Cannon from The Good, the Bad and the Ugly traced to Spanish museum

Cannon from The Good, the Bad and the Ugly traced to Spanish museum

Enthusiasts track down weapon used to fell fleeing Eli Wallach amid preparations for 60th anniversary of film’s release.

Clint Eastwood in The Good, the Bad and the Ugly with the 1873 Manchester-made cannon.

Six decades after Clint Eastwood nonchalantly used a cigar to light its fuse and fell a fleeing Eli Wallach, the Manchester-made cannon that appeared in the Good, the Bad and the Ugly has been rediscovered in a museum in south-east Spain.

The artillery piece was tracked down by the Sad Hill Cultural Association, a group of volunteers dedicated to restoring the graveyard near Burgos, northern Spain, built for the climax of Sergio Leone’s seminal spaghetti western.

Below: Clint and Sergio on location with the Cannon

After coming across images of the cannon in a book on the film, the association set about trying to trace some of the weapons used in preparation for the 60th anniversary of the movie’s release later this year.

The 75mm cannon, made in Manchester by Whitworth in 1873, was one of the antique arms lent to Leone’s production team by the Spanish military. After filming it was returned to the army museum in Madrid. There it languished on outdoor display until 2010, when the museum and its collection were moved to Toledo.

A few months ago, Diego Montero, treasurer of the Sad Hill Cultural Association, visited the Toledo museum to look for the cannon. Further research led to the south-eastern Spanish city of Cartagena, where Montero discovered a group of retired soldiers had restored a 19th-century British cannon from the local military history museum.

Below: The cannon before restoration, in the military history museum in Cartagena, south-east Spain.

“A few days ago we wanted to check the photos from the book against a more detailed photo, so we wrote to the director of the Cartagena museum, and he sent us a closeup photo of the top of the cannon and of the piece’s number,” said Montero. The serial numbers matched. “The museum had no idea that they had the cannon that was used in the film. We told them that we were going to put out a press release because we knew that a lot of people would be interested – and they’d get loads of visits.”

The city council is certainly keen to use the cannon’s fame to draw more visitors. It posted on social media on Monday: “Did you know that one of cinema’s most famous cannons is in Cartagena and that you can visit it for free?”, with the post accompanied, inevitably, by Ennio Morricone’s genre-defining theme.

The museum’s director, Lt Col Ernesto Terry, said the cannon’s fame was already causing a stir. 

“We had no idea this was the cannon from the film,” he said. “It’s been crazy and I’ve been talking about it non-stop to the media and to people who have been ringing to ask me about it. It’s been madness and we’ve had a lot more visitors.”

While the Sad Hill Cultural Association would love to borrow the cannon and temporarily reinstall it in the Burgos landscape, where it last stood 60 years ago, its protected heritage status means that will not be in time for the anniversary.

“The bureaucratic procedures are very lengthy, and we don’t have time,” said Montero. “But we’ll definitely try to do something in the future. Maybe we can get hold of the piece and at least bring it to Burgos, because there’s a military museum there.”

Below: Video of the restored Cannon as it is today

Our kind thanks to Kevin Wilkinson

PALE RIDER rare bus stop 1985 poster of Eastwood by C. Michael Dudash, sells for big money!

PALE RIDER rare bus stop 1985 poster of Eastwood by C. Michael Dudash, sells for big money!

An Original Vintage Unfolded Bus Stop Movie Poster (measures 48" x 70" [122 x 178 cm]) went through the roof this week in an auction. It attracted 24 bids and peaked at a staggering $ 2,700.00.

Description: Pale Rider, the classic 1985 Clint Eastwood cowboy western ("...and hell followed with him."; "This summer a stranger will ride into town..."; a very loose remake of Shane, with a mysterious "preacher" showing up in a small western town and protecting the inhabitants from bad guys) starring Clint Eastwood, Michael Moriarty, Carrie Snodgress, Christopher Penn, Richard Dysart, Sydney Penny, Richard Kiel, Doug McGrath, and John Russell.

Overall Condition: good. There are two vertical tears in the top background area and one in the middle right background area, but they don't affect the image or printing. There is tiny paper loss in the upper left border. There are some pinholes in the borders and some creases and scuffs scattered in the poster. 

