Clint Eastwood Explains Why He's Not Done Directing Movies at 95 — GeekTyrant
After the release of Juror #2 in 2024, many assumed the legal thriller would mark Eastwood's final bow as a director. The film performed well with both audiences and critics, and whispers swirled about it being his swan song.
But, Eastwood recently put those rumors to rest in an interview with Austrian newspaper Kurier (via Reuters), sharing why he plans to keep calling the shots behind the camera.
'There's no reason why a man can't get better with age. And I have much more experience today. Sure, there are directors who lose their touch at a certain age, but I'm not one of them.'
Since the 1950s, when he first appeared on the small screen in Rawhide , Eastwood has never stopped evolving, first as a Western icon, a great actor, then as a bold, thoughtful filmmaker. His directorial debut Play Misty for Me in 1971 kicked off a career filled with character-driven dramas, moral complexity, and a refusal to play it safe.
From Unforgiven to Mystic River to American Sniper , Eastwood has proven he love being a filmmaker and telling stories.
Even now, Eastwood's approach hasn't changed. When asked about the current wave of franchise fatigue and reboots, he responded:
'We live in an era of remakes and franchises. I've shot sequels three times, but I haven't been interested in that for a long while. My philosophy is: do something new or stay at home.'
Eastwood, meanwhile, remains focused on telling fresh stories with something to say. His most recent effort, Juror #2 , is another reminder that he's still chasing creative challenges rather than coasting on past glories.
What's next? According to Kurier, Eastwood is in solid physical health and already in pre-production on his next project. The man simply doesn't slow down. And, and I guess, why should he?
If anything, Eastwood is showing us what a lifetime of storytelling experience looks like and he refuses to stop and I love that about him. He's not just defying expectations about age, he's outworking most people half his age.
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Newsweek
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- Newsweek
Jason Momoa's "Chief of War" Is a Polynesian Cultural Moment
It's not every day that Hollywood hands the keys to an epic, large-scale historical drama over to an Indigenous creative team, but with Apple TV+'s Chief of War, Jason Momoa and Thomas Pa'a Sibbett seized their opportunity and built a breathtaking cultural monument. The sweeping nine-episode saga, premiering August 1, centers on the unification of the Hawaiian islands at the turn of the 18th century, an era fraught with tribal warfare, political upheaval and the looming threat of Western colonization. At its heart, Chief of War is more than a story about battles won or lost. It's a reclamation of cultural identity, told through the eyes of Polynesian people by Polynesian people, in their language. "It's mind-blowing to be able to tell this incredible story of my ancestors and to do it with an amazing cast and brilliant team behind the camera," Momoa says in the show's production notes. "Ka'iana knew what was coming from the outside world. He was fearless, devoted, a visionary. His journey is full of action, drama, and romance—but it's ultimately about love for his people." Ka'iana (Momoa) is a complex figure in Hawaiian history who has been both celebrated and condemned by historians for his shifting allegiances in the tumultuous years before unification. In Chief of War, Ka'iana is portrayed as a man struggling between tradition, ambition and survival in the face of rapid change. A former war chief returning home after years abroad, he finds himself caught between competing chiefs, colonial powers and his own internal battles with loyalty and legacy. Jason Momoa as Ka'iana in new series "Chief of War," which he co-created. Jason Momoa as Ka'iana in new series "Chief of War," which he co-created. Nicola Dove/AppleTV Cultural Deep Dive While Ka'iana's personal journey drives much of the drama, the larger narrative belongs to King Kamehameha, played by Kaina Makua. 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"I wanted to bring a little bit of what Polynesians call that inner power—that essence, that scariness. Fortunately, we're trained in Māori haka. Haka—if you break it down—'ha' is the breath, 'ka' is the fire. We needed a lot of that in this epic." Morrison credits the trust placed in him by Momoa and the writers. "When they said 'action,' it was our time to ignite ourselves and do the best we possibly could," he adds. Prince Kupule, right, played by Brandon Finn. Prince Kupule, right, played by Brandon Finn. Nicola Dove/AppleTV Cliff Curtis, who plays King Kamehameha's rival chief Keoua, also stepped in as a co-producer, helping to shepherd the series through the complex cultural protocols of filming across Polynesia. "What's unique about the series is that it's been written, directed, produced by Hawaiians, by Jason and Thomas Pa'a Sibbett, and drawn from their ancestral stories," Curtis says. "We filmed a large segment in Aotearoa [New Zealand], and it was important to honor the tribes of those lands. I was proud to help lead that process—acknowledging the many tribal boundaries where we worked, engaging with about 25 different tribes." That reverence extended far beyond location agreements. Morrison shares how the production functioned on multiple cultural levels. "We'd stamp our feet to connect to Mother Earth. We'd say prayers to connect us to the heavens above. We're just manifestations of that energy," he says. "So when it came time to work, we brought that energy with us." For Makua, a cultural practitioner and taro farmer from Kaua'i, stepping into the role of King Kamehameha required some persuasion. "I wasn't looking to be an actor," he says. "My purpose is with our youth, grounding them in farming, in culture, every day." Initially, Makua gave Momoa's offer a polite brush-off. "But after prayer, talking to our elders, I came to the decision. I was told, 'If not you, then who?' So I tried my best to fill the shoes of Kamehameha." On set in Aotearoa, he made a point of speaking only 'Ōlelo Hawai'i—the Hawaiian language—whenever possible. "It helped the other actors get comfortable, get accustomed to the language. It made it easier for them to do them, on set." 