Clint Eastwood Quotes (1930-)

“[...] secretly everybody's getting tired of political correctness, kissing up. That's the kiss-ass generation we're in right now. We're really in a pussy generation. Everybody's walking on eggshells. We see people accusing people of being racist and all kinds of stuff.”

“People are looking for somebody who is outspoken and who isn't afraid. And [Trump] seems to have kind of a fearless attitude.”

“It's a tough voice to listen to for four years. It could be a tough one. If she's just gonna follow what we've been doing, then I wouldn't be for her. ... I'd have to go for Trump ... you know, 'cause she's declared that she's gonna follow in Obama's footsteps.”

“See, I never thought it was a good idea for attorneys to be president, anyway. I think attorneys are so busy — you know they're always taught to argue everything, always weigh everything, weigh both sides. They are always devil's advocating this and bifurcating this and bifurcating that. You know all that stuff. But, I think it is maybe time — what do you think — for maybe a businessman. How about that? A stellar businessman. Quote, unquote, "a stellar businessman". And I think it's that time. And I think if you just step aside and Mr. Romney can kind of take over. You can maybe still use a plane.”

“The roles that Eastwood has played, and the films that he has directed, cannot be disentangled from the nature of the American culture of the last quarter century, its fantasies and its realities.”

“Lazy, and would cost you a morning. I never started a day with Clint Eastwood in the first scene, because you knew he was gonna be late, at least a half hour or an hour.”

“It could be that today's conservative movement remains in thrall to the same narrative that has defined its attitude toward film and the arts for decades. Inspired by feelings of exclusion after Hollywood and the popular culture turned leftward in the '60s and '70s, this narrative has defined the film industry as an irredeemably liberal institution toward which conservatives can only act in opposition—never engagement. Ironically, this narrative ignores the actual history of Hollywood, in which conservatives had a strong presence from the industry's founding in the early 20th century up through the '40s, '50s and into the mid-'60s]. The conservative Hollywood community at that time included such leading directors as Howard Hawks, Frank Capra, and Cecil B. DeMille, and major stars like John Wayne, Clark Gable, and Charlton Heston. These talents often worked side by side with notable Hollywood liberals like directors Billy Wilder, William Wyler, and John Huston, and stars like Humphrey Bogart, Lauren Bacall, and Spencer Tracy. The richness of classic Hollywood cinema is widely regarded as a testament to the ability of these two communities to work together, regardless of political differences. As the younger, more left-leaning "New Hollywood" generation swept into the industry in the late '60s and '70s, this older group of Hollywood conservatives faded away, never to be replaced. Except for a brief period in the '80s when the Reagan Presidency led to a conservative reengagement with film—with popular stars like Clint Eastwood, Sylvester Stallone, and Arnold Schwarzenegger making macho, patriotic action films—conservatives appeared to abandon popular culture altogether. In the wake of this retreat, conservative failure to engage with Hollywood now appears to have been recast by today's East Coast conservative establishment into a generalized opposition toward film and popular culture itself. In the early '90s, conservative film critic Michael Medved codified this oppositional feeling toward Hollywood in his best-selling book Hollywood vs. America.”