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Raoul Walsh Was a Movie Maker With an Eye Patch and Attitude
- Thread starter Joe Riley
- Start date
Nancy Hart
Well-known member
Now directing ... Blackbeard the Pirate (1952)
"In an interview, Clint Eastwood expressed his admiration for director Raoul Walsh and stated that he would have liked to work with him. However, according to the article, Walsh was nearing retirement by the time Eastwood's career started in the 1950s. Walsh's final film was released in 1964. It appears they were never able to work together. "
Clint said "I knew Billy Wilder socially and would have loved to work with him".
"Emma Thompson discussed her screenwriting process, differences between the genders and her appreciation for Clint Eastwood and Billy Wilder at a BAFTA and BFI screenwriters lecture in London."
"Emma Thompson discussed her screenwriting process, differences between the genders and her appreciation for Clint Eastwood and Billy Wilder at a BAFTA and BFI screenwriters lecture in London on Saturday night. Eastwood has always been “a great hero” of hers, she said. “I grew up on westerns.” Since she grew up watching them with her father every night, she said, “I was very much influenced by that form". Speaking at the BFI Southbank location, she recalled a memory from when she won an Oscar for her work in Howards End (1992), while Eastwood won for Unforgiven. She said the actor put his Oscar next to hers and said: “Well, we did it.” She added: “I said, ‘Weeee!?’ It was so moving. It was like, I don’t know, being knighted or something.” She added of Eastwood that he was “divine” to her and her mother."
Clint said "I knew Billy Wilder socially and would have loved to work with him".
"Emma Thompson discussed her screenwriting process, differences between the genders and her appreciation for Clint Eastwood and Billy Wilder at a BAFTA and BFI screenwriters lecture in London."
"Emma Thompson discussed her screenwriting process, differences between the genders and her appreciation for Clint Eastwood and Billy Wilder at a BAFTA and BFI screenwriters lecture in London on Saturday night. Eastwood has always been “a great hero” of hers, she said. “I grew up on westerns.” Since she grew up watching them with her father every night, she said, “I was very much influenced by that form". Speaking at the BFI Southbank location, she recalled a memory from when she won an Oscar for her work in Howards End (1992), while Eastwood won for Unforgiven. She said the actor put his Oscar next to hers and said: “Well, we did it.” She added: “I said, ‘Weeee!?’ It was so moving. It was like, I don’t know, being knighted or something.” She added of Eastwood that he was “divine” to her and her mother."
Raoul Walsh and Gloria Swanson in 'Sadie Thompson' (1928)
"We'll see if any of this makes a difference with tonight's screening of 'Sadie Thompson' (1928) at the Manchester (N.H.) City Library. It's Gloria Swanson and Lionel Barrymore doing battle in the steamy tropics, so it helps that we're in the middle of a September heat wave in our part of the world."
"'Sadie Thompson' is missing its final reel, but I think that actually adds to the experience. To me, it seems as if the conflict between Swanson and Barrymore gets so intense that film just can't contain it any longer. Instead, we're left with a reconstruction of stills and descriptions that leave the climax up to our own imaginations, making it potentially more personal and powerful than anything a filmmaker could put on the screen. So it's an unusual form of narrative: a traditional film until the final reel, and then the audience is required to imagine the action based on a general outline."
"There's a certain primal power in this approach. I recall Hitchcock saying that it was more terrifying to let something nasty happen offscreen, because people's imaginations would always make it worse than any filmmaker could show. There's something about that in the way 'Sadie Thompson' must now be shown, with its last reel missing."
"So 'Sadie Thompson' is in the same category as, say, the Venus de Milo, or Schubert's 'Unfinished Symphony.' They're great works of art that achieve perhaps a higher form greatness by virtue of their being incomplete."
Maybe that's a principle that I can apply to writing blog posts. Maybe what I write will be that much better if I fail to
"We'll see if any of this makes a difference with tonight's screening of 'Sadie Thompson' (1928) at the Manchester (N.H.) City Library. It's Gloria Swanson and Lionel Barrymore doing battle in the steamy tropics, so it helps that we're in the middle of a September heat wave in our part of the world."
"'Sadie Thompson' is missing its final reel, but I think that actually adds to the experience. To me, it seems as if the conflict between Swanson and Barrymore gets so intense that film just can't contain it any longer. Instead, we're left with a reconstruction of stills and descriptions that leave the climax up to our own imaginations, making it potentially more personal and powerful than anything a filmmaker could put on the screen. So it's an unusual form of narrative: a traditional film until the final reel, and then the audience is required to imagine the action based on a general outline."
"There's a certain primal power in this approach. I recall Hitchcock saying that it was more terrifying to let something nasty happen offscreen, because people's imaginations would always make it worse than any filmmaker could show. There's something about that in the way 'Sadie Thompson' must now be shown, with its last reel missing."
Maybe that's a principle that I can apply to writing blog posts. Maybe what I write will be that much better if I fail to
Once director Raoul Walsh officially dubbed Duke Morrison “John Wayne,” he knew he had to walk the talk when it came to his career.
“When I started, I knew I was no actor, and I went to work on this Wayne thing,” he told The New York Times. “It was as deliberate a projection as you’ll ever see. I figured I needed a gimmick, so I dreamed up the drawl, the squint and a way of moving meant to suggest that I wasn’t looking for trouble but would just as soon throw a bottle at your head as not. I practiced in front of a mirror.”
The engraved bone dagger and scabbard that Director Raoul Walsh gifted Duke while working on The Big Trail is on display at the John Wayne: An American Experience Museum in the historic Fort Worth Stockyards, Texas.
We are open 7 days per week, from 9am to 6pm. Please visit the link our bio to purchase tickets or to gift a ticket to someone else.
Recognizing the importance of education and nurturing young minds, we are introducing discounted student rates on admission to the museum. Discounted pricing for students is $20.95, nearly 9% off the individual ticket price. With valid Student ID.