Dead Technology or How we came to love Clint Eastwood on Super 8mm and then the humble VHS video cassette…

I recently read a feature by Robert Vaux on the internet. As I was planning to start a dedicated page on Clint Eastwood home video movies, I felt it served perfectly as a great introduction. It explains in simple terms, how the video cassette came to be such a phenomenon. For the younger generation it probably seems like something from the ark, but unless you were around in 1979-80, I can’t possibly begin to tell you how it changed our lives. As a kid growing up in the fabulous 70s, and a manic film fan from such an early age, I had to rely upon a brief film excerpt (in b/w and silent) on a 200ft spool that provided me with a breath-taking 9 minutes of flickering imagery. I’m referring of course to the Super 8mm film format. Trying to ignore the loud clattering sound that emanated from my projector, I was nevertheless transported to the private world of my own Cinema Paradiso.

Below: A Super 8mm cut down or digest version of Clint's High Plains Drifter, at the time, the only way to watch Clint at home.

In 1980 and at the age of 16, life was about to change with the introduction of the VHS and Betamax home video cassettes. For the first time, I was able to tape from a television, a WHOLE movie, in colour and with sound… The revolution had just begun!  

Below: The Ferguson 3V23, at the time, the most advanced (and first) front loading VHS Recorder on the market. I was reading an article on Michael Crawford in a magazine and spotted it in the background of a photo of his apartment. On checking it out, it came at a cost (£699). But I was serious about film and simply had to have it, even if it took me two years to pay off...

It was certainly a beautiful machine and lowering the front flap revealed an array of buttons including Dolby Noise Reduction. Unfortunately, it had a nasty habit of chewing up tape when the cassette was ejected? It also weighed a bloody ton!

Before revisiting the era in which we could (for the first time) actually buy and own  a Clint Eastwood library, here is that article from Robert Vaux:

VHS tapes have now largely gone the way of the dodo bird, but in their time, they were one of the most dominant forms of home entertainment in history. More than that, they engineered large-scale changes in America's social fabric, creating the notion of the neighbourhood video store and the concept of watching movies at home instead of in the theatres. Later formats such as DVD and Blu-ray utilized superior technology to vanquish the VHS, but they owe a huge debt to the path it helped pave.

Origins: VHS (or "Video Home System") tapes were a creation of the JVC Corporation, which developed them from a number of earlier video tape formats. Video cassette recorders had been around since 1956, but they were often very expensive and not widely available for commercial use. That changed in the 1970s, as the technology become cheap enough to offer to consumers. The VHS tape and VCR recorder were introduced in 1975, with a two-hour running time on most cassettes.

Fighting Betamax: VHS's biggest competitor in the early days was Betamax, a rival format developed by Sony. Betamax tapes had sharper resolution but could not run as long as VHS tapes. Furthermore, JVC was much looser with its licensing, allowing VHS to spread more rapidly than Betamax. By the early 1980s, VHS was outselling Betamax nearly 3 to 1, and it remained on top until Sony finally abandoned the Betamax format in 1988.

Uses: VHS tapes were popular because they allowed consumers to tape TV shows for later viewing. Before the arrival of the format, people needed to be at home in front of their TVs when a given show came on, and had to wait for the commercials before using the bathroom.

Movie Battles and Alliances: In the early days of the VHS, movie studios viewed the technology as a threat: enabling viewers to copy and keep films while skirting existing copyright laws. In 1981, however, the Supreme Court ruled that VHS VCRs were permitted for private use, and that the studios couldn't curtail the technology. It ultimately proved a boon for studios. By marketing movies in their library--either as movie rentals at the video store or for direct purchase by consumers--they opened up an entirely new form of revenue.

Slow Decline: VHS held sway over its domain for nearly two decades--an eternity by contemporary standards. DVDs finally rose to vanquish the format in the late 1990s. They provided a sharper picture than VHS tapes, they lasted longer because they lacked moving parts and their storage space allowed them to include extra features such as behind-the-scenes documentaries on their discs. (Earlier formats such as laser discs offered similar advantages, but they were much more expensive than DVDs.) As of 2009, no VHS manufacturers are still in business in the United States, lowering the curtain on the first act in the home video revolution.

