View Poll Results: Do You Like Eastwood as An Actor or A Director

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  • Actor

    3 27.27%
  • Director

    6 54.55%
  • Who's Eastwood?

    2 18.18%
  • What about as a Mayor? He was once.

    0 0%
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Thread: Clint Eastwood: Actor & Director

  1. #161
    Senior Member Diamond Hubber groucho070's Avatar
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    Crikey, talaivar still acting. Gran Torino would have been a nice goodbye. Acting bug vidamAttingguthu pola
    " நல்ல படம் , சுமாரான படம் என்பதையெல்லாம் தாண்டியவர் நடிகர் திலகம் . சிவாஜி படம் தோற்கலாம் ..சிவாஜி தோற்பதில்லை." - Joe Milton.

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  3. #162
    Senior Member Diamond Hubber groucho070's Avatar
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    Looks very cliched, same performance in the last few grumpy old man movies he acted. But nostalgic award committee is definitely going to nominate him.
    " நல்ல படம் , சுமாரான படம் என்பதையெல்லாம் தாண்டியவர் நடிகர் திலகம் . சிவாஜி படம் தோற்கலாம் ..சிவாஜி தோற்பதில்லை." - Joe Milton.

  4. #163
    Senior Member Diamond Hubber groucho070's Avatar
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    http://japandailypress.com/ken-watan...orgiven-209574

    Unforgiven, the 1992 western film masterfully directed by Clint Eastwood, is set to be remade as a Japanese Samurai film, with none other than Japanese star Ken Watanabe taking Eastwood’s role as the main character. Titled Yurusarezaru mono (the Japanese translation for “Unforgiven”), will be directed by South Korea’s Lee Sang-il, of Villain, and will also include Akira Emoto and Koichi Sato in its cast. Filming is scheduled to begin this fall in Hokkaido, Japan’s northern island, and will be released around the same time in 2013.

    Similar to the U.S. film, the story takes place in 1880, and instead of taking place in a small western town on the fringes of the frontier, it will be set in Hokkaido, at a time when the native Ainu people are being displaced by Japanese settlers. Just as Clint Eastwood was a former outlaw, Watanabe will play a samurai with a violent and fearsome past who tried to move on and live in retirement with his Ainu wife. A violent crime and a large bounty are what prompt his return to a life he tried to leave behind.

    It’s interesting that it’s taken this long for a U.S.-made western movie to be remade with samurai in Japan, as it was Akira Kurosawa’s classic Yojimbo that was remade into A Fistful of Dollars, starring none other than Eastwood (and helping to launch his career), as well as Seven Samurai (also by Kurosawa) that became The Magnificent Seven. Unforgiven won the 1992 Oscar for Best Picture, among several others, and with its play on the formula of classic westerns, and its meditation on violence, it’s one of my favorite Eastwood movies. While I’m not familiar with the director, Watanabe’s performance is well-known, so I’m really hoping this doesn’t disappoint.
    " நல்ல படம் , சுமாரான படம் என்பதையெல்லாம் தாண்டியவர் நடிகர் திலகம் . சிவாஜி படம் தோற்கலாம் ..சிவாஜி தோற்பதில்லை." - Joe Milton.

  5. #164
    Senior Member Seasoned Hubber Avadi to America's Avatar
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    when i was in washington DC airport this weekend, i happened to see the magazine. here's the article about him.

    http://www.esquire.com/blogs/politic...1012?click=mid
    In theory there is no difference between theory and practice; in practice there is

  6. #165
    Senior Member Seasoned Hubber Avadi to America's Avatar
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    Quote Originally Posted by groucho070 View Post


    Looks very cliched, same performance in the last few grumpy old man movies he acted. But nostalgic award committee is definitely going to nominate him.
    i'll watch it opening weekend. it looks this movie releasing this weekend here. I still remeber the audiance response for Gran Tarino..... hope this one is also good.
    Last edited by Avadi to America; 17th September 2012 at 12:33 AM.
    In theory there is no difference between theory and practice; in practice there is

  7. #166
    Senior Member Diamond Hubber groucho070's Avatar
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    Thanks A2A for the links. As for his new movie, fans only, and nostalgic fellers movie. EthO Odumnu nenekiren. Here's something I never caught:

    " நல்ல படம் , சுமாரான படம் என்பதையெல்லாம் தாண்டியவர் நடிகர் திலகம் . சிவாஜி படம் தோற்கலாம் ..சிவாஜி தோற்பதில்லை." - Joe Milton.

