be an officer: Mark Stein, “Campaigning with Clint,” Los Angeles Times Magazine, March 30, 1986.
14 My interests are in Carmel: Ibid.
15 If you’ve read: Paul A. Witteman, “Go Ahead, Voters, Make My Day,” Time, April 7, 1986.
16 At first it was funny: Stein, “Campaigning.”
17 I understand the bus tour: Robert Lindsey, “Eastwood Marks Landslide Victory,” The New York Times, April 10, 1986.
18 I thought I could come up: Paul A. Witteman, “No More Baby Kissing,” Time, April 6, 1987.
CHAPTER FIFTEEN
1 At 56, Mr. Eastwood: Vincent Canby, “Charting Stars across the Decades,” The New York Times, December 14, 1986.
2 I was catching: Marsha Mason, “Catching the Light,” in Clint Eastwood Tribute Book, ed. Wolf Schneider, p. 10
3 Whip me, beat me: Quoted in Janet Maslin, “How the Black Panthers Came to Be, Sort Of,” The New York Times, May 3, 1995.
4 A jazz movie had never been made: Quoted in Gary Giddins, “Clint Eastwood Shoots Us the Bird,” Esquire, October 1988.
5 these beautiful black-and-white: Interview with Jack N. Green, June 2, 1993.
6 In one scene: Quoted in Charles Champlin, “Bird’s Venora Ever on Trail of a Dare,” Los Angeles Times, January 12, 1989.
7 operate in the gray areas: Dave Kehr, “Eastwood’s Skillful Creation ‘Bird’ Is Rare Indeed,” Chicago Tribune, October 14, 1988.
8 the gangster hero: Stanley Crouch, “Birdland: Charlie Parker, Clint Eastwood and America,” The New Republic, February 27, 1989.
9 really a black guy: Quoted in Jack Kroll, “Clint Makes Bird Sing,” Newsweek, October 31, 1988.
10 the single most confident: Eastwood and Schickel, “Director’s Dialogue.”
11 Everyone … is the product: Giddins, “Clint Eastwood Shoots.” Reading them in sequence: Eastwood and Schickel, “Director’s Dialogue.”
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