Think I’ll have to stick with my quad for now!  

WHERE EAGLES DARE at The Astor Theatre New York, March 12th, 1969.

WHERE EAGLES DARE at The Astor Theatre New York, March 12th, 1969.

The Astor Theatre, opened on September 21, 1906 with Annie Russell starring in a production of “A Midsummer Night’s Dream”. It was built and operated by producers Wagenhais and Kemper, at the corner of Broadway and W. 45th Street, seated 1,600 patrons and was considered one of Broadway’s premier venues for decades among the top actors of the era who aspired to play its stage.

Located just next to the Hotel Astor, and later surrounded by theatres like the adjoining Victoria Theatre on Broadway, and on W. 45th Street, the Morosco Theatre, Bijou Theatre and the first Helen Hayes Theatre (which opened as the Folies-Bergere, but quickly became the Fulton Theatre). The Astor Theatre was designed by George W. Keister, who decorated its interior in simple-yet-elegant Greek Revival style.

Red, gold and ivory were the original predominant colours. Outside, the five-floor building, which also contained shops and offices, was a blend of Neo-Classical and Second Empire styles, including a bronze-domed tower at the entrance at Broadway and W. 45th Street.

In 1912, Sam Harris and George M. Cohan took over the Astor Theatre, continuing legitimate fare (except for a 1913 presentation of the hit motion picture “Quo Vadis”) until 1916, when the theatre was acquired by the Shubert Bros., who would run the Astor Theatre until the Depression.

During the times when there were no legitimate bookings, motion pictures were also screened. Starting in 1925, movies replaced live entertainment on a permanent basis at the Astor Theatre, and remained so for the remainder of its existence.

By the 1940’s, the Astor Theatre was the theatre that MGM premiered its big-screen Technicolor musicals and Epic movies including Where Eagles Dare, and remained so for over a decade. The New York premiere of Warner Bros. “East of Eden” starring James Dean was also held here on March 9, 1955.

In 1959, a radical modernization of the Astor Theatre to the plans of architect John J. McNamara resulted in a dramatically stark-looking interior, with all of its original decor torn out in Favor of expanded orchestra seating. Modernistic murals on its side walls and the removal of the boxes and its set of balconies, replaced by a smaller, single balcony.

The gilded proscenium arch was removed to make way for a huge curving wall-to-wall screen. The exterior was also greatly simplified and its original facade covered by a wall of marble, and given a rather plain, boxy marquee.

The Astor Theatre was closed 54 years ago last week on May 30th, 1972 with “Hannie Caulder”. Walter Reade Theatres said it was due to maintenance problems with the air conditioning, and not long afterwards, both it and its neighbours, the Victoria Theatre, the Helen Hayes Theatre, the Bijou Theatre and Morosco Theatre, were all earmarked for demolition to be replaced with an office tower. Plans were delayed, however, and as preservationists fought for nearly a decade to keep the theatre’s standing, the Astor Theatre’s old lobby was used for retail space.

In 1982, however, despite the valiant efforts of preservation organizations, the Astor Theatre and its four neighbours were razed to construct the Marriott Marquis New York Hotel, which contains its own legitimate theatre venue.

Photo Opportunity #74: A Rookie Rarity

Photo Opportunity #74: A Rookie Rarity 

Aside from our dedicated Rookie page, The Rookie is a film that doesn’t really get a lot of coverage here on the Archive. It was, and still is a film that often draws mixed opinions. I remember first seeing it at the cinema at the start of 1991 – That same year, the global landscape was marked by a rise in international terrorist incidents, and as such, a lot of actors and actresses remained grounded while promoting their latest project, many just didn’t fancy stepping onto a jet plane and travelling. This was the case with Clint too, the film was promoted and Clint pushed the film – usually via a satellite link up from L.A. 

It’s very much a typical buddy cop movie, with Clint playing the familiar grizzled, pissed off character of Nick Pulovski – a veteran cop and Charlie Sheen as the rookie cop David Ackerman. Together they are assigned to smashing an outfit stealing high end, luxury cars. The group are led by both Raul Julia as Erich Strom and Sônia Braga as his partner Liesl. 