Above: A very rare Video Sleeve from Norway, A Fistful of Dollars, date unknown.

Below: A Fistful of Dollars Netherlands, Video Film Express Concorde Video 911183, 1992

Above: Magnetic Video's opening Logo

20th Century Fox Home Entertainment is the home entertainment division of 20th Century Fox when it was formed from Fox's acquisition of Magnetic Video Corporation, which had been distributing Fox titles on video. It was first known as "20th Century-Fox Video". In 1982, Fox teamed up with CBS to form "CBS/Fox Video", also launching two sub-labels; "Key Video" and "Playhouse Video", which both became inactive in 1991. CBS/Fox became "Fox Video" the same year, alternating with the CBS/Fox name until 1998, when Fox Entertainment Group acquired CBS's interest in CBS/Fox and was renamed under its current name as "20th Century Fox Home Entertainment" in 1995, alternating with the Fox Video name until 1998. Magnetic Video Corporation, a home video/audio duplication service established in 1968 by Andre Blay and based in Farmington Hills, Michigan. It was the first company to release theatrical motion pictures to home video for consumers in 1976, making special deals with companies including United Artists. In 1978 Fox purchased Magnetic Video from Blay, reincorporating it as "20th Century-Fox Video" in 1981. The earliest 20th Century Fox Video releases which included A Fistful of Dollars used the Magnetic Video logo. Probably because they were produced just before the disestablishment.

Below: A Fistful of Dollars, Fox Video (8710224) released in 1982 Farmington Hills Michigan. Twentieth Century-Fox Video (formerly Magnetic Video). The slip case box sleeve used the original U/A poster artwork.

 

 

Two Mules: Some great rare photos

Out of all of Clint's movies from the 1970s, Two Mules For Sister Sara has been one film that has provided a great deal of behind-the-scenes or production shots. Just recently I have discovered a few new additions, and rather than just adding them to the dedicated "Two Mules for Sister Sara" page (where they may not be seen for a while unless the page is visited) I also decided to post them here as a temp new post. These great shots are rarely seen.

Above: A wonderful shot captures Clint passing the trailer of Shirley MacLaine who seems to be lost in her drink.

Above: Clint, Shirley and Don look over and revise the script.

Below: A nice close up of Clint and Shirley, who seem to have found something to smile about. 

Below: On Location during a break in filming Clint and Shirley seek some shade from the sun.

Below: A nice colour shot of Clint and Don during location filming.

Intrada continue to release Classic Eastwood scores.

I can't understand how some 5 months have passed since I last posted, where does the time go. I hope everyone who visits here had a great Christmas and peaceful new year. Sadly, it seems Clint's latest movie, Trouble with the Curve failed to ignite the box office both here in the UK or in deed the U.S. I did finally get around to seeing it, and thought it was entertaining enough, but I'm not going to dwell or deliberate over it right now, but instead will probably return to it in due course within its dedicated area of this site.

What has been very encouraging is the continuing commitment to some great soundtrack releases from Intrada. I would of liked to have told you all about these in advance, but there was a slight conflict in that I was assisting in a couple of these releases and therefore had to remain silent until they were officially made available.

Over the last few months Intrada have released a fistful of very welcome Eastwood soundtracks, all of which received their debut releases. Firstly, it was wonderful to see one of my personal favourites, Coogan’s Bluff (1969) (Intrada Special Collection Volume 223) finally receive an official release. For decades it was only available on a very poor sounding bootleg LP that contained less than 10 minutes of music. Intrada has provided a fully restored CD which contains the full score as well as the memorable song ‘Pigeon-Toed Orange Peel’, unused versions of the main title, unused source cues and 3 tracks featuring Schifrin’s music from the film’s radio spots. The CD provides almost 57 minutes of music and contains an excellent booklet featuring detailed notes and colour stills.

