How Clint Eastwood Made My Day
Sun Valley Idaho was a beautiful place. I’d never been there
before and was looking forward to shooting the 1990 Duchin Cup celebrity ski weekend at the snow covered mountain resort.
Several movie stars had come to this long time mountain playground for the annual event, among them Adam West, Michael Keaton and Clint Eastwood. I was about to receive a lesson there I would never forget, about
celebrity and how different people handle it.
I noticed on
the first night, at a cocktail party, Keaton had some kind of problem with
having his picture taken. Every time I turned on the camera, he turned his
back. The producer asked me to get the shots but Keaton was having none of it.
Maybe he was just having a bad week but why would he come to an event like this
if he didn’t want his picture taken? It was a celebrity ski race, after
all. Well, the looks he gave me could have killed but the rest of the stars
were great. I was careful not to crowd anyone and the guests were gracious and
outgoing. And except for Michael Keaton, the night went well.
I’ve
photographed hundreds of celebrities over the years but, without a doubt, I met
my favorite on my very first TV interview. In 1971 KTVT Channel 11 in Ft.
Worth, Texas gave me my first genuine TV news job. An independent station,
Channel 11 carried only two 15-minute newscasts 5 days a week. As you can
imagine, the staff was very small requiring each of us to take on more than one
responsibility. That’s how I became a reporter/photographer. Now you might say
that has a nice ring to it, reporter slash photographer, and I thought so too
at the time. This was a great opportunity for a young man with virtually no
experience in the news business to extend himself a bit. But there was another
factor I didn’t consider. As a reporter I was expected to wear a coat and tie,
keep my hair combed and take notes. As a photographer I was responsible for
carrying in and setting up more than 100 pounds of camera equipment before
doing the interview. As reporter/photographer, I did it all.
After a few
days of training I was sent out to do my first solo reporter/photographer
interview with a young star in town who was promoting his new movie, “Play
Misty For Me”. In 1971, Clint
Eastwood had a big following from the TV series “Rawhide” and from Sergio
Leone’s series of spaghetti westerns, “A Fistful Of Dollars”, For A Few Dollars
More” and “The Good The Bad And The Ugly” but nothing like the fame that would
come later with movies like “Dirty Harry” and “Unforgiven”.
It was a long
way from the parking lot to the hotel room where the interview was scheduled.
My coat and tie quickly wilted in the humid Texas heat as I struggled with the
sound camera, the b-roll camera, the amplifier, microphones, tripod and lights.
There was no time to make two trips. I carried it all. By the time I
got to the room I was a mess. Sweating from head to toe and loaded down with
all that gear, I must have looked like a high tech street person. I knocked on
the door expecting to see a manager or agent, but was surprised to be greeted
by Clint himself.
He glanced past
me, looking up and down the hall, for the reporter I suppose, and then turning
back to me asked, “Are you it?” “I’m it.” I said with a sigh, relieved at the
prospect of setting all that equipment down. “Well, come on in”, he said,
opening the door wider. Guessing I was
new at this, he took the lights from me and began setting them up. At the time
it didn’t seem unusual, but now, after 30 years in the business, I realize how
rare this gesture was. Stars never, I say never, help set up the gear! No
matter how late, how early, how rested or how tired...stars never set up the
gear! If the words aren’t written in their contract, they’re certainly embedded
in their soul...Talent Don’t Tote! Mr. Eastwood
was a welcome exception. Not only was he knowledgeable and helpful with the
gear, but also he made for me, what could have been a horrible first interview,
a stress free experience. I was scared to death and he knew it. I asked him
only one question, “Why are you in town?” He did all the talking from there on.
I had a 100-foot roll of film in the camera that would last 3 minutes but I
never had to ask another question. I got a great interview, and of course, help
taking down the gear. I’m sure he would have carried it to the car if I’d
asked.
About 12 years
later, while working for KUSA in Denver, I was covering a celebrity ski race in
Vail, Colorado. Clint Eastwood, now a huge box office attraction and closely
identified with his on-screen-character, Dirty Harry, was a contestant at the
event. I was shooting a lighthearted feature about the weekend when he came
through the finish line. He skied right up to me and I asked if he would say,
“Make my day.” He smiled, leaned back, and in perfect character recited his
most famous line. What a guy.
Now, back to
beautiful Sun Valley and the irrepressible Michael Keaton. Sunday, the
final day of the celebrity event, finished with a ski race. The several
celebrities in attendance had been paired up for maximum entertainment effect,
the most obvious being Adam West and Michael Keaton ... The old
against, at that time, new Batman. Assigned to the
starting gates, I’d shot several races already when the two Batmen showed up.
Adam West was nearest and the first to respond to questions on camera. West was
charming and witty. The interview was very much like what you’d see on
Entertainment Tonight. Very light with lots of references to the old Batman TV
series. Then the camera moved over to Mr. Keaton who was staring ahead rather
stoically. “And what does
the new Batman think of this match up?” asked the reporter smiling. Keaton,
without turning his head snarled, “Can’t you see, I’ve got my game face on”?
The reporter, somewhat shaken tried to laugh it off. “So you’re taking this
race pretty serious then?” Without missing
a beat Keaton turned, looking directly into the camera, and said, “Fuck off!”
There wasn’t much more to be said about that, so the reporter backed away and
they started the race, the much younger Keaton storming into the lead. I
remember staying with the shot as long as possible hoping, just hoping, he’d
catch an edge, take a header, and plunge that smug face into the snow. Shooting
that would certainly have made my day.
The last two
pairings of a long day finally moved to the starting line but there was a hold
on the course while some gates, knocked down by the previous racers, were
replaced. They had saved
the best for last. Client Eastwood and some other guy, whose name I don’t
remember, waited at the top for the course to reopen. I spoke to Clint for the
first time that weekend. “You know, I’ve shot you several times over the
years,” only a slight exaggeration, “In fact, the first was 19 years ago this
month.” I went on to tell him about our first meeting in Dallas and how much I
appreciated his help. He laughed. “Yeah, I do remember that interview but I
can’t believe it was 19 years ago. I guess we’ve all learned a lot since then.”
When Clint’s
race finally started I framed up his great smile with a low angle hero shot and
let him slide all of the way out of the picture in case his form was weak. But
I needn’t have worried. He looked great all the way through the course. As for the
other guy?…..I haven’t seen a Michael Keaton movie since.
Great story. I've always loved the way to tell a tale.
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