The film is packed with some great action sequences, some impressive stunt work and a rather embarrassing rape scene which didn’t do the film any favours. Eastwood was also criticised for casting two Hispanic actors as German characters?  There are also some moments of enjoyable light relief, but overall, it is the script (especially Sheen’s lines) that let the film down. 

The film received mostly negative reviews from critics. The Variety staff added to the general dismay with the film saying, "Overlong, sadistic and stale even by the conventions of the buddy pic genre, Clint Eastwood's The Rookie is actually Dirty Harry 5 1⁄2 since Eastwood's tough-as-nails cop Nick Pulovski could just as easily be named Harry Callahan." In fact, one does wonder if this was just another exchange film with Warner Bros, a trade off that gave Clint the green light to make the previous (and much more personal project) White Hunter, Black Heart (1990)?  

Clint followed up The Rookie with Unforgiven (1992), a film which came from the other end of the spectrum and would ironically cement Clint’s reputation as a master film director. How things can turn around in the movie business… 

Anyway, for the summer season I thought I’d post this fantastic shot of Clint from The Rookie. It was originally sourced from a 35mm transparency which was part of the Warner Bros publicity campaign, but it’s rarely seen these days. 

Celebrating Clint’s 96th Birthday

Celebrating Clint’s 96th Birthday

Aging is not merely the passage of time; it is a journey of accumulating knowledge, understanding, and perspective. Life experiences—both triumphs and challenges—shape our ability to make thoughtful decisions and offer guidance to others. Wisdom is a treasure that comes with reflection and learning, not automatically with age.

On behalf of all your fans around the world – Have a wonderful 96th Birthday Sir. 

The Clint Eastwood Archive

Rare Gator Creek Vinyl LP from 1970

Rare Gator Creek Vinyl LP from 1970

I was very lucky to spot this album for sale within the UK this week, I’ve been after it for a very long time, but they’re usually tucked away deep within the United States rather than in Coulsdon in the London Borough of Croydon. The stars were perfectly aligned - not only was it the first pressing, but also the PRC Pressing (Philips Recording Company, Inc.) The LP of course is the self-titled album by Gator Creek - (in fact, it turned out to be their only album). The group had a pretty impressive line which included future High Plains Drifter composer Dee Barton, Gene Pello, Kathy Deasy, Kenny Loggins (yes, that’s Kenny Loggins of Footloose fame), Michael Omartian, Mike Deasy and Ray Neapolitan.

I suppose it’s fair to consider that Clint first got to know Barton from this project which may have led to him scoring High Plains Drifter.

Above Gator Creek - Dee Barton is far left.

I should at this point explain why this album is so significant. The album includes a great little track called Dirty Boogie, which may not mean a lot to some fans - while others will instantly recognise it as the main theme to Play Misty for Me. 

With all my years of collecting Eastwood and his movie music, there has never been anything officially released from Play Misty for Me - which is a great shame, the soundtrack is sprinkled with some classic cuts (inc all those performances from the Monterey Jazz Festival footage), Roberta’s The First Time Ever I Saw Your Face, Misty (of course) and Dee Barton provided a pretty cool and creepy score. So, landing the main theme from Misty isn’t a bad thing at all. 

Anyway, well worth looking out for, especially if you can avoid having a copy sent over from its native America. 

Cat details: Mercury – SR-61311,Vinyl, LP, Album, Stereo, PRC Pressing U.S.A. 1970. 

Credits: Arranged By – Dee Barton

Backing Vocals – Clydie King, Merry Clayton, Venetta Fields

Baritone Saxophone – Allan Beutler

Bass – Ray Neapolitan

Drums – Gene Pello, Nick Ceroli

Flute – Allan Beutler

Guitar – Kenny Loggins, Larry Knechtel, Louie Shelton, Mike Deasy

Keyboards – Dee Barton

Percussion – Kathy Deasy

Performer – Allan Beutler, Dee Barton, Gene Pello, Kathy Deasy, Kenny Loggins, Mike O'Martin*, Mike Deasy, Ray Neapolitan

Piano – John Banister, Mike "Smackwater" O'Martin*

Producer – Bob Todd, Dee Barton

Trumpet – Chuck Findley, Louie Gasca*

Vocals – Dee Barton, Kathy Deasy, Kenny Loggins, Mike Deasy

This Record was specially made to be played loud.

