Blood Work is a 2002 mystery suspense thriller produced and directed by, and starring Clint Eastwood. Eastwood stars as Terry McCaleb, an ex-detective persuaded out of retirement to catch a killer after receiving a heart transplant from one of the killer's victims. The film co-stars Jeff Daniels, Wanda De Jesus and Anjelica Huston. Eastwood won the Future Film Festival Digital Award at the Venice Film Festival. Blood Work is loosely based on the 1998 novel by the same name from Edgar Award-winning writer Michael Connelly.To View an NBC TV Spot, click below:
Blood Work 2002 Clint Eastwood Jeff Daniels Original German A1
Blood Work 2002 Colour Mounted slides x 16
Blood Work 2002 DVD Clint Eastwood in his latest starring role as an ex FBI profiler
Blood Work 2002 Japan Original full colour mini Chirashi
Blood Work 2002 4 Original German Lobby Cards 8x12 inch complete set
Blood Work 2002 Original rolled UK Quad Poster
Blood Work 2002 Rare Promotional baseball cap from the U.S
Blood Work 2002 USA Digital press kit with Production Notes Hi Res photo Disc in Folder
Other Blood Work Material from around the World:
Below: The French and Spanish 1 Sheet posters
Blood Work World Première on August 6th 2002 at the Warner Brothers Studios in Burbank
Actress Portia de Rossi arrives as a guest for the première of Clint's new drama film
Above: Clint's children Katie 14, Morgan 5, his wife Dina, Francis 9, Scott 14 and ex partner (and still close friend) Francis Fisher arriving at the world premiere
Above: Jeff Daniels, Angelica Houston, Wanda De Jesus, Paul Rodriguez and Dylan Walsh arriving at the world première
Above: Clint arriving for the world première of Blood Work
Above: Clint pictured with Barry Meyer (Chairman of Warner Brothers) and Alan Horn (President of Warner Brothers)
Above: Clint and daughters Francis 9 and Morgan 5, arriving at the world premiere
Below: Clint at the premiere of Blood Work at the Steven J. Ross Theater on the Warner Bros. Lot in 2002
An Original Australian Interview
EASTWOOD, CLINT: BLOOD WORK
NEW HEART, OLD BONES
In his latest film, Blood Work, playing an old man with a heart transplant is just an opportunity to play another character he couldn't play before, Clint Eastwood tells Jenny Cooney Carrillo. Besides, he has no choice.
Clint Eastwood directs and stars in Blood Work, a suspense thriller in which he plays retired FBI profiler Terry McCaleb, who has recently had a heart transplant. McCaleb is hired by Graciela Rivers (Wanda De Jesus) to investigate the death of her sister Gloria, who happens to have given McCaleb his heart, and he soon deducts that the killer staged the murder to look like a random robbery but may be the serial killer Terry McCaleb has been trailing for years.
Your character looks pretty old in this movie. Was this tough on your vanity?
As an actor you have two philosophies; one is that you are afraid to let go of what you once were or you are not afraid to but you have to let go anyway! I have no other choice – they don’t make enough shoe polish for my hair and they don’t have a belt sander for my face! At some point you have to say, ‘this is who I am and this is an opportunity to play roles that I couldn’t play before’. I couldn’t play that vulnerability factor 30 years ago. You just have to view it as an opportunity and not worry about it. If your ego is to the point where you always have to look like a matinee idol, it’d be over. I always thought of myself as a character actor even though some people viewed me as a leading man.
Come on, you’re not a leading man?
I just always liked character roles. I grew up with the stars of yesteryear being character actors, such as Cagney, Bogart and all the different people we admire like that.
Your character gets a heart transplant. Are you an organ donor yourself?
I don’t have that marked on my card in my wallet but it’s a good idea. I did research prior to making the movie and spoke with the head of the organ transplant division in Stanford and it’s amazing what people can do after a transplant. I thought they would be invalids but some of them can even run marathons!
How do you approach your movies? Do you have a complete vision before you start or do you have to shoot many takes to find it?
