Clint Eastwood: budget, attori e Grande Depressione

Due interessantissimi articoli sono apparsi su Variety, per celebrare l’imminente uscita americana di Invictus, il nuovo film di Eastwood, che si annuncia come l’ennesimo trionfo di una carriera ormai leggendaria.

Nato ai tempi della Grande Depressione, Eastwood ha sempre badato a non sperperare inutilmente i sontuosi budget hollywoodiani, lavorando con la sua casa di produzione, la Malpaso, come un indipendente, lasciando quindi alla Warner Bros. la sola distribuzione delle sue opere.

“I grew up in an era when you knew the value of a buck, and I’ve never forgotten it,” he says. “My old man used to preach to me, ‘Nothing comes from nothing, no one’s going to give you anything,’ and that’s probably the best advice I’ve ever had.”

Per la gioia dei suoi produttori, Eastwood ha sempre mantenuto un regime molto rigido sul set, riassumibile in tre punti:

One, he shoots the script, unlike a lot of directors who want to keep rewriting. This was a totally white script — with none of the usual colored pages for revisions — and that was a first for me. Second, he knows exactly what he wants to get, and most of his production team have been with him for 10, 12 years, so they all know what’s expected from them. There’s no waiting for the usual lighting setups. And third, he never uses a video recorder on set.”

Questa disciplina rigorosa, naturalmente coinvolge anche le prove, il numero delle riprese e gli attori:

Eastwood, for years, has worked with the same crew, and follows a simple set of rules: Cast off the tape. Shoot the rehearsal. One take. Maybe two. Max: three. Direct only if the actors are screwing up.

Per Eastwood la scelta di un attore è già il riconoscimento del suo valore:

his helmer job is 80% done when he finishes the casting. The actor concluded that it was this director’s way of telling him, “I trust you.”Emmy Rossum found comfort in Eastwood’s standing right next to the camera in “Mystic River.” “He’s right in your eye line. There’s this communication that you have with him. It’s unlike any other films that I’ve been on,” says the actress.

“Well, I’ve been working with these guys for years,” said Eastwood. “We’re just making a movie. What’s the big deal?”

 “The script is like a river flowing. As long as the river gets to the ocean, it doesn’t matter if there are a few obstacles on the way.”

Invictus è stato terminato con una settimana in anticipo e sotto il budget preventivato in origine.

“It’s that Depression-era upbringing,” says Lorenz, who’s currently producing “Hereafter,” Eastwood’s next film, which is already shooting in London and Paris. “We’ll walk out of my office, and Clint will go back and turn out the lights.”

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