R.I.P. Leonard Hirshan

This weekend I was sad to learn that Clint's long time manager Leonard Hirshan had died on the 31st of January. Here's a piece by Anita Busch from Deadline, Saturday February 1st 2014.

Manager Leonard Hirshan, who represented Clint Eastwood from his days in television to his turn as a multi-Academy Award-winning filmmaker, died on January 31 at his home in Beverly Hills. The cause of death for the longtime former William Morris agent was Merkel cell carcinoma. He was 86. Hirshan was a longtime William Morris agent — he spent 50 years at the agency and at one point was head of the agency’s motion picture group. He represented Elvis with Colonel Tom Parker, Walter Matthau, Sophia Loren, Eva Marie Saint, Sammy Davis, Jr. and Edward G. Robinson. He passed away with his two daughters, Karen Hirshan and Sarah Dey Hirshan, by his side. He and Eastwood were close and have what is likely the longest business relationship in Hollywood; they celebrated birthdays together; they were there for each others’ marriages; and Hirshan celebrated Eastwood’s triumphs such as when the filmmaker won Best Picture and Best Director for Unforgiven and Million Dollar Baby and even traveled overseas to visit the set of Eastwood’s Flags Of Our Fathers. He was fiercely loyal to his clients and an extremely private person — except to speak proudly about the daughters and granddaughters he loved.

A native of New York City, Hirshan began in the mailroom of William Morris Agency’s NYC offices in April 1951 and quickly moved up the ranks to agent when be began representing then-unknown Saint. Hirshan pushed to land her a role in On The Waterfront which was her first film and earned her an Academy Award for supporting actress. In 1955, he moved to Hollywood, where he began very long-term relationships with Jack Lemmon and Matthau. Hirshan negotiated Presley’s deal for his very first feature film, Love Me Tender. In 2001, Hirshan left William Morris to form Leonard Hirshan Management where he continued to be the exclusive agent and manager of Eastwood. In meetings at William Morris, he would often say to the younger agents: “Get a piece of paper and a pencil and write this down.” He taught many agents about the business and negotiation skills. “He was a good mentor to me and the best negotiator I ever met and a true friend. Recently, we had lunch at the Soho House with (former agents) John Ptak, Bob Shapiro, Steve Kenis, Rick Nicita, and Fred Specktor,” said longtime friend Fred Westheimer, who worked with him for about 45 years at WMA. “This is a shock.”

Hirshan represented Eastwood from the 1960s from his days on Rawhide through the 1970s on films like High Plains Drifter, Dirty Harry, Magnum Force to the aforementioned Unforgiven and Million Dollar Baby and through many other films either starring or directed and produced by Eastwood like Gran Torino, and Bridges Of Madison County. Over the years, Hirshan was also involved in the representation of clients Lemmon, Angela Lansbury and Greer Garson, to name a few. In 2012, Hirshan was honored by the Talent Managers Association with the Seymour Heller Award for lifetime achievement.

Monterey Jazz Festival: 40 Legendary Years (1998) / Aron Ranen shoots documentary for Clint Eastwood.

I started tidying up some of my Eastwood files tonight (a continuous job) and discovered a nice little piece by Aron Ranen. Ranen worked as Cameraman on the 1998 documentary Monterey Jazz Festival: 40 Legendary Years. I can’t tell you when I originally discovered this piece. I often find something of interest or a nice photo and file it away – only to rediscover it years on. So expect more ‘random’ postings like this from time to time! Anyway - it’s good to include it here on the Archive for reference purposes and of course, a good excuse to post a damn nice photo! Firstly, a short piece on the documentary. 

Monterey Jazz Festival - Place Miles first on the bill. He wants those "fresh ears." And how about the time Jon Hendricks stepped on stage still jotting down the composition he was to perform? "Aren't you ready" musical director John Lewis asked. "Never" Hendricks laughed. Yet the result was perfection in progress: the legendary debut of Evolution of the Blues. And what about Ella, Louis, Dizzy, Sarah, Dave, Monk, Clark Terry, even Lady Day? They're also part of the lore that one weekend every year makes Monterey synonymous with jazz. Hosted by contemporary favourites Joshua Redman and Patrice Rushen and featuring archival performance footage plus on-camera commentary from notables (including lifetime jazz buff Clint Eastwood), this compendium of the Monterey Jazz Festival sings, swings and syncopates with joy. Director: William Harper, executive producers Clint Eastwood and Danila Koverman. 80mins. 

