Year of Eastwood #45

The Gauntlet (1977)

Starring: Eastwood, Sondra Locke
Directed by Eastwood

After the cluster of ho-hum crime dramas from the recent Clint films, it’s refreshing to break out of the funk with a tried and true action bust ‘em up from the vault of Clint‘s heyday. The year was 1977 … the country was just settling into the Jimmy Carter Presidency, Star Wars was breaking records at the box office, and the Laff Olympics were pitting the Scooby Doobies against the Yogi Yahooeys. And Clint was making movies with Sondra Locke.

Clint is a cop with attitude problems. Sondra is a wise-cracking witness to some mob crimes. Clint is a booze hound who has lost his way. Sondra is a high-price call girl with a heart of coal. And when they get together, the sparks fly. Nothing much new here, so we might as well shoot up as much stuff as we can. On three separate occasions, there’s enough gunfire for complete and total obliteration … be it a car or a bus or even a house. One time on Myth Busters, the dudes tried to debunk the belief that a machine gun could mow down a tree … let alone knock down an entire house.

Let’s see, what else? Hmm, Clint and Sandra fall in love - but I guess that’s to be expected. And the police chief that Clint trusted ends up double crossing him. Clint’s partner gets shot and killed. And the final climax, down the streets of Phoenix, pits Clint driving an armored bus against hundreds of Arizona cops lined up on the streets firing thousands of bullets at Clint (and each other?).

Clint’s career has basically come down to three successful phases: the Spaghetti Western (which led to many other successful westerns, culminating in Unforgiven), Dirty Harry (which led to a string of anti-hero cop-types, culminating in In the Line of Fire), and Play Misty for Me (which stretched Clint as a director in genres that were atypical of his usual style, culminating in Million $$$ Baby).

Of course, there’s been a multitude of ongoing Clint themes in this Year of Eastwood: the sneer, the young ladies, and Clint’s aversion to marriage. But the one element that can be found at the heart of almost every Clint film is redemption.

Clint’s characters are always flawed. His inability to follow authority. He drinks too much. He’s too old to change his ways. He’s just not a very good pig farmer. But during the course of the two hours that audiences sit in a darkened theatre being entertained with the ‘splosions and the orangutans - they are witness to Clint being transformed into a better person. Usually bloodied and beaten, but strong enough to prevail in the end.

Clint has never been the Tom Hanksy everyman or have the Jimmy Stewartish purity but he remains a likable spirit despite all of his downfalls … and in the end, crowds root for him to succeed. Clint has connected with the American public desire to be the good guy, the strong but silent type - who can be kicked down and dragged around, but can only stands it for so long … and then watch out when he comes out swinging.

So, even though he hooks up with Sondra in the end, Clint has regained his self respect after surviving the Gauntlet by proving everyone around him wrong who assumed he would be the weak link. And he did it to prove to himself that he could do it against all odds … plus it’s got a kick-ass poster (and I’m running out of clichés).

Year of Eastwood #44

True Crime (1999)

Starring: Eastwood

Directed by Eastwood

It’s hard to imagine that True Crime would break much new ground in the ongoing legacy that is the Eastwood canon. Clint is a washed up newspaper reporter, who’s nose for the truth has mislead him enough that usually he finds himself passed out drunk every night. But, wonder of all wonders, True Crime breaks new ground because the Clintster is a married man and even has a young daughter back home.

Not that it’s all marital bliss, Clint still chasing after the ladies - kissing on Mary McCormick before she does some driving under the influence and smashes her car on Dead Man’s Curve. And Clint’s banging Dennis Leary’s wife - who just happens to be his desk editor back at the Daily Planet ... So finally Clint has settled down but he don’t seem to be interested in spending much time with the old ball ‘n chain.

The (soon to be dead) Mary McCormick was assigned to interview a murderer on death row, but what with the aforementioned dirt nap, she couldn’t make her appointment so Clint has to fill in. But Clint’s nose starts tingling again and he soon has plans bigger than just the average human interest sidebar. Clint gets it into his head that this man is innocent but as editors in movies are apt to do, James Woods doesn’t want to hold up the deadline just cause Clint wants to save some guy’s life.

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Isaiah Washington - before he got himself into all sorts of trouble on Grey’s Anatomy - paces back and forth and acts all peaceful and stuff as the death row inmate. His young daughter colors him some pictures, he gets to snuggle a bit with his wife, and he enjoys a delicious final meal … all the while Clint is trying to solve the mystery of the dead girl at the convenience store. Whew, it’s hard to keep track of all the dead people in this movie.