'Part of Something Special' Language is a central pillar of Chief of War. Much of the series is performed entirely in 'Ōlelo Hawai'i, a remarkable choice in a global television landscape often driven by English-first storytelling. "One of the privileges we had was, I didn't speak one word of English in the whole series," Curtis says. "It made me feel like I was part of something special. We're connected to our ancestors and our descendants, and this is for them—to give future generations a remnant of their culture to look upon and celebrate their own language in the way we've tried to portray them." 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That just makes for a much more interesting and complex character to watch and portray." That dynamic plays out powerfully in one of Ka'ahumanu's most pivotal moments: her encounter with the prophetess who reveals a heavy destiny. For Luciane Buchanan, who plays the future queen, this doesn't just shape her path—it deepens her connection to her father. "It creates a secret between them that carries through the series," Buchanan says. "How they're going to make it work, they don't know, but they know they'll face it together." Te Ao o Hinepehinga, who plays Kupuohi, described the cultural advisers on the production as the voices of the characters. Te Ao o Hinepehinga, who plays Kupuohi, described the cultural advisers on the production as the voices of the characters. Nicola Dove/AppleTV Buchanan's portrayal captures the weight of inherited responsibility and the quiet resilience of women navigating a world of powerful men. The shared sense of Pacific connection was palpable across the production, particularly among the women. Buchanan and Te Ao o Hinepehinga, who portrays Kupuohi, both spoke of the strength they drew from the women guiding them, both on set and in spirit. "We're very privileged in Polynesia to be raised by strong women," Hinepehinga says. "My greatest inspiration was my language coach. She and the other cultural advisors weren't just teaching us the language—they were the voices of these characters. We were just the mouthpieces." Buchanan agrees. "They really helped, but they didn't override our performances. They would ask, 'How do you want to do it?' It felt collaborative, empowering." Her connection to Ka'ahumanu deepened with a pilgrimage to the queen's birthplace in Maui before filming. "It was a very beautiful moment. It kind of set me up to bring that intention, to physically see a place where she had been. Those moments are rare in this industry." Both actresses emphasized the unique challenge and reward of portraying women whose power isn't always wielded through physical strength, but through strategy, influence and quiet resilience. "These women aren't just strong; they're the silent leaders, the unsung heroes," says Hinepehinga. "The show shines a light on that. I hope women watching feel empowered to continue that work." Deep Connections That spirit of unity extends beyond the screen. Goods reflects on how Chief of War subtly reframes our understanding of Polynesia itself. "We call it the blue continent. The water isn't a barrier—it's a highway that connected us. There was a time when we traveled freely between islands and our languages, our customs, our stories were shared. This show reminds us of that connection." It's a connection Momoa felt deeply. "When people come from far and wide to Hawai'i, they fall in love with it because there's something special—it's an umbilical cord to the center of the Earth," he says. "But many people have no idea of our history." With Chief of War, that history has been given the platform it deserves: one paddled forward not just by its creators, but by generations who came before and those still to come.
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He said their impact includes overgrazing, which reduces plant cover and diversity while promoting the spread of woody, unpalatable species; the dispersal of weeds via their fur and droppings; soil compaction and erosion; the risk of transmitting parasites and diseases to other animals; and competition with native wildlife — such as kangaroos, wallaroos, and wallabies — for food and access to waterholes. As a result of more open vegetation, it can make it easier for feral cats and foxes to hunt native wildlife, Ritchie added. "Further, Australia has over 1000 species of threatened plants, and grazing by introduced and feral herbivores, including donkeys, increases their risk of extinction," he said. To make matters worse, feral donkeys are "generalist and very hardy herbivores" and have the potential to invade most terrestrial ecosystems in the country. "Given that Australia's ecosystems are already under severe pressure from a range of threats, we must do all we can to prevent any further new and compounding impacts, such as those posed by the spread and increased abundance of feral donkeys." How can the public fight back? Across the vast areas where feral donkeys are found, the most effective control methods include aerial and ground shooting, exclusion fencing, and — where terrain allows — localised trapping and mustering. Another technique involves using "Judas donkeys" — sterilised donkeys fitted with tracking devices that are released to join wild herds, making it easier for authorities to locate and cull the rest of the group. But, because they occur over "very large areas of arid and northern Australia, much of which is in very remote and rugged" country, this is difficult, with little to no road access to some regions. 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"All invasive species can potentially have significant impacts on Australia's wildlife and ecosystems, and they can compound other threats," Ritchie added. 🎣 Plea after fisherman fined $2000 for 'doing the wrong thing' 🏡 Worrying find in suburban town highlights growing problem 🌳 Aussies urged to know telltale sign as pest threatens every state In some areas, ecosystems might be affected by multiple invasive, large herbivores and omnivores, meaning the total grazing pressure on vegetation is unsustainable and can lead to biodiversity decline and extinction. "In northern Australia, for example, some areas have feral donkeys, feral horses, feral cattle, feral water buffalo and feral pigs, all in the same area. In arid Australia, feral camels, feral donkeys, feral horses, feral cattle, feral goats and introduced European rabbits may all co-occur," Ritchie said. Love Australia's weird and wonderful environment? 🐊🦘😳 Get our new newsletter showcasing the week's best stories.