The John Sturges western Joe Kidd (1972) (Intrada Special Collection Volume 234) featured Clint in the title role, whilst the soundtrack offers one of composer Lalo Schifrin’s most exciting and evocative scores. Joe Kidd is a former bounty hunter in the American Southwest. When a band of Mexicans (lead by John Saxon as Louis Chama) find their U. S. land claims denied and all relevant records destroyed in a courthouse fire, they are forced into conflict. Schifrin’s music provides an array of varied cues and often featuring Spanish-tinged motifs. The main title in particular, is a rather delicate piece, but don’t be fooled, the music soon grows in strength as the score advances and results in plenty of action cues, all of which are delivered in signature Schifrin style.

Intrada presents the complete score from pristine condition multi-track stereo session elements courtesy of Universal Pictures. Highly informative liner notes by Schifrin authority Nick Redman plus reversible covers containing original Universal/Malpaso art from both America and Europe complete the exciting package. On a personal level, and having assisted art director Joe Sikoryak on this project, it is particularly rewarding to see Schifrin’s long overdue score finally see the light of day.

Also released for the first time is Jerry Fielding’s score to the Clint Eastwood/Don Siegel collaboration Escape from Alcatraz (1979) (Intrada Special Collection Volume 236). Confined spaces, cold conditions and containment were reoccurring themes that inspired composer Fielding to explore 'musique concrete' techniques. As Fielding suggested, ‘There's nothing lyrical about it; there's nothing poetic about it. It's an awful place’. First performed by orchestra, Fielding’s intense music was then reshaped in a variety of styles during the mixing process to produce an unorthodox sound. The result was uniquely original and highly unusual for a feature film. The complete score appears alongside alternative and unused cues. Due to the rare nature of score, (much of it was created mechanically in the studio after recording), finished mixes in varying stages of mono, multiple mono and stereo are necessarily the only elements that can be presented. They have been expertly mixed here into two-channel stereo by Chris Malone to afford optimal listening pleasure and the result is well worth a listen. Intrada were kind enough to also include a further score from a Siegel’s film, Hell is for Heroes (1962). Starring Steve McQueen, Bobby Darin and James Coburn, the film is a stark World War II drama. Composed by Leonard Rosenman, the score is an exciting (if rather too brief) excursion into the psychology of men in war. Its inclusion makes for a fabulous bonus.

High Plains Drifter Soundtrack finally released!

It's been a long time comin', but I was overjoyed to learn that Dee Barton's fabulous score for Clint's 1973 film High Plains Drifter has finally been released. We can only hope that Barton's scores for Play Misty For Me and Thunderbolt and Lightfoot may soon follow. Intrada have released High Plains Drifter to coincide with Universal's 100th Birthday celebrations. It was with Universal that Clint also made Play Misty For Me, so I'm tentatively hopeful that Misty may one day emerge on the silver platter. Thunderbolt and Lightfoot was released through United Artists, so I'm not sure who currently holds the rights to Barton's score. 

Above: Intrada's 24 page booklet has a choice of cover art.

Here's the official information from Intrada.

Label: Intrada Special Collection Volume 217

Date: 1973
Tracks: 27
Time = 54:27

At long last! World premiere of complex, highly original score for justifiably famous Clint Eastwood western with director as star. Dee Barton scores with unusually strong minor key main theme in western garb, then heads into Lago (the town) with much more under his saddle! Complex, experimental ideas play on strings, guitars, harmonica, percussion, early synths, electric bass, voice... an array of tense, dissonant colors! But there's much more than what has been known up to now: Universal's multi-track scoring session masters revealed numerous orchestral cues in traditional western guise that filmmakers dropped in favor of vivid experimental cues. New ideas like "Dummy Wagon" bring broad, expansive themes into play, action cues such as "Gunfight", "Shooting Stacy" offer intense brass figures amongst chaotic strings, even a sturdy vocal version of main theme with orchestra adds color, all of these being heard for first time ever, illuminating fact that composer intended much longer score than what (admittedly effective) amount remains in finished production. Dee Barton (famed composer/arranger for Stan Kenton as well as uncredited composer on several Dirty Harry films and composer of Eastwood's first directing effort: Play Misty For Me) writes with requisite nod to Morricone in use of rhythm, short motifs to punctuate script lines, so forth, but then takes off in his own direction with extremely challenging music - amongst western genre's most unorthodox ever. Intrada presentation offers every cue recorded by Barton, mixed into dynamic stereo from mint condition complete three-channel scoring session masters. Flipper cover offers dramatic shot of star under "Universal 100th Anniversary" banner on one side, exciting original poster campaign on the other. Take your pick! Dee Barton conducts. Intrada Special Collection release available while quantities and interest remain!

