Clint Eastwood
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Gardner, Paul. “Siegel at 59: Director, Rebel, Star.” The New York Times, May 31, 1973.
Gates, Henry Louis Jr. “Annals of Race: Thirteen Ways of Looking at a Black Man.” The New Yorker, October 23, 1995.
Gentry, Ric. “Clint Eastwood.” Us, January 26, 1987.
Giddins, Gary. “Clint Eastwood Shoots Us the Bird.” Esquire, October 1988.
Goldstein, Patrick. “Hey, Crime Does Pay.” Los Angeles Times Calendar, October 18, 1995.
Grant, Hank. “On the Air.” The Hollywood Reporter, July 7, 1961.
Gratz, Roberta Brandes. “Clint Hitches His Wagon to a Song.” New York Post, October 26, 1969.
Grenier, Richard. “Clint Eastwood Goes PC.” Commentary, March 1994.
———. “The World’s Favorite Movie Star.” Commentary, April 1994.
Greenspun, Roger. “Screen: ‘Two Mules for Sister Sara.’ ” The New York Times, June 25, 1970.
Guerin, Ann. “Clint Eastwood as Mr. Warmth.” Show, February 1970.
Hamill, Pete. “Leone: I’m a Hunter by Nature, Not a Prey.” American Film, June 1984.
Hampton, Howard. “Sympathy for the Devil.” Film Comment, November–December 1993.
Hano, Arnold. “How to Revive a Dead Horse.” TV Guide, October 2, 1965.
Harmetz, Aljean. “The Man with No Name Is a Big Name Now” The New York Times, August 10, 1969.
“Hawk,” “Per un Pugno di Dollari.” Variety, November 18, 1964.
Higham, Charles. “Suddenly, Don Siegel’s High Camp-us.” The New York Times, July 25, 1972.
Hobson, Dick. “Who Watches What.” TV Guide, July 27, 1968.
Hoover, Mike. “Man against Mountain and Vice Versa during the Filming of ‘The Eiger Sanction.’ ” American Cinematographer, August 1975.
Howell, Georgina. “Clint.” Vogue, February 1993.
Humphrey, Hal. “If Rawhide Fails, He’s Big in Europe.” Los Angeles Times, September 16, 1965.
“Is Forrest Carter Really Asa Carter?” The New York Times, July 26, 1976.
Jameson, Richard. “Deserve’s Got Nothin’ to Do with It.” Film Comment, September-October 1992.
———. “Pale Rider.” The Weekly
(Seattle), February 12, 1986.
———. “Something to Do with Death.” Film Comment, March-April 1973.
Jucaud, Dany. “Clint Eastwood: L’amour, Ce N’Est Pas’ une Question d’Age.” Trans. Robert Lloyd. Paris-Match, September 21, 1995.
Kaufman, Ben. “UA Generating B.O. Excitement with Clint Eastwood Oaters.” Hollywood Reporter, January 23, 1967.
Kehr, Dave. “Eastwood’s Skillful Creation ‘Bird’ Is Rare Indeed.” Chicago Tribune, October 14, 1988.
Kider, R. Allen. “Dirty Clint.” Good Times, December 1977.
Knight, Arthur. “The Interview: Clint Eastwood.” Playboy, February 1978.
Knode, Helen. “Clint Eastwood: Always Lighting Out for New Territories.” L.A. Weekly, January 11, 1991.
———. “This Is Your Life.” L.A. Weekly, November 4, 1988.
Kroll, Jack. “Clint Makes Bird Sing.” Newsweek, October 31, 1985.
———. “Erb-Man.” Newsweek, September 13, 1976.
Leaf, Earl. “The Way They Were: Clint Eastwood.” Rona Barrett’s Hollywood [circa 1972].
Love, John. “Clint Eastwood: A Sexy Legend at 50.” Cosmopolitan, July 1980.
Lubenow, Gerald. “Rebel in My Soul.” Newsweek, July 22, 1985.
McCooey, Meriel. “A Faceful of Dollars.” Sunday Times Magazine (London), August 17, 1969.
McGilligan, Pat. “Clint Eastwood.” Focus on Film, Summer-Autumn 1976.
McWhorter, Diane. “Little Tree, Big Lies.” People, October 28, 1991.
Mailer, Norman. “All the Pirates and People.” Parade, October 23, 1983.
Malcolm, Derek. “Giving Good Clint.” The Guardian (London), September 1, 1995.
———. “Huston’s Hexes.” The Guardian (London), May 14, 1990.
Maslin, Janet. “Film View: Three Big Stars Taking Big Chances.” The New York Times, July 6, 1980.
———. “Good and Evil in a More Innocent Age.” The New York Times, September 14, 1994.
———. “Make His Day? Museum Does That for Eastwood.” The New York Times, October 27, 1993.
Mathews, Jack. “Eastwood.” USA Today, August 13–17, 1984.
Mazzocco, Robert. “The Supply-Side Star.” The New York Review of Books, April 1, 1982.
Medved, Michael. “It’s a PC, PC ‘World.’ ” New York Post, November 24, 1993.