          

Rare finished concept artwork for the Quad cinema poster "Play Misty for Me" (1971)

Rare finished concept artwork for the Quad cinema poster "Play Misty for Me" (1971)

As comparison with the printed Quad shows, this was the finished concept that was commissioned for illustration for the UK Quad for the first release of the film. Artist John Stockle's composition features a photo-mechanical print showing a rough drawn image of Clint Eastwood's head with a dagger shaped aperture. In the aperture is the hand-painted design which was subsequently re-painted for the Quad but the image of Clint Eastwood was carried over onto the Quad without further alteration. The Donna Mills image appears more smiley and happier in the finished version. Hand annotations indicate Stockle wanted the Quad printed with a "pea green" background. There is an acetate overlay that largely mimics the finished Quad though cast/credits information was later added. John Stockle worked alongside the artist Vic Fair & the juxtaposition of imagery in this design was clearly influenced by Fair's fondness for this device (commercial artists frequently "borrowed" & adapted ideas from each other). 

Below: With the clear acetate overlay

The artist John Stockle was particularly known for his caricature illustrations (the kind used often for British comedies in the 1950’s-60’s) but he also did some posters for Hammer (Terror of The Tongs, The Revenge of Frankenstein, Camp on Blood Island) & others like Cockleshell Heroes, Obsession, Squirm and Virgin Soldiers. In the 80’s Stockle went through a period of “black” background compositions. Stockle (1928-2000) was a commercial and film poster artist, who worked in Wardour Street, London, from the 1950 to the 1980s. He worked with fellow poster artist Brian Bysouth (b.1936) and joined the notable and prolific commercial artist Eric Pulford (1915-2005) at the top London film publicity agency Downton Pulford.

Original Clint Eastwood movie poster artwork is rare. In 2017 Heritage Auctions sold Enzo Nistri finished art for the Italian poster for "High Plains Drifter" (1973) for £7,100. This lovely piece of original artwork is approx. 15"x 22" . It’s interesting also that the acetate overlay has a slightly different tagline – ‘and his Nightmare began!’ as opposed to the finished quad version, ‘and his Nightmare begins!’

Anyway, I’m very pleased and happy to own this rare and unique piece. 

Above: The production shot from which the main artwork was based, this would also be used later on The Eiger Sanction UK artwork

Above: The finished UK quad poster for Play Misty for Me

Below: The original art in a custom 'vintage Green' Gold edged frame

Cinema Retro’s latest issue featuring an extensive feature on The Eiger Sanction

Cinema Retro’s latest issue featuring an extensive feature on The Eiger Sanction

Well, at last I can announce this great piece of news. Cinema Retro’s latest edition has a great Film-in-Focus cover story (some 10 pages) on The Eiger Sanction. This excellently compiled piece is written by Simon Lewis. I was very proud to contribute many images to this piece, including the spectacular cover photo scanned from a photo I obtained from a Film Fair back in the early 80’s. 

The article is packed with information and is well worth ordering – or even better – sign up for a subscription. 

Also featured in this latest edition: Roger Moore’s Crossplot, Dave Worrall takes a look at Cliff Richard’s Sixties Musicals The Young Ones and Summer Holiday. Lee Pfeiffer pays tribute to Brigitte Bardot and Robert Duvall. We also take a look at Robert Mitchum’s The Good Guys and the Bad Guys, as well as all the latest Books, Blu-rays and DVD releases. Not to be missed. 

For ordering and subscribing please visit the Cinema Retro website HERE

Photo Opportunity #73: Dapper Days – Clint in Incident on the Road Back

Photo Opportunity #73: Dapper Days – Clint in Incident on the Road Back

For our May Photo Opportunity I thought we’d travel back to the Rawhide years and a rare chance to feature Clint as Rowdy – rarely seen out of his usual costume attire. Clint’s dress was rather dapper in the 1961 episode “Incident on the Road Back” (aired on February 24th). 