Michael Jeter was the key witness, but it turns out he didn’t see much at all. There was another guy at the scene, but he’s dead and his grandma ain’t too interested in bringing back the bad memories. The gas chamber is all fired up and Clint decides to get drunk. But then a necklace blows the case wide open and Clint has to weave his way to the Governor’s mansion to stop the execution. So Clint saves the day, buys a stuffed hippo for his daughter, and asks Lucy Liu out on a date. Roll credits.

Obviously, Clint is able to spot young talent and established stars stand in line to appear in his latest picture. Despite being a huge star, he always makes room for other actor’s to have their moment. Clint learned early on in his Spaghetti Westerns that there is power in silence. He also knows that by allowing other actors to shine it means less lines for him to memorize.

Recently, Bill Murray talked about how much he's always admired Clint's style. Early on, Clint met with Bill just as his star was on the rise with movies like Meatballs and Stripes. Bill wanted to work with Clint because he knew he would get all the best lines. Clint suggested a few movies they could do together but none of them panned out … guess that's one cop buddy film that was never meant to be.

Year of Eastwood #43

Blood Work (2002)

Starring: Eastwood
Directed by Eastwood

Clint is in full old-man pants hiked up to the chest mode in Blood Work, a forgettable murder mystery from a few years ago which garnered attention from nearly no one when it was released. Clint seemed to settle into the old guy routine following Unforgiven, but that hasn’t stopped him from casting young ladies as his love interests. This time, the lady must be at least 30 years younger than Clint but that doesn’t stop her from jumping in bed with him even though he’s got her sister’s heart in his chest … oops, got ahead of myself there.

So Clint starts out the movie chasing down a serial killer thru the streets, probably jumping some rooftops and knocking over a few fruit stands … but when it comes time to scale the chain link gate that always seems to appear out of nowhere in these alleys - Clint’s ticker gives out. He crumbles to the ground and the killer gets away. A few months later, Clint’s got a replacement heart and he seems to be content doing chores around the pig farm.

But then little Miss Hottie Santa Maria Conchita de Marco shows up at his house boat and wants Clint to pay her back for her dead sister’s heart. I guess it’s pretty much a given that she was dead, seeing as though Clint’s got her heart. But not only is she dead, she was murdered. And now Clint feels like the least he can do is find the killer. Plus, he’s been craving some chili rellanos.

Now, it might seem logical that Clint could use some bed rest, what with the major surgery and all. Well not to worry, that’s what Angelica Huston is here for. As Clint’s doctor, she strongly recommends that Clint refrain from certain activities - like lifting boxes over 15 lbs or firing shotguns or taking asphalt dives to avoid speeding cars. But Clint isn’t going to let anything as frivolous as a rib separator stop him from getting the job done. Plus, he’s got the help of his buddy Big Lebowski to drive him around town like Miss Daisy.

The cops don’t want Clint’s help in solving the murder. In what may be the singular worst performance in this Year of Eastwood, Paul Rodriguez cracks some crappy one-liners and nearly gets into fisticuffs with Clint … the man just had a heart transplant and you’re gonna punch him? But Clint doesn’t need any help from the cops, he can find all the information he needs on the internets. Clint using a computer. Well, [Cntrl Alt Del // !!] . The old man is still wondering where his diet cola is after hitting the Tab button. (I got that joke from the Simpsons.)

Turns out, the sister was one of a string of random murders which is maybe not so random after all. The victims all have the same blood type as (gasp) Clint - and the murders were all planned to provide Clint with a viable donor heart. But who would do such a thing? How about the slacker staying in the house boat next to Clint? How about Angelica Huston who seems to have absolutely no other reason for being in this movie?

It’s a tough day when you have to take the car keys away from grandpa. But Clint was reaching an age where it might lead some to conclude that the master was losing his edge. Blood Work surely did nothing to convince these critics otherwise … but Clint was just about to regain his stride in the next few years with Mystic River and Million $$ Baby and I’m sure that new Angelina Jolie movie is finally gonna get some attention for that lady which she’s been lacking so much of lately.

Year of Eastwood #42

Absolute Power (1997)

Starring: Eastwood, Gene Hackman
Directed by Eastwood

It’s getting down to the wire here. Ten Clint masterpieces to go. Actually, it’s been a bit of a scramble to come up with the final entries in Year of Eastwood … a fact which will be transparently clear as the next few entries are posted. This will clear the way for the big bang at the end. For now we’ll have to do with a few leftovers and a chunk of Clint films in the late nineties that really struggle to distinguish themselves from one another. Thus it begins with Absolute Power.

Clint is a masterful cat-burglar. OK, so he somehow got caught once and spent some time in the joint which cost him his marriage and strained his relationship with his daughter. In an odd twist, Clint now has full-grown, adult children in the form of Laura Linney. But she won’t talk to him so he spends his time planning for his next big heist - a billionaire fat cat in the world of finance and politics. He studies the blueprints. He breaks down the security system. And he waits for the family’s annual trip to Disney World.

