I think in order to be a genuine icon, he needs a definitive, signature piece of work. He’s done a lot of nice work, has a handful of memorable and entertaining fims, and even has an Oscar now but I still don’t think he has a Cassablanca or a North by Northwest. He doesn’t have a masterpiece. He doesn’t have the one film that everyone will always remember him for. If he ever get that, I think he’ll join that upper echalon of timeless movie stars.
He may have a chance to do it as a director. Good Night, and Good Luck was an exceptionally, tight, well-crafted piece of work. Very understated. Personal and meaningful without being self-indulgent, preachy or bloated. He understands restraint. In a way, his directorial work with that film reminded me a little of Clint Eastwood, who also understands minimalism and restraint (and who also emerged from television and went on to do some more traditional Hollywood leading man work in movies before finding his way as a serious artist).
[QUOTE=The ScrivenerThere’s only two other film icons who come to mind as genuine quadruple threats: Woody Allen (as director, writer, producer, and less frequently and pleasingly, lead/character actor) and Clint Eastwood (as director, producer, star, and composer/songwriter). [/QUOTE]
What about:
Charlie Chaplin: actor, writer, director, producer, Oscar-winning composer, film editor, and one of the greatest of all film icons. Mel Brooks: Actor, writer, producer, director, Tony-winning composer.
Buster Keaton: actor, writer, director, producer. Orson Welles: actor, Oscar-winning writer, director, producer. John Huston: Not a leading man, but successful as actor, writer, producer, and Oscar-winning director. Paul Newman: Oscar-winning actor, director, producer – with one writing credit.
Other quadruple threats who weren’t icons include Preston Sturges (though his acting roles were few) and Kenneth Branagh.
Matt and Trey made a funny little short film in college called Spirit of Christmas, starring the South Park kids. Clooney got ahold of it somehow and he helped promote it. He also lent is voice to an episode or two, plus the feature film.
I think people have exaggerated how much Clooney had to do with that. Some guys at Fox saw Jesus vs. Frosty and gave Trey and Stone a bit of cash to rework it a bit as Spirit of Christmas, as a sort of in-house “Video Christmas Card.” It was an immediate hit and plenty of people at Fox made copies and sent it on to their friends, until pretty soon it wasn’t “in-house” any more. George Clooney was enthusiastic about it and spread it around quite a bit.
It was a huge hit at various animation festivals. (Especially Spike and Mike, of course.)
I can still remember my friend describing South Park to me after it had been on for a week or two, and totally gushing about it. He sat me down in front of the TV and put on a tape, and as soon as I saw the opening, I said “Hey! The Spirit of Christmas! ‘Oh my God, they killed Kenny! You bastards!’” I’d seen that short four or five times by then, and somehow still his description didn’t clue me in.
I was sold on him when I was in Baton Rouge and a cab driver told me a story about him. When George was in BR filming “Out of Sight”. This cabbie got a call to drive someone from the movie (at the hotel) to the gym. Unbeknownst to anyone, it was George. The cabbie didn’t recognize him because George wasn’t as big then and the cabbie wasn’t a big follower of such things. To make conversation, the cabbie was asking the guy (who he thought worked on set) about everyone on the film, Jennifer Lopez, etc.
Eventually he said, “What do you think of the other star, George Clooney?”
Re. the quadruple threats: I meant currently, RealityChuck. Of your list, four are deceased and Mel Brooks and Paul Newman’s film careers are largely winding down. Newman has acted only intermittently over the past twenty years, although he seems to have recently rededicated himself to acting recently, and other than acting has only one other credit, as exec. producer (for Empire Falls) since 1987. He hasn’t been a heavy industry player in a polyvalent way since helming Harry and Son in 1984.
As for Mel Brooks, I’ll grant he still ranks as a quadruple due to his chops as a songwriter/composer and dance choreographer, but as an actor was always more of a ham than a serious actor, **Life Stinks ** notwithstanding. A Kosher ham, if there’s such a thing. But he’s only just announced another film project, his first in ten years and his first project, other than his prolific gigs in voice work, since his B’way adaptation of The Producers.
The thing I like most about George Clooney is the simple fact that he doesn’t forget that he was in Batman and Robin. A lot of serious actors wouldn’t bring that up in interviews I don’t think but I’ve heard him mention it on a number of occasions. I always thought that was pretty cool of him. Batman and Robin actually turned into a pretty good move for him because since then he’s been really careful of the roles he’s picked.
I think the best comparison so far would be Mel Gibson. They have a similar temperament - they can be serious, but are funny guys. They mix action movies with serious films. Gibson has credits as Actor, Director, Producer, and Writer.
Another good comparison would be Tom Hanks. He’s also got acting, writing, directing, and producing credits. Actually, Hanks even has a composing credit for That Thing You Do!, making him a quintuple threat.
Then there’s Kevin Costner, who lacks a writing credit but has the other three. He’s fallen a bit out of favor lately, but around the time of Dances with Wolves, he was about as big as it gets.
I’d put Clooney at Costner’s level so far in terms of lifetime achievement, but he’s still a ways behind Hanks and Gibson.
Agreed. I liked his interview on Stern when Howard was goofing on the movie, and Clooney responded with “yeah, I singlehandedly brought down that franchise.” Good times.
I wouldn’t put him anywhere near the same category as Clooney as of yet, but the younger generation’s Zach Braff has certainly impressed me with his ability in all the areas you cite.
I think Out of Sight will settle into being Clooney’s signature role. It’s a flawless, endlessly rewatchable movie, and the best charming-rogue character since Gable’s early days. I hope Clooney’s growing stature will send more people back to watch that movie. It’s my favorite Clooney; my favorite Lopez; my favorite Don Cheadle; my favorite Steve Zahn; my favorite Elmore Leonard; my favorite Soderbergh.
Yeah, that was the first movie that made me look at Clooney as anything other than a Tom Selleck for the 90’s. Even Jennifer Lopez can’t stink that movie up, and Don Cheadle is downright scary: “Man, when I tell you this is my car you know it’s gonna be my car. You can go steal you another.”
Ooh all these comparisons to Old Hollywood got my imagination whirling! Imagine a remake of “The Philadelphia Story” with Clooney as CK Dexter Haven and Tom Hanks as Macaulay Connor. Who could be Tracy Lord?
That is a good stumper. Kate Winslet might be able to pull it off. (Even though I am not a big fan of hers). No one else is coming to mind.
You need an excellent actress who can be believable as an American aristocrat.
Whoever got picked should be in her late 20’s to early 30’s. Good looking but not model good looking. Winslet could probably pull it off.
But he’s only just announced another film project, his first in ten years and his first project, other than his prolific gigs in voice work, since his B’way adaptation of The Producers.