Read e-book online Conversations with Clint: Paul Nelson's Lost Interviews with PDF

By Kevin Avery

Clint Eastwood has cast a extraordinary profession as a film superstar, director, manufacturer and composer. those newly chanced on conversations with mythical journalist Paul Nelson go back us to some extent while, nonetheless appearing in different people's movies, Eastwood used to be honing his directorial craft on a chain of cheap motion pictures that he introduced in lower than price range and sooner than agenda. working principally underneath the serious radar, he made his videos rapidly and inexpensively. Few of his critics then can have expected that Eastwood the actor and director might ever be taken as heavily as he's at the present time. yet Paul Nelson did. The interviews have been performed from 1979 via 1983. Eastwood talks overtly and with out illusions approximately his early profession as an actor, outdated Hollywood, and his youth as a director, his impression and what he discovered alongside the best way as an actor—lessons that helped him turn into the director he's today.Conversations with Clint presents a clean and vibrant point of view at the lifestyles and paintings of this such a lot American of motion picture icons.

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Extra resources for Conversations with Clint: Paul Nelson's Lost Interviews with Clint Eastwood, 1979-1983

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PAUL: No, no. I was very much the average moviegoer. I didn’t know Hawks from Ford from [Alfred] Hitchcock. To me, it was who’s in it. Am I going to see a Jimmy Stewart movie or am I going to see Randolph Scott or Humphrey Bogart or James Cagney or whoever? In later years, I became more interested in films and more interested in who did them and how. As you do it yourself, you really become interested because you like to try to understand what went through the person’s mind who was instrumental in bringing it to the screen.

All fakery. ” I’m sure he probably told her that I was a bum or something. Those guys are scummy sometimes. The money wasn’t so good, I guess, if you were a contract player for the studio back then. PAUL: When I was a contract player at Universal, I made seventyfive dollars a week. I was there a year and a half. When I left there I was maybe making a hundred or something like that, but even then that wasn’t a hundred because you got forty weeks a year, then you were on layoff for the rest of the time.

Hell, the movie business is so strange anyway. You first go on interviews, and a lot of the people who are making the decision on whether you are going to work or not are people who really have no knowledge of the CLINT: C onversat i ons w i t h Cl i nt 20 business anyway. Ninety percent of them, I’d say, whom I’ve met along the way aren’t even in the business. They’ve gotten in through real estate or are salesmen or they’ve gotten in because of some deal they’ve been in. You’d go on interviews where they’d have ten guys your size and age bracket in the office.

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