Cameraman Aron Ranen shoots documentary for Clint Eastwood: The dream gig! 

Just want to share with you the great experience I had this weekend as the Cameraman for Clint Eastwood's documentary on the Monterey Jazz Festival. He is a really nice man and actually showed me a lighting trick that looks beautiful. Bill Stafannaci was my audio guy; we had two mixers, three wireless mics, a Boom pole with two nice directional mics. I shot with the Panasonic SDX900. Format was DVCPRO50, frame rate 24P, and 16X9. For Lighting I used my usual Lighting items, plus a JOKER, which is a portable HMI. An HMI is a light that puts out the colour temp of roughly 4000-5600K. It acts like a piece of the sun; you use it outdoors as a fill or key light. You do not have to put Blue Gels on an HMI, they are already naturally that colour temperature. It looked great. 

Clint with Cameraman Aron Ranen

The job was a jazz lover’s dream, armed with a full access backstage pass we went from shooting Oscar Peterson and Eastwood backstage, to dress rehearsals with Dave Brubeck, working out his new original jazz piece, Cannery Row. Mr. Eastwood did a few casual interviews, and some nice moments came from these. He is truly a genuine, nice person. I feel lucky to be asked to do this for the second year in a row. Don't tell him...but I would have PAID to do this gig!

An accompanying audio collection was also released on a 3 CD set. Clint served as Executive Producer and contributed to the Liner Notes. It was released on Malpaso/Warner Bros. #46703 on September 9, 1997, Duration 3 hours 21 minutes. Here’s an original review by Scott Yanow:

This fascinating three-CD set has 28 performances (all but the Billie Holiday number were previously unreleased) taken from the Monterey Jazz Festival and programmed in chronological order. Starting with Dizzy Gillespie playing an unaccompanied version of "The Star Spangled Banner" that opened the very first festival and progressing up until the 1996 edition, there are many memorable selections. Billie Holiday is assisted by Gerry Mulligan on "Fine and Mellow." Mulligan and Art Farmer team up for an excellent version of "Blueport" that almost but not quite reaches the heights of Jeru's 1960 big-band version. Thelonious Monk is heard in 1964 playing "Straight No Chaser" with a workshop group; there are solos by his longtime tenor Charlie Rouse and altoist Buddy Collette, and a long one by trumpeter Bobby Bryant. In one of their earliest meetings, Dizzy Gillespie (still in his prime in 1973) teams up with 20-year-old trumpeter Jon Faddis on "Manteca." Count Basie's band (with trombonist Al Grey) sounds inspired on "I Needs to Be Bee'd With," as does Joe Williams, who sings the full-length version of "Goin' to Chicago." Wynton Marsalis in 1983 reinvents Thelonious Monk's "Think of One," while Sarah Vaughan sounds typically miraculous on "If You Could See Me Now." The colorful release ends with four outstanding tenor solos: Sonny Rollins on the cooking blues "Keep Hold of Yourself," Bob Berg taking a strong cadenza on "I Loves You, Porgy" with Chick Corea, Joshua Redman having a good time on "Home Fries," and Craig Handy emerging as the main voice on Herbie Hancock's "Cantaloupe Island." Recommended. 

Broadsword calling Danny Boy! T-Shirts

I just wanted to remind Eastwood fans (and film fans in general) that our "BROADSWORD CALLING DANNY BOY" T-shirts are still available to buy. The immortal line was of course made famous by Richard Burton in the epic Where Eagles Dare and have since become engraved in popular culture. 

Cinema Subtle Tees is the new T shirt line available exclusively through Cinema Retro.  The shirt itself does not feature the name of the movie, because that's part of the fun. Make instant contact with other classic and cult movie fans by sporting this cool T shirt, exclusive to Cinema Retro. If someone recognizes the quote, you'll probably have a new friend in your life!  

Our motto is, "If you have to ask what movie the line is from, you don't need the shirt!"

High quality, 100% cotton Fruit of the Loom T shirt. If they can identify the film, you've probably made a new friend. 