"Incident on the Road Back" was the sixteenth episode of the third season, and features the drovers Gil Favor and his crew as they gather for the next drive. The episode is regarded as something of a slow starter, which included a lengthy discussion about hangovers, followed by slapstick comedy and a prank by Gil Favor. However, the story picks up with Gil Favor's arrest for horse stealing, leading to a series of events involving the sheriff's wife and a mysterious plot involving the $50,000 he is carrying. The episode was directed by George Templeton. The Director went on to work on 33 episodes of Rawhide and work on the Elvis Presley western movie, Charro! (1969). 

The Outlaw Josey Wales Roy Anderson Artwork

The Outlaw Josey Wales Roy Anderson Artwork

Now here’s something you don’t see every day – so rare in fact – we didn’t even have it featured on the dedicated Outlaw Josey Wales page. Rather surprisingly this somewhat unique design is actually a British poster by Roy Anderson. In terms of size, it is effectively a Three-sheet measuring up at 40.75" X 61" and was commonly used and known in the UK as a ‘Bus Shelter’ poster. 

The design features a Three tone blend, which is rarely seen. I can’t say I’m particularly fond of this design, but I’d hardly worry abut it as I doubt very much I'd ever be owning one any time soon! There is currently one up for auction which is Linen backed and has an asking price of £1,036.23 or if you prefer, $1,400.00 – I wish you luck should you decide to go after this little collectable.

Why The Lack of Extras Really Gets My Back Up

Why The Lack of Extras Really Gets My Back Up

I suppose to regular readers here, some may know that I have a long and familiar gripe - which is that of extras and bonus material (or lack of) which is completely neglected and left abandoned from so many of Eastwood’s titles on DVD and Blu-ray. To be honest, we are lucky if we are blessed with a simple trailer. But what really bothers me is the lack of effort by labels such as Warner Brothers. More often than not, there are at least a couple of different trailers made to promote a film - if you go down the route of TV spots (ads which are designed in various lengths specific for TV) there are often something like 6 or more different versions. This is evident by some of the 16mm reels I have where the entire range is often featured on one reel.

A TV spot on a blu-ray is actually a complete rarity - they just don’t appear. The likelihood is, that the said studio probably hold these in their vaults - yet it seems like a complete lack of interest or a ‘can’t be bothered’ approach towards adding these little gems to where they rightfully belong - on the disc as extras! 

To illustrate this, I recently came across a seller in the United States who had a nice 35mm print of a Bronco Billy trailer. Now I know for a fact there is a rather lame trailer for the film on the DVD and the Blu-ray. It just isn’t very good, containing silly overdubs (anyone remember the kid in the bank robbery saying ‘wow’?), plus there are some silly cartoon noises added for effect - it just cheapens the whole film. 

Anyway, I was taking a closer look at some wonderful screen captures the seller had provided - and it soon became clear that this was an entirely different trailer. Looking at the reel it was also a fairly generous length. The most apparent of these shots appears to feature Sondra Locke in full character of Antoinette Lily, who is sitting in a crew chair (cigarette holder in hand) and addressing the camera! Behind her is Billy’s Red Convertible Coupe… All of which begs the question - where the hell is this content on the disc? 

Don’t get me wrong, I'm a big fan of Bronco Billy, I think it’s a sheer delight - however, the film also has a limited fan base - a great deal of Eastwood fans just can’t get into it, and in that sense, Bronco Billy really needs as many selling points as it can gather…. While other material is left to gather dust in the Warner Archives - it is not exactly tempting fans to commit to buying it. 

The result is, material such as this is simply going to be forgotten - unless of course you can project 35mm - and for me, that simply isn’t a viable option. There is so much material linked in to Bronco Billy - the whole promotion tour in France where Clint and Sondra both took part in various interviews. I seem to remember the UK program ‘Clapperboard' which had a  special feature at the Deauville Film Festival on September 11th, 1980. The couple were actually in Deauville to present Bronco Billy. So there is a great deal of material out there, if anyone can just be bothered to do some solid legwork… I have a feeling this will be an endless gripe, until something drastically changes - although I have a feeling that any generation who would be genuinely interested would also have moved on. 