  8. #167
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    http://en.wikipedia.org/wiki/Malpaso_Productions

    Movies produced by Clint eastwood through his production company Malpaso.
    In theory there is no difference between theory and practice; in practice there is

  9. #168
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    Review: Old pro scores with another hit up middle

    LOS ANGELES — Clint Eastwood's first film as an actor for a director other than himself since "In the Line of Fire" in 1993, "Trouble With the Curve" is a corny, conventional and quite enjoyable father-daughter reconciliation story set mostly in the minor league baseball world of the South.

    Playing a sort of PG-13-rated version of his ornery coot in "Gran Torino," Eastwood is vastly entertaining as an old-fashioned scout who disdains computers and fancy statistical charts in favor of his own time-tested instincts. Making his directorial debut, Eastwood's longtime producer Rob Lorenz knows just how to pitch the story to take advantage of the humorous side of his star's obstinate crankiness, and Amy Adams makes a good match as the career-driven daughter with festering resentments.

    As in "Gran Torino" four years ago, Eastwood does not hesitate to spotlight the debilitations of old age, in fact doing so right off the bat as his Gus Lobel patiently coaxes out a morning pee, struggles with vision problems and stumbles into a coffee table at his modest home. A legendary baseball scout responsible for discovering some major stars in his day, Gus is one of the last of the cigar-chompers, a guy who relies on what he sees, hears and intuits but, with just three months left on his contract with the Atlanta Braves, "may be ready for pasture." Anybody who's seen "Moneyball" will know which side of the table he sits on.

    His only kid, conspicuously named Mickey (Amy Adams), is a high-powered young Atlanta lawyer on the verge of becoming a partner at her firm. Still stewing over having been palmed off on relatives when her mother died young so Gus could continue to troll the minors for talent, Mickey has commitment issues with men and the last thing this workaholic could imagine is accompanying her dad through southern backwaters on what could be his final swing. But her old man's pal (John Goodman) talks her into it, suggesting that it could be a last chance to patch things up.

    First-time screenwriter Randy Brown puts his players on base and then comes through with what feels like a solid hit through the infield that scores a couple of runs. When Mickey joins her dad in North Carolina, their nearly every exchange almost immediately turns into an argument that ends with her stomping out and him telling her to go home. But good sense and some interesting developments keep her around: A former recruit of Gus's, Johnny Flanagan (Justin Timberlake), who made it to the bigs, then threw his arm out and is now a Red Sox scout, starts hound-dogging Mickey. She has great baseball sense herself and, alongside Gus, evaluates the season's top prospect, Bo Gentry (Joe Massingill), a beefy slugger who hits it out nearly every time he comes up to the plate.

    Filming in a charming old minor league park and peppering the stands with veteran baseball guys provides nice echoes of the game the way it used to be, and it feels good when director Lorenz also brings his star back to the sort of working class settings – Southern honkytonks, pool halls, cheap motels, cut-rate sports facilities – where his characters used to spend a good deal of time. In a modest, appealing way, "Trouble With the Curve" is another last-stand-of-the-old-timers movie, which might include "Gran Torino," "Space Cowboys" and "In the Line of Fire," with Eastwood as actor and sometimes director, in which experience, intuition and character get to carry the day against technology, numbers and other newfangled developments.

    Even though he's still in the minors, the outsized Gentry amusingly carries on as if he already knows he's the new century's Babe Ruth, refusing to low-five his third base coach when he hits homers and boasting of glories to come. But despite his deteriorating vision, Gus has suspicions, as suggested by the film's title, that Gentry has a fatal weakness. It's a conviction he shares with Mickey, who herself contributes to her father's cause in a surprising, if somewhat far-fetched, way.

    Having begun with Eastwood as a second assistant director on "The Bridges of Madison County" in 1995 and working as a producer or executive producer on his films since 2002, Lorenz knows well his collaborator's strengths as an actor and doesn't stray far from the style and tone customary at Malpaso, Eastwood's production company. This is a handsomely directed film; there's a nice crispness to the pacing and images, as Lorenz keeps things moving briskly and has had house cinematographer Tom Stern move away from his recent darker, more subdued look to a brighter, fuller palette, which suits the vibrant characters and settings.

    Adams scores as the career woman who's a tomboy at heart and discovers some new horizons by breaking with her routine. Timberlake is energetic but too puppy-doggish as her eager suitor; given Johnny's background as a failed would-be baseball player, some shades of regret and disappointment would have deepened the characterization. Distinctive character actors such as Goodman; Matthew Lillard, playing a Braves scouting executive contemptuous of Gus's antiquated ways; and Robert Patrick, as the team's hardnosed GM, are hardly tested but lend weight to the supporting cast.

    But, of course, the show belongs to Eastwood. Still physically fit enough to pitch to his daughter for fun, Gus may be an anachronism but, like the actor who plays him, he remains a force to contend with. And despite his hard-headedness, he's also able to see that it's never too late to open up to Mickey. His medical issues are unrealistically shoved aside at the end, which might have benefited from a melancholy undercurrent, but the result is satisfying in an old-fashioned way, which also might be part of the point.

