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"POWER" (continued from page 12) had the script and he liked the script, he was right off and running." Like Siegel, Eastwood shoots lean and brings his films in on time and under budget as a matter of principle. With "Absolute Power," Eastwood outdid himself; the film came in a full 17 days earlier than its schedule said it would—in part because of Eastwood's sense of his cast and crew as creative equals, whose time is as valuable as his own. "Crews get a sense if you're screwing around," he says. "They get a sense if you're lost, and they get a sense if you're just dillydallying. They'll bear with you, through take after take, if they feel that you're trying desperately to get something that isn't quite hoping that somebody wants to see it," he says. "You certainly don't make it for a lot of empty seats in a theatre. But 1 had a line in 'White Hunter, Black Heart' where the (movie director] 1 was playing is criticizing the writer, and he says, 'You should forget anybody's ever gonna see a film when you're making it.' And you know, there's something to that. "Yeah, you hope that a reviewer'd like it, just the same as you hope everyone else does. Nobody wants to have somebody going out of the theatre going, 'Oh boy, that was a yawner,' but that happens, that's just the way it goes. Some of my best films weiie the least attended, in my mind." Eastwood has an almost patemal fondness for some of his shaggier, more image-busting efforts, such as the depression-era drama PIECE OF CAKE: Celebrating another efficient Eastwood stioot at tfie wrap for "Absolute Power happening. But they fade on you if they see you're just wasting time—and justifiably so." Fastidious Eastwood's career as his direcfing may be, has been characterized by anything but the taking of safe bets. While he has consistently attended to his superstar status (all five "Dirty Harry" projects could be viewed in this light), he has just as consistently subverted it, tackling highbrow themes and an enormoas range of characters that the critics who decried as pointlessly sadistic his career-making "spaghetti westerns" with Leone would never have predicted for him. Meanwhile, the Leone films — "A Fistful of Dollars," "For a Few Dollars More" and "The Good, the Bad .and the Ugly"—have come in for their own share of revisionism, so that it's now a critical given that Eastwood's career as a leading man started with three masterpieces in a row. When Eastwood talks about the projects he's proudest of, they are almost always the ones that stretched him as actor or director, and almost never the ones tfiat grabbed the biggest gros.scs—except in those instances (as with "Unfoigi ven," which made over $ 1 00 million domestically) where those two priorities dovetailed into one another. "You make a film. "Honkytonk Man" and the rodeo comedy "Every Which Way But "Bronco Billy." Loose," the screwball comedy in which Clint lost the giri but rode off into the sunset with an orangutan, was a film that particularly delighted him, not least because it became an unexpected boxoffice smash despite the studio's di.stinct lack of faith in it. "The studio would have sold it for 10 cents on the dollar before it was released. All their..." He pauses, using inflection to signify his disdain. '"Research'. ..said the picture wasn't going to work." At least two of the many movies he has directed and starred in seem to hold particularly special places in Eastwood's heart: "Unforgiven," a film he clearly would have loved even if it never made a dime, and the picaresque 1976 western "The Outlaw Josey Wales"—a mminative, character-driven epic that stands as perhaps his first fully realized directorial effort, and the film which he credits with beginning the decades-long process of his filmmaking finally emerging from the long shadow cast by his status as a boxoffice .star. "I think maybe it started turning in the '70s, with 'The Outlaw Josey Wales,'" he says, "which I think is a movie that stands up today. If that came out on the market tcxlay, I think it " ' would be appreciated, maybe even more than it was then, because maybe there was too much prejudice [back then] against the genre, or the person making it." In fact, in looking over Eastwood's many credits, what emerges is .something almost no one would have imagined him capable of when "Play Misty For Me" first entered the marketplace back in 197 1 . Given his willingness to embellish and violate his screen jjersona, what Eastwood has created, in his art and in his life, is nothing less than a multi-leveled rumination on the American concept of heroism, and on what it means to be an American star. That's a high-toned argument which Eastwood might resist endorsing, though it is interesting to note he is quite emphatic about his hope that, when the time comes to tally up his achievements, he'll be remembered more as a filmmaker than as a star. Hardly one to wallow in nostalgia, it will be enough for him if the history books recognize "just the fact that he made .some films that were important, or that they somehow fit into the .scheme of film history. And I hope to do some more." In the meantime, there's "Absolute Power" and whatever else the future may bring to a man who, creatively and personally, views the present as the prime of his life. He lives for the moment, and this particular moment is especially right for him. "After 'Bridges of Madison County.' I took a year off from work," he says. "I felt fine. 1 had a good time, 1 contemplated a lot of things, worked on my personal life a little. Took time out to do some things that 1 maybe felt I should have, that you neglect when you're younger and you're striving to get things going. There's that thing actors go through in their early stages, where they say, "This is my last job.' So another job comes up. pretty soon you're accepting [all of] them. I used to accept them back to back, and 1 see young actors now doing that—accepting work, back to back to back. It's that thing where you've got the brass ring, you feel like you've got to keep riding it, stay on the merry-go-round. But at some point, you realize it's not necessary. You've got sort of a history. "There's always something new, a new challenge, which makes it fun. But the challenge is not accompanied with any great anxieties now. I never appeared to have any anxieties, that's not my appe;u-ance. but you do [when you're first starting out]. You get the brass ring, and you go start grinding, and if they want you, you keep grinding. Maybe that's a point in life when you feel ycxj should do that, because you're afraid that maybe two or three films, and maybe ytxi'll be selling used cars somewhere. But then after awhile, youbuildup your chops .' § "Absolute Power. " Starring Clint Eastwood, Gene Hachnan and Judy Davis. Directed by Clint Eastwood. Produced by Clint Eastwood and Karen Spiegel. Screen/flay by Willicun Goldnum, based on the novel by David Baldacci. A Malpaso Production. A Columbia Release. Feb. 7. 14 Boxoi''ncE
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