Ah C'est la vie….

End of gripe.

Photo Opportunity #72: On the set of Breezy

Photo Opportunity #72: On the set of Breezy

For our April Photo Opportunity, I’m particularly pleased to bring us something new from Breezy (1973) – as it’s a film that we seldom look back upon. Breezy is a romantic drama directed by Clint, produced by Robert Daley, and written by Jo Heims. The film starred William Holden and Kay Lenz, with Roger C. Carmel, Marj Dusay, and Joan Hotchkis in supporting roles. It is the third film directed by Clint and the first without him starring in it.

William Holden was of course a Hollywood legend who was enjoying something of a comeback, the following year in 1974 he would go on to star in The Towering Inferno and several other movies including Network (1976) and Damien Omen II (1978). 

Kay Lenz however, began her career on TV before her first starring role as Breezy (or Edith Alice "Breezy" Breezerman) to attribute her full name. Lenz was the first wife of singer-actor David Cassidy. The couple were divorced on December 28th, 1983. Lenz has continued to work steadily in both film and television ever since Breezy. 

I am grateful to our long-time friend and former owner of The Clint Eastwood Appreciation Society (the fan club formed in the UK in the 1970’s) (and were most of us formed an allegiance), Dave Turner – who found this gem of a photo. Featuring Clint, Holden and Lenz – this superb photo on set is a new one to me. I am hoping the colour is genuine – one of my major grievances these days is the out-of-control use of Ai and the bastardising of original pieces. However, I have got to say if this is a tampered photo, it is remarkably good tampered photo. Unfortunately, in this day and age – the task of deciding what is real or what is fake, is becoming harder and harder to determine. Regardless of this, the photo is simply too good to ignore and it would be a genuine crime NOT to use it here. 

Distributed by Universal Pictures, Breezy was theatrically released in Los Angeles on November 16, 1973, and in New York City on November 18, 1973. The film earned 3 nominations at the 31st Golden Globe Awards, including Most Promising Newcomer – Female for Lenz. Despite this, the film was not a commercial success.

Rare Japanese Thunderbolt & Lightfoot Poster

Rare Japanese Thunderbolt & Lightfoot Poster

I was very happy to pick up this seldom seen and alternative design B3 Japanese poster recently for Thunderbolt & Lightfoot (1974) - a UK seller friend found he had one and very kindly offered it to me - so a nice mates rate sealed the deal and I was very happy to add it to the collection. The B3 poster is a nice size and great for framing coming in at 20.5”x14.5” approx. 

What also makes this poster very special is the fact it is double sided with b/w images from the film, maps and clocks - all of which tie-in with the film's heist. A very nice piece. 

Below: The reverse of the poster

Western Character Actor Matt Clark Dies at 89

Matt Clark, Character Actor in a Barnful of Movie Westerns, Dies at 89

He appeared in ‘The Life and Times of Judge Roy Bean,’ ‘Pat Garrett and Billy the Kid,’ ‘The Outlaw Josey Wales,’ ‘Hearts of the West’ and so many other films in the genre.

Matt Clark, the familiar character actor who like sagebrush found his way into Westerns including Paul Newman’s The Life and Times of Judge Roy Bean, John Wayne’s The Cowboys and Clint Eastwood’s The Outlaw Josey Wales, has died. He was 89.

Below: Matt Clark in The Outlaw Josey Wales

Clark died Sunday in Austin, Texas, his daughter, producer Amiee Clark, told The Hollywood Reporter. He broke his back a few months ago, she said.

Clark also acted alongside Robert Redford in Sydney Pollack’s Jeremiah Johnson (1972) and Brubaker (1980) — in the latter, he portrayed Purcell, the former warden’s clerk, in one of his best known roles — and opposite Eastwood in Don Siegel’s The Beguiled (1971), The Outlaw Josey Wales (1976) and Honkytonk Man (1982) (Below).

And he did four films for director Stuart Rosenberg: Pocket Money (1972), The Laughing Policeman (1973), Brubaker and Let’s Get Harry (1986).

As a director himself, Clark helmed the 1988 feature Da (1988), starring Bernard Hughes, Martin Sheen and his onetime acting teacher, William Hickey. The film is about a New York playwright summoned to Ireland to bury his father.