My Thoughts:

The Audio quality of Intrada's release is quite superb. The music retains a crisp clarity that seems to defy its 40 year age. Joe Sikoryak (who I have had the great pleasure of working with) has again provided an excellent booklet with an attractive layout. Sadly, there isn't a great deal of rare or unusual photos within the booklet. Instead, the regular, much repeated pictures are used to accompany the first rate (and highly detailed) liner notes provided by Douglass Fake.

Whilst I would never claim to be an expert on the use of illustrative material, I have spoken to many fans over the course of many years, and for them, it remains something of a grievance. However, I am also aware that some studios have, on occasions, offered a relatively small amount of stills to support projects such as soundtrack releases. It appears to be something of a red tape area, which I have increasingly found hard to accept. In addition, I also believe that 'fans' or 'collectors' sometimes own more photos or relevant illustrative material than the actual studios! The result of which, often leads to a feeling of genuine frustration. From a fans perspective, it is often summarised as a 'wasted opportunity' or a missed chance to 'make it something special'. Projects such as soundtrack releases are rarely privileged a second outing, and it is for that reason, that fans and collectors alike, rely upon it emerging at its very best. The choice of photos or posters may perhaps be perceived as a minor quibble or even an insignificant moan. But the arguments can sometimes spread beyond the boundaries of simple illustrative material.
 

High Plains Drifter is undoubtedly a very welcome and long overdue soundtrack, and we of course praise and applaud Intrada for overseeing its eventual release. The soundtrack is by definition, a celebration of the film's audio history, painstakingly produced and sounding quite magnificent throughout. Drifter's audio significance is restored, preserved and available for future generations. But can anything be done to make it that little bit 'special'?

Well, perhaps so...

Along with many other 'fans', I have always regarded Radio Spots to be an integral part of a film's audio history. Intended as an audio aspect of the film's original marketing campaign, the soundtrack CD would seem to provide the ideal opportunity and location for their inclusion. So it raises some interesting questions:

Was anyone aware of their existence?
 

Did anyone ever suggest their use?

Would Universal have been able to supply them?

There are in fact, a very nice set of Radio Spots to accompany High Plains Drifter, which (IMHO) would have rounded off this soundtrack rather nicely indeed.

So why not?

A simple key word search on the internet would have brought us to Intrada's attention. As an owner of a set, I would have been more than happy to provide Intrada with them for use on this release. There are many collectors such as myself, and we are all relatively easy to find. We are always here, and always available to assist. There are no hidden agendas. Among the many likeminded people I have had the privilege to speak with; we seem to share a common concern. The majority would be happy to help and assist, if only someone would ask... From my experience, collectors and fans simply want any Eastwood related product to appear at its very best. The individual has nothing to gain from it, other than perhaps a simple credit for their help.

It remains an interesting (if rather clouded) topic of conversation that I am sure will continue long after the end credits have rolled. But I would genuinely welcome some input on the subject. I'm sure it would prove fascinating. Perhaps Mr Douglass Fake of Intrada would be happy to participate and provide us with some answers on this subject.

Lalo Schifrin's Clint Classics finally to be released!

A couple of weeks ago I was informed of a super 4 CD set due out very soon. Lalo Schifrin: My Life in Music is due for release on Nov 15th.

What makes this set interesting, not only for film music collectors in general, but particularly Clint Eastwood collectors, is the fact that this marks the first ever official release of music from Coogan’s Bluff, The Beguiled and Joe Kidd! I was of course thrilled by this news. I remember from my Interview with Mr Schifrin, specifically asking him about these releases, and while he was hopeful they might one day materialise, he explained how difficult it was to put together with the likes of the musicians unions etc. One can only imagine the logistics of what is actually involved in seeing that these great scores are released. Also included in this set will be music from the excellent Don Siegel film Charley Varrick, a soundtrack that beautifully mirrored the essence of his Dirty Harry score.