Hamilton Spectator
12 hours ago
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● Paper Mirrors is Latcham Art Centre's latest exhibition, running until Saturday, Sept. 6, 2025. ● The show features work by Michael Ciesielski, Ron Siu, and Anthea Black. ● The artists use print media to explore queer identity, self-perception, and representation. ● Ciesielski's portraits utilize traditional woodcut techniques and comic imagery to highlight the subject's drag persona. ● Siu's ink monoprints draws on Yaoi manga to reference queer Asian invisibility in Western culture. ● Black's abstract artist's books challenge viewers to consider the varied, non-visible aspects of queer and trans experiences. Paper Mirrors, the newest exhibition now on display at Latcham Art Centre, features the work of Michael Ciesielski, Ron Siu, and Anthea Black. Each artist uses printmaking in distinct ways to explore themes of queer representation and belonging. The title and content of the exhibition reference the idea that a reflection reveals only what lies on the surface. The full reality of a person, including their identity and lived experiences, is complex and goes well beyond what can be seen at a glance. 'These artists' works invert and subvert traditional gender norms and orientations,' Latcham Curator Jeff Nye states in the exhibition booklet. 'The exhibition explores these artists' deeply personal responses to subjects including drag culture, queer histories, and the role of mass media in manipulating the visibility and perception of 2SLGBTQI+ communities.' Ciesielski's large-format woodcut print portraits, which dominate the gallery space, feature individuals presented in their drag identities. The artist cleverly incorporates a comic or cartoon character into the image, which is meant to mirror aspects of the subject's drag persona. Each set of portraits is juxtaposed with the hand-carved woodblocks used to create the final prints. 'These double portraits reveal the complex layering of identity, gender, and the spectrum of masculine and feminine characteristics that are part of drag and trans experience,' explains Nye. 'Displaying the original carvings allows the viewers to see the literal mirroring between the block and the final print, introducing the theme of the exhibition: the connection between mirrors and self-perception.' 'Michael's twinning of the print and the original carved woodblock explores the space between self-perception and external perceptions of queer bodies, a tension that can be heightened when one's appearance does not conform to stereotypical gender norms,' Nye adds. 'Michael considers the sense of isolation that can be felt because of that, but his work also expresses the relief and freedom that come from finding a welcoming community and safe places for self-expression.' Ron Siu's work echoes that sense of isolation in an almost intimate manner, and Nye describes how the artworks were shaped by the lack of queer Asian visibility in Western culture. Siu's series of ink monotypes draws from Yaoi manga, a Japanese graphic novel genre focused on male romantic relationships, which remains one of the few sources of queer Asian storytelling accessible in North America. Meanwhile, Anthea Black takes a more abstract approach. Her artist's books depart from literal imagery and instead reflect the fluid and unseen dimensions of queer and trans lives. The books have no fixed orientation and can take on a range of forms, allowing the viewer to see them in multiple ways. 'Anthea Black's artist's books have evolved from her research into abstraction as a way of exploring queer and trans knowledge beyond identity and public visibility,' Nye details. 'They are meticulously designed so that no 'correct' orientation exists… They become metaphors and embodiments of the invisible aspects of queer experience that transcend the body—opening onto a world of perceptions that the mirror cannot reflect.' 'Paper Mirrors presents a deeply felt grouping of work by artists who share a compassionate and inclusive approach to supporting and expanding their communities through print,' Nye concludes. 'This exhibition provides opportunities to consider and appreciate the diversity of the 2SLGBTQI+ community and the role we all play in supporting it.' The exhibition is on view until Saturday, Sept. 6, 2025. Latcham Art Centre is located at 2 Park Drive in Stouffville, and admission is free for all visitors. Error! Sorry, there was an error processing your request. There was a problem with the recaptcha. Please try again. You may unsubscribe at any time. By signing up, you agree to our terms of use and privacy policy . This site is protected by reCAPTCHA and the Google privacy policy and terms of service apply. Want more of the latest from us? Sign up for more at our newsletter page .
