Brahms: The Boy II
It’s just a film that’s as blank as Brahms’ expression.
Gail Morgan Hickman
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The Big Score (1983)
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From a screenplay by
Roger Ebert -
The Enforcer (1976)
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From a story by
Roger Ebert
* This filmography is not intended to be a comprehensive list of this artist’s work. Instead it reflects the films this person has been involved with that have been reviewed on this site.
Play Scoobie-Doobie-Doo for Me
BIG SUR, CA -- The Dirty Harry style, Clint Eastwood was explaining, is simplicity itself: "You start with this ultimate fantasy character, this guy who's always fighting the establishment, who isn't interested in the intricacies of society, who tells his boss to go to hell. You equip him with a .44 magnum, pointing out that it's the most powerful handgun in the world. You make him a cop and send him out into the streets. And you whittle down his dialog." Eastwood, as unlike this description as possible, was sipping herb tea on a veranda overlooking the Pacific. The dry December sunlight spilled down and the hills of Big Sur rose behind him, and his dialog wasn't whittled down at all. Among other things, Eastwood talks a lot more than the characters he plays, perhaps because he has more to say.