All shirts ship from our USA office worldwide. Price $20 (USA/Canada)/ $28 anywhere else in the world. Prices include postage. Please specify size: XXL, (50-52), XL (46-48), L (42-44), Medium (38-40)

For information on how to order and full payment details press here 

Thunderbolt and Lightfoot – The Paul Williams song - Where do I go from here

To celebrate Twilight Times forthcoming Blu Ray release of Thunderbolt and Lightfoot, I thought I’d post this piece on the film’s memorable song, Where do I go from here. The song was recorded by American singer/songwriter/actor Paul Williams and was originally released on his 1972 A&M album, Life goes on (SP-4367). The album has only ever had a CD release in Japan, making the track extremely hard to obtain. Whilst the CD is hard enough to obtain, collectors may or may not realise that the track was actually released as a 7” vinyl single (also in Japan) (AM 219 Stereo). The single’s picture sleeve contains super images and was clearly released to tie-in with the film. It has become something of a ‘Holy Grail’ piece among Eastwood fans and collectors, even tracking down pictures of the single are like finding a needle in a (huge) haystack! Nevertheless, I'm happy to say that I've had these images on file for many years – waiting for something very special to come along in order to tie in and post them.

As the Twilight Times Blu Ray includes both a commentary and an isolated score of Dee Barton’s music, this seemed like the ideal opportunity. Over the (on and off) years of researching this track, I also learnt that it was also pressed as a promotional single vinyl in Brazil. The single contained the song on both the A and B side and included the lyrics printed on the sleeve. This was pressed on the ‘Odean’ label (SDP-559) which also states it is from the film O Último Golpe, which was the release title of Thunderbolt and Lightfoot in Brazil. As I only know of this promo single, I cannot confirm if the record actually went on general sale. However, it’s a fascinating little story. 

Below: The Brazilian single Where do I go from here

Below: A nice little video made on YouTube with the Paul Williams song.

Thunderbolt and Lightfoot – Blu Ray update

A big thank you from my friend Mark Penny who has just informed me that the Thunderbolt and Lightfoot Blu Ray is now available on pre-order from Twilight Time. Price $29.95

Starring:  Clint Eastwood, Jeff Bridges, George Kennedy, Geoffrey Lewis and Gary Busey

Directed By:  Michael Cimino, Composed By:  Dee Barton. LANGUAGE: English VIDEO: 1080p High Definition / 2.35:1, AUDIO: English 1.0 DTS-HD MA, SUBTITLES: English SDH 1974 / Color, 115 MINUTES, RATED: R and REGION FREE!

Special Features: Isolated Music Track / Audio Commentary with Film Historians Lem Dobbs, Julie Kirgo, and Nick Redman / Original Theatrical Trailer Limited Edition of 3,000 Units

 

“A funny, tough-fibered crime comedy with an unobtrusive edge of drama…consistently entertaining and interesting…freshly turned in characterization and plot, amusingly ribald and neatly paced.” —The New York Times

“Hilariously vulgar…Debuting director Michael Cimino obtains superior performances from Clint Eastwood, George Kennedy, Geoffrey Lewis, and especially Jeff Bridges.” —Variety

“A crisp, well-written caper movie sporting some stunning landscapes and a fine core of performances…told in fine detail with richly developed characters.” —TV Guide

Thunderbolt and Lightfoot (1974) marked the directing début of screenwriter Michael Cimino (The Deer Hunter, Heaven’s Gate), working under the meticulous guidance of star/producer Clint Eastwood. Eastwood plays a typically laconic loner, a big-time thief in hiding who hooks up with a goofy young drifter (Jeff Bridges, giving an Oscar®-nominated performance). First attempting to escape from a couple of vengeful former partners (George Kennedy, Geoffrey Lewis), then joining forces with them to pull off a risky robbery, Eastwood and Bridges give us an ultimately touching portrait of masculine friendship. Superbly photographed in Montana’s Big Sky country by Frank Stanley, and featuring a score by Eastwood regular Dee Barton.

Big thanks to James and Nick for the Press release, and in advance for contributing the Blu Ray Discs. 
The Clint Eastwood Archive will be reviewing this title in full - so keep it tuned! 