Above: Lalo Schifrin, the Genius Composer
I spoke to Aleph records just this week, as I was curious to know if the scores were re-recorded for this set or the original recordings. I was delighted when they confirmed that they are the original recordings. The wonderful people at Aleph will be sending me a set, so I will be looking forward to reviewing it both here, and in my regular spread within Cinema Retro Magazine. In the meantime, below is an article from the much respected Jon Burlingame which was recently featured in Variety.

Left: This Rare Bootleg album, was the only release to previously contain music from the film

Eminence gris maestro Lalo Schifrin basks in spotlight

Despite having turned 80 in June, Lalo Schifrin shows no signs of slowing down: He will be honored at two festivals in Europe in October, has a four-CD career retrospective due for release, has written a book, and is the subject of a documentary.

The composer of "Mission: Impossible," "Cool Hand Luke," the "Rush Hour" films and more than 100 others is working on a large-scale classical commission. "But if the right movie comes along, I'll do it," he tells Variety.

Composer is profiled in an hour long documentary, "In the Tracks of Lalo Schifrin," by French filmmaker Pascale Cuerot (who has previously done bios of Maurice Jarre, Georges Delerue and Gabriel Yared). It will premiere Oct. 16 at France's Grand Lyon Film Festival.

He then flies to Vienna, where he will be honored during the Hollywood in Vienna festival, including a symposium Oct. 19 and a concert Oct. 22. David Newman will conduct such Schifrin favorites as "Dirty Harry," "Bullitt," "Enter the Dragon" and "Mission: Impossible," and Schifrin will be presented with the fest's Max Steiner Film Music Achievement Award.

"Lalo Schifrin is one of the most versatile musicians of our time, equally at home conducting orchestras, performing as a jazz pianist, or writing and arranging music for film, classical concerts and jazz," says Hollywood in Vienna producer Sandra Tomek. "He is a living legend."

That overused phrase really does apply to the Buenos Aires-born composer. His classical training combined with his passion for jazz first got him noticed in the late 1950s, then found a home in American movies and TV in the 1960s and '70s.

All of it will be showcased in a four-CD box, "Lalo Schifrin: My Life in Music," to be released Nov. 15 on the composer's own Aleph label. It includes tracks from three dozen Schifrin films (including previously unreleased music from "Coogan's Bluff," "The Beguiled," "Charley Varrick" and "Joe Kidd") plus numerous jazz and symphonic pieces.

Producer Nick Redman, who has overseen several Schifrin albums and will moderate the Vienna symposium, cites "his incomparable playing, his one-of-a-kind arrangements, his own vast horde of uniquely flavored jazz albums, combined with his continued reinventions that make listening to anything he did in the last 50-plus years as fresh and vital as it was the minute it was laid down on tape. That's the hallmark of a giant."

In the meantime, the prolific composer has written his second book (he penned an autobiography in 2008), "Music Composition for Film and Television" for Berklee Press. Aimed at aspiring film composers, it's filled with practical advice and musical examples from Schifrin's long career.

Reflecting on that career, he cites several key moments: studying at the Paris Conservatory in the early 1950s; meeting Dizzy Gillespie, who later asked him to join his band; being mentored by Universal TV music chief Stanley Wilson; working with film directors Stuart Rosenberg ("Cool Hand Luke") and Don Siegel ("Dirty Harry"); and conducting his "Cantos Aztecas" in 1988 at the pyramids of Teotihuacan, Mexico.

Schifrin says he appreciates the tributes, although he confesses, "I still don't understand why I'm such an object of attention. I remember when I was admiring other people -- Stravinsky, Bartok, Charlie Parker, Thelonious Monk -- and I would make them objects of homage. In a way, they inspire me to keep going."

Above: The Beguiled: Schifrin told me this was one of his favourite Siegal/Eastwood movies.

Left: Joe Kidd, Schifrin also explained that there was a Bootleg release of the score which originated from South America.