I have a vision of what I want to see and what I try to do is get the actors and everybody in a certain frame of mind. I learned it from (director) Don Siegel; he used to have a theory that a lot of times when people take twenty takes on a shot, they don’t know what they are looking for. He always felt like, why not give the actor the benefit of seeing their first impression of the script? He was always trying to get the shot on the first take and I kind of adopted that myself. I figured if you are trying for it than the actor knows you mean business. If you are not trying for it, a person knows that they can fool around for the first fifteen takes minimum. I remember on Bridges of Madison County with Meryl Streep, at the end of the picture she was asking if we could shoot the rehearsals and I said great, because I shot rehearsals a lot of times and I wasn’t sure that was what she had done in the past. But by the time the picture was over, she was asking me to do it because she liked that formula.
When you look at the type of movies that are popular today, do you think you would have achieved your success if you were starting out now?
It’s hard to tell whether the longevity of a performance is guesswork or a lot of luck. We’ve all watched movies change a lot in the last decade or two. We’ve gotten away from storytelling a lot and into a lot of razzle dazzle. Probably due to the fact that there is so much fantastic technology out there. You can put computer generated characters into movies and I’ve had to do it on Space Cowboys, where you had to pretend you were in space and couldn’t really send anyone out there! It works terrifically but sometimes the toys start running the factory and that’s what has happened now. I think people have fallen in love with the toys, in my opinion anyway, and the consciousness of the stories and the writers have been set aside as a secondary part of the production in favor of more razzle dazzle. I’m not sure if that is the demands of the audience, the MTV generation or whether its just newer directors are being raised on television and with computers and that has become the most dominant factor for them. Would Clark Gable be as popular starting today as he was when he did? I think everyone comes along at their time, whatever their time is. There is a certain amount of charisma in Clark so the answer is probably yes, but he just would have been a different person with different values and being raised in a society that has changed a lot, as I would also have to deal with.
Do you think the Western genre will ever come back again?
I couldn’t answer that. Things are cyclical and come around again. Even when I did Unforgiven in 1992, the Western was at that point. I think that the material is the important thing and I haven’t seen any really good Western material in a long time. But if somebody came up with a project that was a Western script that was unique, I suppose I would give it some serious thought. But even when I made that film Unforgiven, I thought that would probably be my last Western.
You haven’t been in another director’s film for ten years, since Line of Fire. Are you concentrating exclusively on making your own films?
That has been sort of circumstance. I can’t say that it has purposely come out that way. Another director was supposed to do Bridges of Madison County and then the studio and he had a falling out, so it kind of came back to me and I really had to think about it before I said yes, actually. I’ve been doing it a long time and my original ambition was to phase out of acting and phase into directing. When the day comes and you look up on the screen and say, ‘that’s enough of that guy’, that’ll be it. That day gets closer all the time!
When you choose the films you make, is making money or winning awards part of your motivation?
I think that I’m just interested in storytelling. It is very nice of the British Institute and other groups to give you an evening tribute or something but the main thing is you’re a story teller and you don’t put the cart before the horse and don’t think about how somebody is going to react to viewing a certain scene or else every scene you do would be tailored towards an audience reaction and then you might get yourself into trouble. Whether it makes any money for you or the studio, it’s in the eye of the beholder and you can’t prejudge that, not now and not ever but certainly not in the world we live in.
Do you ever go back and watch your classics?
Any time that I look at myself, I get somewhat embarrassed. But I think they’re nostalgic and they kind of hold up as entertainment. They weren’t meant to be serious. I ran Dirty Harry once about a year ago because my wife Dina had never seen it and all the men in the news room where she works kept telling her about how she had to see it if she married me. So we watched it on DVD and she was like, ‘Oh I get it now!’ And they had a 30th anniversary screening of Play Misty For Me recently and that was interesting seeing myself with long sideburns, a lot more hair and wearing those horrible bell-bottom pants! I kept a pair in my closet in case of a costume party!
Do you spend a lot of time with your family these days?
I try to spend as much time with all of them as I can, which is why I am not making as many movies anymore. In fact, it is one of my daughter’s birthdays today so I will go over and have lunch with her as soon as I’m done talking to you. I got her a nice saddle for her pony. Frannie is nine years old. So we’re a great family; we come from a lot of different directions but everybody loves each other and this is the greatest enjoyment that I could possibly have, watching these children grow up.
Published November 14, 2002