Soundcast #11 - The Films and Film Music of Clint Eastwood

Episode #11

The Films and Film Music of Clint Eastwood

Recorded December 11, 2009

Published December 12, 2009

Episode Highlights

00:00 - Opening: "My Mule"

00:36 - Intros and listener feedback

03:16 - How we feel about Clint Eastwood movies and scores

08:05 - Best Clint Eastwood film score?

15:10 - Eastwood's film music philosophy

16:13 - What if Eastwood directed and scored The Road?

17:23 - The types of movies that work with Eastwood's sound.

19:13 - Invictus discussion

35:05 - Favorite African-flavored Scores

40:25 - Final thoughts on Clint Eastwood Films

Music Clips (Select music clips contained in this podcast)

02:55 - Unkunqoba - Invictus (K. Eastwood/ M. Stevens)

08:10 - Theme from Mystic River - Mystic River (C. Eastwood)

09:24 - Main Titles - Letters from Iwo Jima (K. Eastwood/ M. Stevens)

10:43 -Theme from Mystic River - Mystic River (C. Eastwood)

12:35 - The Hours - The Hourse (Phillip Glass)

14:53 - Mom's on Call/Late to Trolly - Changeling (C. Eastwood)

17:30 - Blue Morgan (End Credits) - Million Dollar Baby (C. Eastwood)

18:48 - Mandiba's Theme - Invictus (K. Eastwood/ M. Stevens)

22:42 - Hamba Nathi - Invictus (K. Eastwood/ M. Stevens)

24:21 - Ole Ole Ole - Invictus (K. Eastwood/ M. Stevens)

27:45 - Colorblind - Invictus (Overtone)

35:25 - Dry Your Tears, Africa - Amistad (John Williams)

36:30 - Journey - Tears of the Sun (Hans Zimmer)

37:25 - Mother Africa - The Power of One (Hans Zimmer)

38:45 - Main Titles - Endurance (John Powell)

39:10 - Crossroads/ Dawn Raid - Cry Freedom (George Fenton)

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Invictus (Soundtrack) by Kyle Eastwood and Michael Stevens - Review

Musical Misalignment

Review by Christopher Coleman

With the coming of December, award season is "for your consideration" season is upon us and that has come to mean some sort of entry from director Clint Eastwood. 2009's apparent submission from prolific director/producer is INVICTUS. The evocative title of Eastwood's latest project comes from a poetic work of William Ernest Henley who, penned his powerful and moving words in the wake of the loss of his foot due to tuberculosis back in 1875. The word is Latin for "unconquered."

INVICTUS stars Morgan Freeman as Nelson Mandela, newly elected president of the Republic of South Africa and Matt Damon as Francois Pienaar, captain of South Africa's national rugby team. It is Henley's poem, that serves as a key source of strength for both men in their respective pursuits: one to win a world cup, the other to utilize that win to unite his historically fragmented nation. INVICTUS sets before us the potent combination of two of Hollywood's finest actors, one of its most celebrated directors, and a story that focuses on one of recent history's most memorable times; making it a virtual shoe-in for a gaggle of nominations and awards...or is it?

As Mandela has to deal with racial tensions among his own staff, Pienaar must deal with the task of motivating his team to, at the request of Mandela, win the seemingly unwinnable - the 1995 World Cup, hosted in South Africa. The general story arc is laid out clearly enough but the actual execution is as flat as the pitch of a rugby field. Morgan Freeman's portrayal of Mandela may garner him a few nominations, but INVICTUS doesn't offer enough personal exploration of neither Mandela or Pienaar to cause the audience to emotionally invest in them. Eastwood wouldn't have been the first to utilize the musical score to inject some much needed life into a film that is otherwise dull, but he fails to do this. Despite a loose-handful of engaging moments from composers Kyle Eastwood and Michael Stevens, the numerous vocal pieces included do little to help in this regard...and, in fact, hurt the film further.

Read the full review here

Gran Torino by Kyle Eastwood and Michael Stevens (Soundtrack Review)

Whispers through Gran Torino
Review by Christopher Coleman

Seeing the name of GRAN TORINO brings back childhood memories for me. No - not so much of one of the hottest TV cars of all-time in Starsky & Hutch, but of one my folks owned. I have some pretty fond memories of going to drive-in theaters with my family in that Ford staple as little kid. The instant I saw the title, something was hooked in me and as it turns out both the themes of memories and family are two of the main themes of Clint Eastwood's latest project. Seeing the grizzled and hardened stare of Clint Eastwood down the sites of a large firearm also brings back memories of 70s movie icon, Dirty Harry. It’s not much of a stretch to envision Eastwood’s character in GRAN TORINO, as what Dirty Harry would have been like after he retired. Certainly not the biggest stretch for the actor, GRAN TORINO displays Eastwood the way we like to see him most. Even moreso than his last starring (and directing) role in MILLION DOLLAR BABY, Eastwood offers up hard core, no holds barred, intensity, but again finds a way to give his character enough heart to make him embraceable. Now, when it comes to the film's music, as many of you might have come to expect. this Eastwood score reflects much more of the “heart” than it does it’s edgier side. With the director’s chair and starring role on his plate again, Eastwood left the musical duties in the hands of long-time, collaborator, MICHAEL STEVENS and son, KYLE EASTWOOD.

Read the full review here