Clint Eastwood: Master filmmaker at work. Book Review

About the book

Four-time Academy Award recipient Clint Eastwood is one of the most renowned film directors in the world. This authorized volume offers a revealing in-depth exploration of his influential filmmaking methods, comprehensively illustrated with unit photography, key art, production design sketches, and film frames. Covering all of Eastwood’s 32 films, including The Outlaw Josey Wales, Unforgiven, Mystic River, Million Dollar Baby, and Letters from Iwo Jima, the book is a full-career retrospective. To portray the maverick behind the camera, author Michael Goldman interviewed Eastwood; his longtime crew of award-winning cinematographers, editors, and production designers; and many celebrated actors, including Matt Damon, Leonardo DiCaprio, Gene Hackman, Sean Penn, Meryl Streep, Hilary Swank, and Forest Whitaker.

About the author

Michael R. Goldman is a veteran entertainment journalist who has been an editor at Daily Variety, senior editor at Millimeter magazine, and a contributor to American Cinematographer. He has written four books and countless articles about filmmaking.

So, is it as good as we are lead to believe? Oh Yeah, absolutely...

How refreshing it is to be utterly consumed by these newly unearthed stories. Clint Eastwood Master Film Maker at Work provides genuine, first-hand accounts of Eastwood's filmmaking style and technique. Miraculously researched and illustrated throughout with an abundance of rare and previously unseen photos, production sketches and designs, Michael Goldman's book stands tall as an essential, authoritative work. Contained between its lavish 240 pages are over 60 original interviews with long time Eastwood collaborators such as Jack Green, Leonard Hirshan, Deborah Hopper, Robert Daly, Tom Stern, Buddy Van Horn, David Valdes and the late great Bruce Surtees. With insights provided by his loyal Malpaso crew and accounts from his closest friends, Goldman has successfully appraised the nature of Eastwood's dignified and simplistic approach to filmmaking. After reading some 50 titles on the man, never has a book on Eastwood ever provided such a definitive insider's guide. My advice, don't hesitate in ordering it, you won't regret it.

I would like to thank Author Michael Goldman and Jane Pickett of Abrams & Chronicle Books for contributing this wonderful book.

Click here for the amazon sales link
Click here for the Publisher’s page

Trouble with the Curve 2012

As we have entered the month of September, I thought it was just about time to set up a dedicated area for Clint’s latest project, Trouble with the Curve. Trouble with the Curve is a sports-drama film starring Clint Eastwood, Amy Adams, Justin Timberlake, Matthew Lillard, and John Goodman. The film revolves around a retiring baseball scout who brings his daughter on his final trip. Filming began in March 2012 with a scheduled release of September 21, 2012.

This is Clint's first acting project since 2008's Gran Torino and the first film he will star in since In the Line of Fire not to have him as director.
An aging Atlanta Braves baseball scout named Gus Lobel (Eastwood) is given one last assignment to prove his worth to the organization, who sees him as unable to adapt to changes in the business. His boss and friend Pete (Goodman), who does not want to see him let go, asks Gus's daughter Mickey (Adams) to join him on the trip to make sure he's ok, against Gus's wishes. Together they scout a top new prospect in North Carolina, where Mickey begins to take an active role in her father's work to make up for his failing vision, which he has hidden from his bosses. Along the way Gus reconnects with Johnny (Timberlake), a rival team's scout who has a friendly history with Gus, as Gus was the man who scouted him when he was a baseball player, and who also takes an interest in Mickey.

Below: Here are the two current Trailers

Below: Here are the official TV Spots 1 - 4


Some Production History:
Stories began appearing during October 2011, here are a few that appeared during that time.

From The Hollywood Reporter 10/5/2011 by Borys Kit
Clint Eastwood Acting Again in 'Trouble With the Curve'

His long-time associate Robert Lorenz will direct the project.

Clint Eastwood, who once said that 2008’s Gran Torino would likely be his last acting gig, is in talks to go in front of the camera once again for Trouble With the Curve.

His longtime producing partner at Malpaso Productions Robert Lorenz is in talks to direct the baseball drama, set up at Eastwood’s longtime home of Warner Bros.