Thunderbolt and Lightfoot – Blu Ray confusion

It was around May 2013 that rumours began circulating that Thunderbolt and Lightfoot was going to receive a Blu Ray release from the respected label, Criterion.  Some eight months on and nothing has seemed to come of it. It was originally reported that the information came from director Michael Cimino’s Twitter account. However, there are various rumours that this is in fact a fake account.  Historically, I could see how this would make a good title for Criterion – as it was Cimino’s first film. Criterion have already released Cimino’s epic Heaven’s gate (1980) on Blu Ray in November, 2012. The quality of Criterion’s Blu Ray has received a great deal of praise – which only leaves us contemplating over just how good Thunderbolt and Lightfoot might be. The only problem of course, is that Criterion’s Blu Rays are regionally locked, which means that a great deal of people would miss out on this release. But in the last few weeks, rumours have also begun to circulate (on home theatre forums) that Thunderbolt and Lightfoot is due to be released on Blu Ray in the UK?

It appears that the confusion is rife. I guess we’ll simply have to be patient and wait for someone to confirm one way or another. Mr Cimino, any clues?

The Eiger Sanction: Tragedy on the Eiger – The Death of David Knowles

I have been asked many times in the past about the death of climber David Knowles during the making of The Eiger Sanction in the summer of 1974. Here is a story I found on file. I have also included some nice candid photos I have also had on file for quite some time. Thank you to the people who were kind enough to share these on the web.  

During filming on the face of the Eiger, English Mountaineer and crew member David Knowles was killed by rock fall. Knowles had made an ascent of the North Face of the Eiger in 1970. Film maker Mike Hoover was supervising the filming on the Face of the Eiger and is credited on the Film as Climbing Advisor. Hoover told the story of the accident in the August 1975 issue of American Cinematographer.

Mike Hoover on the Eiger

‘Tuesday, August the thirteenth (1974), was cold, clear and beautiful. By 9:30 the chopper had moved all 14 of us up to the West Ridge of the Eiger. Today we would finish one of the most difficult set-ups in the picture. Not bad. By three we had finished on the face and had begun to film up on the flat area above, ascending the ropes back to the top for a sync scene where we establish that the German is a careless fool and that the Frenchman is a damaged careless fool.

Then I remembered that we didn’t get the POV of the falling fake rocks that just miss Eastwood and hit Montaigne. So I had to go back down on the face and Dave Knowles volunteered to go onto the wall with me to help, while everyone else began to fly out in the chopper. So the two of us rappelled down to our position on the wall and clipped into a group of pitons. I think we both were glad to get out onto the peaceful wall and let the others hustle all the junk back down in the chopper.

The shot was rather simple, Martin drops the foam rocks down on us and Dave bats any away that might hit the lens. Perfect, but really scary-looking through the camera as the rocks bomb down, I just can’t keep from flinching. When finished. I suggest to Dave that he go on back up while I coil the ropes, put the camera away and take out the pitons, but he says no and that he’ll stay and help so we joked and began to clean up.

He told me about working with the BBC, I think on the “Old Man of Hoy.” One day he was carrying a very expensive video camera that was turned on and he didn’t know it. So the camera was transmitting back to the control truck while he was stopping on a tiny ledge to pick some exceptionally beautiful wild flowers. The guys back in the control truck were going crazy as he put the camera down on a ledge balanced some three hundred feet above the smashing surf. We were both laughing when we heard the sound of a big rock falling from above. It sounds real close and I instantly cover and crouch into the wall as close as possible. I hide my hands so as not to lose any fingers. Feel pretty good. It smashes into the small of my back and I almost black out as a smaller shower of rocks continues. I feel a weight on top of me. I can’t move my legs, so pinch them, and am so happy to feel the pain.

Dave must be okay - but he’s on top of me—hanging upside-down—dead. He must have looked up right into it. I’m sure he never felt anything and was happy when he passed away—and it was so quick that there was no fear at all. [Producer Robert] Daley and Eastwood talked about stopping production, but what for? We all knew that serious accidents were a real possibility before we started, but on the second day? My pelvis had a small crack and all the surrounding muscles were smashed so I was out of action for about ten days.’ 

In his book, Richard Schickel Said, A wake was held, and Clint considered canceling the production. The climbers, however, urged him to go on. They knew the risks of their trade, ran them habitually and felt that moviemaking added nothing to them. For his part, Clint came around to the view that aborting the production would render Knowles’s death—not to mention all the hard and dangerous work that had preceded it—meaningless.

Above: Clint with Co-star Gregory Walcott 
Below: Clint on the cover of mountaineering magazine Alpinist: Issue 10 & 41