Clint Eastwood has long been recognized as one of the most influential figures in the Western genre. From his early days as Rowdy Yates on the CBS series "Rawhide" to becoming a leading actor in Sergio Leone’s iconic "Dollars Trilogy," Eastwood has played a significant role in shaping the evolution of the Western from its traditional roots to a more complex, revisionist form. His film "Unforgiven" earned him both the Academy Award for Best Picture and Best Actor, solidifying his status as a master of the genre. When Eastwood speaks about Westerns, it’s wise to pay attention.
Eastwood is not known for being modest, and this extends to his own work. He considers two of his films, "The Outlaw Josey Wales" and "Unforgiven," to be prime examples of what a Western should be. In addition to these, he has a deep appreciation for Howard Hawks’ classic "Red River" and Sergio Corbucci’s bleak yet powerful "The Great Silence." These films represent different facets of the Western, from the grandeur of Hawks’ storytelling to the gritty realism of Corbucci’s work.
One of the filmmakers Eastwood holds in the highest regard is John Ford, who helped define the conventions of the Hollywood Western with his 1939 film "Stagecoach." Eastwood admires Ford’s work, particularly "My Darling Clementine," which features standout performances from Henry Fonda and Victor Mature. However, Eastwood also appreciates a non-traditional Western from Ford—his film "The Grapes of Wrath."
While some might debate whether "The Grapes of Wrath" qualifies as a Western, Eastwood sees it as a perfect example of cinematic storytelling. The film follows characters embarking on a difficult journey to find a better life in the expanding American West, and Eastwood believes it exemplifies how a film can be made with both artistic and commercial success.
Clint Eastwood admired John Ford’s efficacy
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In a 1980 interview with Ric Gentry, published in the book "Clint Eastwood: Interviews, Revised and Updated," Eastwood praised Ford’s adaptation of John Steinbeck’s Pulitzer Prize-winning novel "The Grapes of Wrath." He was particularly impressed by how efficiently Ford worked during production. Eastwood noted that Ford only exposed 37,000 feet of film while shooting the film, a record low at the time.
"This guy made a classic that people want to see forever," Eastwood said. "Long after the man’s dead, people will be running it, for years and years, and he did it with a record low of exposed film for that time. That’s because Ford knew exactly what he wanted and knew when he had it."
Eastwood is known for his efficient filmmaking process, often completing projects quickly and under budget. This aligns with Ford’s approach, which Eastwood clearly respects. He used this opportunity to critique filmmakers who take excessive time and resources to complete their projects.
"He didn’t go out there for six or eight months or a year and do 50 takes on everything," Eastwood said. "When he saw the prints that he liked, he went off to the next thing. ‘The Grapes of Wrath’ had tremendous energy and it’s a classic on every score. What makes you think you’re going to make any more of a classic by exposing 50 times the amount of film he did? It just doesn’t make any sense."
While some directors, like Michael Bay, have taken a different approach—exposing over 1,000,000 feet of film during the making of "Armageddon"—Eastwood remains firm in his belief that efficiency and clarity of vision are key to creating enduring cinema. At 95 years old, Eastwood may not be interested in hearing counterarguments, but his perspective continues to influence the film industry.
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