The script, by Randy Brown, centers on an aging baseball scout who goes on a road trip with his adult daughter.

The 81-year old Eastwood was due to direct A Star Is Born for Warners but when star Beyonce Knowles got pregnant, that pushed the remake into limbo, leaving Eastwood, never one to stand still, with an open slot.

Beyond the fact that Eastwood is agreeing to act again, the project is notable in that Lorenz will be making his directorial debut. While Lorenz has been producing Eastwood’s movies since 2002’s Blood Work, he’s also been working as an assistant director for the actor-director since 1995’s The Bridges of Madison County, with his last behind-the-camera credit 2004’s Million Dollar Baby.

Webpronews reported
Clint Eastwood: How Justin Timberlake Got On His Bad Side
Amanda Crum · July 27, 2012
 

Clint Eastwood has been in the business long enough to know when a project is going to work and when it won’t; he famously ended his Western career after wrapping “Unforgiven” in 1992 and has judiciously selected his films since then, working mainly for…himself. As a director, his career took a whole new turn with successes like “Mystic River”, “Gran Torino”, and “Million Dollar Baby”, and he starred in several of the films he helmed. But now, he’s been asked to star in a film by Robert Lorenz about an aging baseball scout, and Eastwood trusted his gut enough to sign on as the lead character, Gus.

 

The film also stars Amy Adams as his daughter, who agrees to accompany him on a trip to see a baseball phenom in action, and John Goodman, who plays his boss. And, in something of a departure for the young actor, Justin Timberlake shows up as Johnny, a young rival scout who strikes up a friendship on the road with Gus. Of course, after he insinuates himself into the relationship between Gus and his daughter–and ultimately begins to look at her as more than a friend–Eastwood throws on that famous scowl and does the scary-dad thing.

Lorenz says of "Trouble With The Curve":

“He (Goodman’s character) recognizes that Gus is at risk of losing his job. There are younger people at the organization who think it’s time for new blood. Gus is old school, and they want to move him out.”

Lorenz and Eastwood are old pals, having worked together on films like “Mystic River” and “Letters From Iwo Jima”, so it’s no surprise that the grizzly actor decided to do the project. The film premieres in September; no word yet on how Timberlake felt when confronted with Eastwood’s angry-face.

‘Trouble with the Curve’ to Feature Music by Marco Beltrami

July 16, 2012 by filmmusicreporter

Composer Marco Beltrami

Beltrami is currently scoring the drama Trouble with the Curve. The film is directed by Robert Lorenz and stars Clint Eastwood as an aging baseball scout who is losing his sight and takes a road trip to Atlanta with his daughter to take a look at a hot prospect. Amy Adams, Justin Timberlake, John Goodman, Matthew Lillard and Scott Eastwood are also starring. Robert Brown wrote the film’s script. The project marks the directorial debut of Lorenz who has previously produced most of Eastwood’s movies over the last decade including Mystic River, Letters from Iwo Jima and Gran Torino. Lorenz and Eastwood are also producing the drama for Malpaso Productions. Trouble with the Curve is set to be released on September 28, 2012 by Warner Bros. Pictures.

March 2012 Screenrant reported
Amy Adams & Matthew Lillard Join Clint Eastwood in ‘Trouble with the Curve’ by Sandy Schaefer

Gran Torino was supposed to have been Clint Eastwood’s swansong, as an actor. However, in the latter months of 2011, news got out that the 81-year-old Hollywood icon would work in front of the camera one more time on Trouble with the Curve, the directorial debut of his frequent assistant director/producer, Robert Lorenz.
Sandra Bullock was briefly raised as a possibility to portray Eastwood’s daughter in the film, but a scheduling conflict reportedly forced the Oscar-winning actress to withdraw. Word got out shortly thereafter that another acclaimed starlet, namely Amy Adams, could be taking Bullock’s place; now, it seems that casting move is essentially set in stone.