Clark’s work in Westerns also included Will Penny (1967), Monte Walsh (1970), Macho Callahan (1970), The Culpepper Cattle Co. (1972), The Great Northfield Minnesota Raid (1972), Sam Peckinpaugh’s Pat Garrett and Billy the Kid (1973), Howard Zieff’s Hearts of the West (1975), Kid Vengeance (1976), The Legend of the Lone Ranger (1981) and A Million Ways to Die in the West (2014).

Below: with Robert Redford in Brubaker

“I just loved ’em!” Clark said in a 1991 interview. “Just like you always wanted to do as a little kid, you put on chaps and boots and tie on spurs that jingle when you walk.”

Clark was born in Washington on Nov. 25, 1936, and raised in Arlington, Virginia. His father, Frederick, built boats and cabinets, and his mother, Theresa, was a schoolteacher.

He spent two years in the U.S. Army and studied business administration at George Washington University before leaving to pursue acting. In New York, he studied at the HB Studio with Herbert Berghof and Hickey, joined the Living Theatre and understudied for Sheen (who would become a lifelong friend) in the original 1964-66 Broadway production of The Subject Was Roses.

Clark made his big-screen debut in Black Like Me (1964), starring James Whitmore, and played a Southern punk in the Oscar best picture winner In the Heat of the Night (1967), directed by Norman Jewison.

Below: with Burt Reynolds in White Lightning

The dependable Clark also appeared in The Bridge at Remagen (1969), Robert Aldrich’s The Grissom Gang (1971), White Lightning (1973), Emperor of the North (1973), Outlaw Blues (1977), Walter Hill’s The Driver (1978), Some Kind of Hero (1982), Country (1984), The Adventures of Buckaroo Banzai Across the 8th Dimension (1984), Return to Oz (1985), Back to the Future Part III (1990) and 42 (2013).

“He was the kind of actor that defined Hollywood filmmaking in its greatest era,” Hacks director Gary Rosen said in a statement, “the utterly unique character player who made every scene he appeared in memorable, often stealing them from stars like Rod Steiger, Robert Redford, Clint Eastwood and John Wayne.

“His roles in In the Heat of the Night, Jeremiah Johnson, The Outlaw Josey Wales, The Cowboys, Pat Garrett and Billy the Kid, among many others, helped to elevate those films to classic status. He leaves the stage, but his performances will be remembered forever.”

For television, he played the guy named Walt Bacon who works at Foxworthy Heating & Air on the first season of the ABC sitcom The Jeff Foxworthy Show, recurred on Grace Under Fire and appeared on Ben Casey, Dog and Cat, The Waltons, Magnum, P.I., The Practice, Chicago Hope and in the famed miniseries The Winds of War and Barbarians at the Gate.

“By the time I worked with Matt Clark on the film 42,” director Brian Helgeland said, “he had already been in more than 120 different productions in a career that stretched back to the early 1960s. You’d think there would be a little bit of ‘been there, done that’ in him.

“But what did I get? I got an artist who not only keenly understood his role but understood the scene he was in and where it fell in the grand scheme of the film. I got a talented performer who was more than eager to improvise and stay perfectly in character until the cameras stopped rolling. In short, I got a genuine actor. And I was lucky to have him.”

In addition to his daughter, survivors include his third wife, Sharon, whom he married in January 2000; his sons, Matthias Clark (a musician), Jason Clark (a producer on the Peacock series Ted) and Seth Clark (a film editor); grandchildren Sequoia, Dylan, Elizabeth, Miles, Emily, Izzy, Dax, Emanuel and Lucas; great-grandson Claude; and stepchildren Michelle, Joyce and Ray. He was preceded in death by another daughter, Alexandria.

“He built his own house with his own hands,” his family noted in a statement. “He kept his closest friendships for sixty years. He showed up for the work, and for his people, every time. He was complex. He was tough. He could be gruff. But the moral compass never wavered, and the love was never in doubt. You could see it — in his eyes, in his performances, in the family he loved to keep together. He lived. He lives, forever.”

RIP Sir