Clint Eastwood has one big base when working on a movie

Clint Eastwood is famous for making films that come under the budget and before the specified date. As a director, he loves to move from a shot after one (gunfire on rehearsal for more efficiency), and does not care if this is approaching someone’s feathers A prominent like Kevin Costner. Sometimes, Eastwood’s approach, which dates back to the opposite results,: I hope it took longer with his amateur representatives at “Gran Torino”, and he would have preferred to use it. Non -plastic child For a decisive scene in “American snipers”.

When it comes to a visual story, Eastwood is one of the greats ever-and has worked in this way since the beginning of his directing career. Nearly 50 years agoWhen the interviews asked her Richard Tombone and Tim Hunter about his Sardah sensitivity, Eastwood, who will continue to win the Best Oscar Awards award (due to “unfamiliar” and “million dollars”), said, “I do not like the illustrative scenes, unless they have an important return.” He is in a good company. Greats in all ages such as John Ford, Frank Porsjj and Walter Hill are two famous exhibitions-which information dumps brings movies to stop screaming in order to create rear lessons and prepare risk. It was done correctly, and the movies are an exhibition proposal, and Eastwood has worked this way throughout most of his career.

And the man who presented the means with two people is one of the most famous characters (the man who does not have a name from the “dollar trilogy” by Sergio Lyon and Harry dirty dirty processIt works in this way because he believes the audience needs to be active viewers.

Eastwood preaches a kind of gospel in the Tomson Hunter interview when he said: “I think they should participate in every shot, in everything. I give them what I think it is necessary to know him, and progress through the story, but I don’t put much to the point that he insults them.

Interestingly, this may collide with the preferences of the cinema pioneers today, who prefer to experience dispersed viewing where, while passing Tiktok and the like, are reminded of repeatedly in the place of the story’s head and what the characters are trying to achieve. Art in all its forms should be about communication, as it draws the elegance of words, images and strokes of the reader/viewer. In the Eastwood point of view, this approach is related to the audience’s respect. He also told Thompson and Hentter:

“I hate to have the scene in which you take a break, sitting, and tell the audience what was done to this point because they are not smart enough to understand it. This plays for the audience. As a rule, always shy from the exhibition.”

These scenes are the place where I am checking from a movie, and it is a mediator through which you can move a wealth of passion in one snapshot. Even when I am not crazy with Eastwood, I love the way the frame fills with accurate information. This is not a distortion of a shooting approach. It is best to use this approach at all (Like Tony ScottAdrian Lin and Michael Bay (they know what they are looking for in the group. They like to find a movie in the editorial room.

In the heart, though, I love the director who despises coverage, and for this reason Eastwood has always been one of my comrades.