    "Trouble With the Curve," a Warner Bros. release, is rated PG-13 for language, sexual references, some thematic material and smoking. Running time: 110 minutes.

    Motion Picture Association of America rating definition for PG-13: Special parental guidance strongly suggested for children under 13. Some material may be inappropriate for young children.

    LOOKS LIKE THE MOVIE WOULD BE ANOTHER GRAN TORINO....
    In theory there is no difference between theory and practice; in practice there is

  10. #169
    Senior Member Diamond Hubber groucho070's Avatar
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    They are just being nice to him. Eastwood ahaaohoo-nu-,baingga.
    " நல்ல படம் , சுமாரான படம் என்பதையெல்லாம் தாண்டியவர் நடிகர் திலகம் . சிவாஜி படம் தோற்கலாம் ..சிவாஜி தோற்பதில்லை." - Joe Milton.

  11. #170
    Senior Member Seasoned Hubber Avadi to America's Avatar
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    another review from NYdaily news.....he is the darling of media...

    http://www.nydailynews.com/entertain...icle-1.1163650


    Movie review: ‘Trouble With the Curve’
    Baseball film doesn't hit it out of the park, but Clint Eastwood's still worth catching
    NEW YORK DAILY NEWS



    Thursday, September 20, 2012, 12:51 PM
    ..Print Print.Comment...

    Keith Bernstein
    Clint Eastwood plays a baseball scout who has 'Trouble' connecting with his daughter (Amy Adams).
    Title: 'Trouble With the Curve'.
    Film Info: With Clint Eastwood, Amy Adams, Justin Timberlake. An aged baseball scout and his adult daughter reconnect. Director: Robert Lorenz (1:51). PG-13; Language. Area theaters. .
    .Related Stories
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    . .Forget about Clint Eastwood talking to a chair. In “Trouble With the Curve,” the octegenarian icon uses his gravelly rasp to talk directly to an audience who’ll respond to mainstream, old-fashioned moviemaking.

    Which isn’t to say that this admittedly schmaltzy, sometimes aggravatingly slow film turns its lack of originality into a benefit. But the team behind “Curve,” directed by Eastwood’s production partner Robert Lorenz (who clearly honors his mentor’s no-frills style), knows that those who want to see Eastwood go with expectations. So the movie hits a line drive right to where it should be.

    Eastwood is Gus Lobel, a longtime scout for the Atlanta Braves who scoffs at the computer programs used by a pompous co-worker (Matthew Lillard, in a good smug-jerk turn). Gus, like his veteran scout pals, does it the classic way — from the stands, from which he gauges high school players’ prospects. He studies everything from their grip on the bat to the sound of a fly ball.

    But Gus is gettin’ up there and is in danger of being let go. His pal (John Goodman) enlists Gus’ lawyer-daughter, Mickey (Amy Adams) – named for Mickey Mantle — to play chaperone. Along the way, the squabbling pair are joined by a formerly hot rookie (Justin Timberlake), who connects on his own with Mickey.

    But her bigger play is getting the taciturn Gus to communicate with her after a quarter-century of stats and facts. Now 33 and filled with a love of baseball, she wants know why they never connected.

    “Trouble With the Curve” is easily digestible in chunks – if it were a CBS show, it’d be called “Postseason With Morrie” — and it has an affectionate view of grubby motels, greasy diners and small-town scoreboards. Randy Brown’s script is filled with old-guy wisdom and jokes that feel like they fell from Bob Uecker’s pocket. (“What’s the state bird of New Jersey?” “That’s a trick question. There are no birds in New Jersey.”)

    It’d be more boring if the company weren’t so agreeable. Adams, the three-time Oscar nominee who’s great whether she’s being sweet (“Enchanted”), scrappy (“The Fighter”) or stoic (“Doubt,” “The Master”), seems to be having fun just letting her red hair down.

    Timberlake’s character really has no reason for being here, but the singer-actor is an affable presence and a generous performer. Like Greg Kinnear, he makes lightness an asset.

    And Eastwood, well, is Eastwood. In filmmaking, at least, he’s sure of what he’s doing. As a director, he remains challenging; merely acting in “Curve,” he knows what the crowd wants, from threats to punks to soliloquies muttered through clenched teeth.

    Even as a third-act revelation weighs the film down with an overwrought confession, the movie’s star hits the ball and trots on, no trouble at all.



    Read more: http://www.nydailynews.com/entertain...#ixzz271xZgCjq
    In theory there is no difference between theory and practice; in practice there is

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