EW has the exclusive on Matthew Lillard being in talks to also join the cast of Trouble with the Curve. The star of the original Scream and live-action Scooby-Doo movies is in a good place right now, thanks to his supporting turn in the new Golden Globe-winning (and Oscar front-runner) The Descendants – so, signing on for what should actually be Eastwood’s final starring vehicle could easily help keep Lillard’s win streak alive.
The Wrap has also learned that Joe Massingill is being eyed for Trouble with the Curve. The young Georgia-born actor only has one-episode stints on TV shows like Glee and Zeke and Luther on his resume. Combine that with the likelihood that Massingill is being eyed for a pivotal part in Lorenz’ film and it’s safe to say, this casting move will only help his standing in Hollywood.
Trouble with the Curve tells the tale of a nearly-blind baseball scout (Eastwood) who sets out with his adult daughter (Adams) for one final recruiting mission to check out a promising up-and-coming player in Atlanta (Massingill?). Lillard, should he sign on, would portray a rival scout.
It’s interesting how Trouble with the Curve has the potential to be a breakout project for several people, including Massingill as an actor, Lorenz as a director, and relative newcomer Randy Brown as a screenwriter. Kind of ironic, really, seeing how it’s both a story about the end of one man’s professional career (life?) AND meant to be a final sendoff for Eastwood as a star of the big screen.

Lorez, as mentioned before, hasn’t actually directed a film yet, so it will be interesting to see how much he’s learned (and borrows) from Eastwood, having collaborated with the man on virtually every one of his projects released over the past decade. In all honesty, there seems to be a good chance that Trouble with the Curve could look and feel so much like an Eastwood-directed flick that many casual moviegoers will assume that’s actually the case.
Trouble with the Curve is scheduled to begin production by March 2012. Since it’s an inexpensive, character-driven drama, shooting shouldn’t take too long; according to IMDB, the film is already set to hit theaters in France by January 2013. So, a late Oscar-qualifying U.S. limited run before the end of 2012 doesn’t seem out of reach (for now).

On Jan. 31, 2012 Variety reported:
Justin Timberlake plays ball with Clint Eastwood
'Social Network' actor to star opposite Amy Adams in WB's 'Curve' pic
By Jeff Sneider, Justin Kroll

"The Social Network" star Justin Timberlake is set to join Clint Eastwood and Amy Adams in Warner Bros.' "Trouble With the Curve," which will mark the directorial debut of Eastwood's longtime producing partner Robert Lorenz.
Randy Brown wrote the script, which finds Eastwood playing an aging baseball scout with vision problems who takes a road trip to Atlanta with his daughter to take a look at a hot prospect.

Timberlake will play Eastwood's pal Johnny Flanagan, a former pitcher who now works as a baseball scout for the New York Yankees. His character is a potential love interest for Adams, who plays Eastwood's daughter.
Eastwood and Lorenz will produce through their Malpaso banner, while Michele Weissler will also be involved in a producer capacity, having who brought the project to Malpaso. Sarah Schechter will oversee the project for WB.




Feb 8th, 2012 cinemablend.com reported:
John Goodman Joins Baseball Drama Trouble With The Curve
by Eric Eisenberg
John Goodman and Justin Timberlake may soon become the closest of friends. In addition to the fact that both are starring in the upcoming Coen brothers film Inside Llewyn Davis, now it's been confirmed that they will be teaming up on the baseball drama Trouble With The Curve.
Timberlake's casting was announced last week and now, according to Variety, Goodman has signed on as well. The film tells the story of an aging baseball scout, played by Clint Eastwood, who is getting ready to retire due to his failing eyesight. As one final job, he decides to go on a road trip to Atlanta to check out a hot new prospect, bringing his daughter (Amy Adams) along for the ride. Goodman will play a character named Pete Klein, who is another baseball scout and a believer that Eastwood's character isn't ready to retire just yet. The project is being directed by Robert Lorenz, who is Eastwood's production partner at Malpaso Productions and the script was written by Randy Brown.

Goodman has been super busy as of late, and in no way is that a bad thing. In addition to the fact that he's in two movies nominated for Best Picture this year (The Artist and Extremely Loud and Incredibly Close), he has three titles coming out later this year - Argo, ParaNorman, and Flight - and is in development on a number of others. It's always great to see Goodman on the big screen and seeing him with talent like Eastwood, Adams and Timberlake only makes things sweeter.

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