Murphy, Kathleen. “The Good, the Bad & the Ugly: Clint Eastwood as Romantic Hero.” Film Comment, May–June 1996.
Murphy, Mary. “Actress Who Grew into Role.” Los Angeles Times, February 18, 1974.
Oppenheimer, Peer J. “They Call Her ‘The Beautiful Fake.’ ” Family Weekly, November 24, 1968.
Patterson, Eric. “Every Which Way but Lucid: The Critique of Authority in Clint Eastwood’s Police Movies.” Journal of Popular Film and Television, Fall 1982.
Plunket, Robert. “Zing Went the G–Strings of My Heart.” The New York Times Book Review, February 5, 1995.
“Portrait of a Mean B.O. Winner.” Variety, September 15, 1976.
Puig, Claudia. “In the Matter of Locke vs. Eastwood.” Los Angeles Times, May 8, 1989.
Reisfeld, Ben. “No One Got Hurt.” Los Angeles Times, September 14, 1969.
Rickey, Carrie. “In Like Clint.” Fame, November 1988.
Robbe, Terri Lee. “Life Without Clint.” Us, February 16, 1982.
Rosen, Marjorie. “Dirty Harry Meets His Better Half.” Ms., March 1977.
Sarris, Andrew. “Films in Focus: Cold Wars and Cold Futures.” Village Voice, July 6, 1982.
———. “The Pro.” Film Comment, September-October 1991.
Schickel, Richard. “Clint on the Back Nine,” Film Comment, May-June 1996.
———. “Good Ole Burt; Cool-Eyed Clint.” Time, January 9, 1978.
“Self-Made Man.” People, September 6, 1976.
Shales, Tom. “Eastwood Star: Risen.” Washington Post, April 24, 1973.
Sheehan, Harry. “Scraps of Hope: Clint Eastwood and the Western.” Film Comment, September-October 1992.
Siskel, Gene. “Clint Eastwood: Long Overdue Respect Makes His Year.” Chicago Tribune, June 9, 1985.
———. “Hype Casting Cowan Knows How to Keep the Stars Shining.” Chicago Tribune, June 4, 1989.
Spetalnik, Matt. “Clint for President.” Toronto Star, July 9, 1993.
———. “Dirty Harry in Tears?” The Reuters Library Report, July 7, 1993. Stein, Mark. “Campaigning with Clint.” Los Angeles Times Magazine, March 30, 1986.
Stempel, Tom. “Let’s Hear It for Eastwood’s ‘Strong’ Women.” Los Angeles Times Calendar, March 11, 1984.
“That Self-Sufficient Thing.” Time, December 12, 1971.
“This Cowboy Feels He’s Got It Made.” TV Guide, February 4, 1961.
Thomas, Bob. “Fleming Moseys along to Movies.” Los Angeles Times, September 3, 1965.
Thompson, Anne. “Eastwood’s World.” Entertainment Weekly, December 10, 1993.
Thompson, Richard, and Tim Hunter. “Clint Eastwood, Auteur.” Film Comment, January–February 1978.
Thomson, David. “Cop on a Hot ‘Tightrope’.” Film Comment, September–October 1984.
———. “Forgiven.” The Independent (London), August 22, 1993.
“TV Notes: At Home with Clint Eastwood.” New York Daily News Sunday Magazine, May 22, 1960.
“Tyne Daly Gets Her Gun.…” People, January 31, 1977.
Vallely, Jean. “Pumping Gold with Clint Eastwood, Hollywood’s Richest Actor.” Esquire, March 14, 1978.
Vinocur, John. “Clint Eastwood, Seriously.” The New York Times Magazine, February 24, 1985.
Warga, Wayne. “Anything for Art in ‘Mules for Sister Sara,’ ” Los Angeles Times, April 6, 1969.
———. “Cli
nt Eastwood: He Drifted into Stardom.” Los Angeles Times, June 22, 1969.
———. “Eastwood a Pussycat behind the Camera.” Los Angeles Times, January 2, 1973.
Weinraub, Bernard. “Clint Eastwood, Back on the Side of the Law.” The New York Times, December 7, 1992.
———. “Even Cowboys Get Their Due.” GQ, April 1993.
Willman, Chris. “Celluloid Heroes.” Los Angeles Times Calendar, March 26, 1995.
Wilmington, Michael. “Westerns Return on a ‘Pale Rider.’ ” Los Angeles Times, June 28, 1985.
Witteman, Paul. “No More Baby Kissing.” Time, April 6, 1987.
Wolcott, James. “Is That a Gun in Your Pocket?” Vanity Fair, July 1985.
———. “On Television: The Dennis Menace.” The New Yorker, June 11, 1994.
MISCELLANEOUS
“The Barbara Walters Special,” ABC Television, June 15, 1982.
Chernus, Sonia, to Clint Eastwood. Memorandum, January 5, 1984.
Coleman, Todd. “Clint’s Women.” Unpublished article, January 31, 1996.
———. “Gradual Impact: A Hero’s Journey.” Unpublished article, January 31, 1996.
