ESQ: Your characters have become touchstones in the culture, whether it’s Reagan invoking “Make my day” or now Trump … I swear he’s even practiced your scowl.
“…when I did Gran Torino, even my associate said, ‘This is a really good script, but it’s politically incorrect.’ And I said, ‘Good. Let me read it tonight.’ The next morning, I came in and I threw it on his desk and I said, ‘We’re starting this immediately.'”
CE: Maybe. But he’s onto something, because secretly everybody’s getting tired of political correctness, kissing up. That’s the kiss-ass generation we’re in right now. We’re really in a pussy generation. Everybody’s walking on eggshells. We see people accusing people of being racist and all kinds of stuff. When I grew up, those things weren’t called racist. And then when I did Gran Torino, even my associate said, “This is a really good script, but it’s politically incorrect.” And I said, “Good. Let me read it tonight.” The next morning, I came in and I threw it on his desk and I said, “We’re starting this immediately.”
“I haven’t talked to Trump. I haven’t talked to anybody….He’s said a lot of dumb things. So have all of them. Both sides. But everybody—the press and everybody’s going, ‘Oh, well, that’s racist,’ and they’re making a big hoodoo out of it. Just fucking get over it. It’s a sad time in history.”
ESQ: What is the “pussy generation”?
CE: All these people that say, “Oh, you can’t do that, and you can’t do this, and you can’t say that.” I guess it’s just the times.
ESQ: What do you think Trump is onto?
CE: What Trump is onto is he’s just saying what’s on his mind. And sometimes it’s not so good. And sometimes it’s … I mean, I can understand where he’s coming from, but I don’t always agree with it.
ESQ: So you’re not endorsing him? Read the rest of this entry »
Like many movie goers I prefer to avoiding reading detailed reviews of movies before I see them, then enjoy reading a series of them right after. With the controversy surrounding American Sniper, it’s almost impossible to avoid exposure to what’s being said and written (and we’ve covered plenty of that controversy in the last few weeks) so it made even more of a challenge to stay away from reviews until I had an opportunity to see it myself.
A few hours ago, I finally saw American Sniper. I’ve only read a few reviews so far–and I plan add some of our own commentary soon–but this New Yorker review immediately struck me, because I prejudged the source. Admittedly unfair, but I don’t see the island of Manhattan as a place to expect anything but veiled score for Clint Eastwood, dislike of war films in general, and snarling distaste for this movie in particular. I’m happy to be completely wrong. Though it’s a short capsule double-movie review, given second-billing to Selma, all due credit to New Yorker film critic David Denby, for a positive, respectful, and insightful review of American Sniper.
Denby‘s first sentence nails it:
“Clint Eastwood’s ‘American Sniper‘ is both a devastating war movie and a devastating antiwar movie, a subdued celebration of a warrior’s skill and a sorrowful lament over his alienation and misery.”
The following comment is one of the most admiring things a critic can say about a filmmaker:
“Eastwood’s command of this material makes most directors look like beginners. As Kyle and his men ride through rubble-strewn Iraqi cities, smash down doors, and race up and down stairways, the camera records what it needs to fully dramatize a given event, and nothing more.”
And this characterization of Eastwood’s skill and talent as a director is perfectly summarized:
“There’s no waste, never a moment’s loss of concentration, definition, or speed. The general atmosphere of the cities, and the scattered life of the streets, gets packed into the action…” Read the rest of this entry »