Eastwood, Clint, and Richard Schickel, “Director’s Dialogue,” presentation at Walker Arts Center, Minneapolis, September 5, 1990.
———. “The Guardian Lecture.” British Film Institute, January 13, 1985.
Henry, Michael. “Clint Eastwood on ‘Pale Rider.’ ” Interview included in Cannes Press Kit, April 1, 1995.
“The Merv Griffin Show.” No. 2725, taped July 1, 1982.
Universal-International internal memoranda, June–October 1954, Clint Eastwood papers.
ACKNOWLEDGMENTS
Yes, writing is sometimes a lonely job. But writing the biography of a living subject is, perhaps, the most communal activity a writer can find, and I have been sustained in the making of this one by an extraordinarily supportive and responsive group of people who provided me with the information and insights on which it is based.
My first and most obvious debt of gratitude is to Clint Eastwood. For something over three years he has given unstintingly of his time and his memories and, often enough, helped me to gain access to others who could supplement his recollections. I thank him for that, of course. But I thank him more profoundly for the pleasure of his company, both when the tape recorder was on and when it was not. He is a man at once forthright and discreet, and I hope this book, over which he has exercised no control (except to check quotations), reflects those qualities as well as some of the others he has demonstrated to me—good humor, patience, quizzicality and a passion for the medium in which he most truly expresses himself. I am grateful that he trusted me with his “life” and hope that I have in no way betrayed that trust.
A second debt, at least as large, is less obvious. It is to my associate, Doug Freeman. In our television ventures his title is “coproducer,” and that credit applies equally to this book. He is largely responsible for researching its printed sources, for assuring the accuracy of its annotations, bibliography and filmography, for transcribing my interviews and for undertaking, with unfailing energy and good cheer, dozens of other editorial tasks. More than that, he has been my reliable sounding board, trusted first reader and indispensable colleague on a journey far longer and in some ways more arduous than we imagined it would be. Without him, this book would be much the poorer—and much later in its delivery.
Which brings me—and it—to Jonathan Segal. The conventional wisdom these days is that editors no longer edit. Jon does—with grace, tact and passion. I’d rather argue with him than agree with anyone else in publishing and this book has been immeasurably improved by his deftness and devotion.
I must also thank a rather long list of individuals who have granted me interviews. Their contributions to this book go far beyond the direct quotations attributed to them in the text, for they enhanced my understanding of my subject in subtextual ways as well. They are Marco Barla, Richard Benjamin, Verna Bloom, Henry Bumstead, John Calley, Michael Cimino, Kevin Costner, Joel Cox, Robert Daley, Robert Daly, Robert Donner, Dina Ruiz Eastwood, Michael Eisner, James Fargo, Frances Fisher, Morgan Freeman, Jack Green, Gene Hackman, Brett Halsey, Richard Harris, Leonard Hirshan, Hal Holbrook, Joe Hyams, Don Kincade, Jack Kosslyn, the late Arthur Lubin, A. C. Lyles, Fritz Manes, Lloyd Nelson, Lennie Niehaus, Eileen Padberg, Wolfgang Petersen, Carl Pingitore, Ted Post, Barry Reardon, Del Reisman, Bruce Ricker, Pierre Rissient, Saul Rubinek, Terry Semel, Tom Shaw, Alain Silver, Tom Stern, Meryl Streep, Richard Tuggle, David Valdes, Buddy Van Horn, Eli Wallach, Jessica Walter, the late Frank Wells, Ruth Wood.
Joe Hyams, besides being the first person to suggest this book to me, has been helpful in more ways than I can count in easing the path to its completion. My old friend Eric Lax is the person who generously seconded Joe’s motion, and by so doing got me going. Tom and Melissa Rooker of the Malpaso staff and Marco Barla, Clint’s longtime unit publicist, have helped in more ways than they can possibly know, not least by their unfailing patience in the face of my endless requests for assistance. Harry Bernstein and others at Starwave, which produced a CD-ROM about Clint, to which I was a consultant, were extraordinarily generous in sharing material they gathered for that project. Bruce Jenkins, director of film and video at the Walker Art Center in Minneapolis, very kindly provided me with a transcript of the public dialogue Clint and I conducted at that most welcoming institution in September 1990. Jonathan Rosenthal of the Museum of Television and Radio provided me with an invaluable filmography of Clint’s early TV work, Todd Coleman allowed me to see, and granted me permission to quote from, some excellent unpublished articles about Clint. As is so often the case, my friends Christopher Porterfield, Richard Jameson and Elliot Ravetz guided me to material I would not otherwise have found. Two executive assistants, Gail Alderete at Warner Bros. and Ida Giragossian at Knopf, were unfailingly kind, patient and helpful to an often harried author.
Finally, I wish to thank Barbara Isenberg, whose love, patience, understanding, good humor and common sense have sustained me through the many months when she was obliged to share my attentions with this book. My gratitude to her is unbounded and therefore inexpressible except in this most inadequate of ways.
Richard Schickel
June 25, 1996