He’s in the house. He’s broken into the secret vault hidden away behind a two-way mirror in the bedroom. But suddenly and without warning, Mrs. Moneybags returns home, but she’s not alone. No, she’s skipped the family vacation to meet up with her lover. Seems like Mrs. Moneybags likes things rough in the bedroom. Clint can only sit by and watch things unfold thru the mirror. Then things get out of hand. Mrs. Moneybags grabs a letter opener from the nightstand and is just about to kill her lover … when Bang! The Secret Service rush in and shoot her in the head.

What?? Turns out the other man is none other than the President of the United States. Things get pretty silly from here … the President’s Chief of Staff (who for some reason is at the house with the President and his lover) decides to cover up the murder and stage the whole thing as a robbery gone bad. This eventually leads the police to Clint. He’s really in between a rock and a hard place this time, but Clint has a trick up his sleeve … or at least the letter opener with fingerprints and blood all over it.

The police (namely Ed Harris who’s got the hots for Clint’s daughter) convince Laura to set up a meeting with Clint so they can safely take him into custody. The Secret Service have a different plan as they send a guy (the Good Hands from Allstate guy) to shoot Clint with a high powered rifle. Just to add more suspense, Mr. Moneybags hires a guy to show up at the same meeting spot with his own high powered rifle. Clint high tails it outta there.

There’s lots of holes in this script and plenty of stuff that just don’t make a whole lotta sense. Besides the outrageous lengths to protect a slimy president. The film seems to jump back and forth between scenes where one moment people are trying to kill Clint to the next they just throw him some dirty looks. Gene Hackman is wasted in his role as the President. It’s a role that could have been played by any number of actors and Gene seems to do little to give it his own spin. I guess it really shows Clint’s pull in show business that he can get so many talent stars to appear in such a silly movie.

Year of Eastwood #41

Where Eagles Dare (1968)

Starring: Richard Burton, Eastwood
Directed by Brian Hutton

Now for a rarity in Eastwood’s career … a movie where Clint doesn’t receive top billing. Sir Richard Burton (from Englund) is the star of Where Eagles Dare. A WWII espionage thriller with so much double crossing going on that by the end of the film, everybody’s paranoid. Clint’s really along for the ride in this one - but on the plus side, he gets to kill more people than probably any other film he’s made.

An American General has been captured by the Germans, and a rag-tag team of commandos is instructed to sneak into the German headquarters and rescue the American. The prisoner is being held in a fortress high in the Alps, where eagles dare not perch (Shakespeare).

The team of 7 operatives parachutes down into the snowy Bavarian town. Among the team is the leader (Burton) and a marksman (Clint) ... A moment of silence for the guy who didn’t survive the jump from the plane. So the mission’s barely started and already we’re down to 6 operatives. The men hide out in a cabin, warm up with some hot Cocoa, and prepare to sneak into town bright and early the next day.

The team makes their way into town, disguised as German soldiers (Clint‘s got a nice tan for a German). Since it’s Germany, the guys end up in a Bierhaus. Burton gets drunk, makes out with a couple of women, and another operative gets killed … silence … now we’re down to 5. That’s a more comfortable number to deal with anyways. It’s hard to keep track of all those people when the only recognizable ones are Burton and Clint.

Up on the mountaintop (via a long cable car ride) - all the usual Germans are assembled … the Nazis, Gestapo, and Secret Service. Burton and Clint ditch the cable car and decide a real man would climb up the side of the castle instead of taking the stairs. If you find it hard to believe that a group of soldiers could sneak their way inside Nazi Germany … wait till you see Boozer McTipsy rock climb that sucker.

But wait a second, turns out the prisoner is just an actor pretending to be the American general. And the whole mission is a double cross to rat out some British spies. Burton convinces those Germans that he’s the spy - but it turns out those other 3 guys on the team are actually the traitors.

Then all hell breaks lose. Clint blows up a lot of stuff, kills more Germans than you can shake a stick at … and they make their way back to the cable car. A couple of the spies battle Burton atop the cable car. Good thing he was drunk or he probably would have been a little scared, but he jumps across to the passing-by car and the bad guys go boom.

After all this, the guys still need to make their way out of Germany. Good thing one of the women Burton was making out with arranges them a ride. But those pesky Germans are still in pursuit. I’ve seen enough Clint movies by now that the best way to escape is blow up that damn bridge - so they make it to the airstrip, crash into a few planes, and are rescued by the British army. Clint could use a good night’s rest after this one…

Year of Eastwood #40

the Beguiled (1971)

Starring: Eastwood, Geraldine Page
Directed by Don Siegel

Early in his career, Clint developed his own production company - the Malpaso Company - to allow him to have more creative control of the movies he starred in. Malpaso, which is named for a creek located near Clint’s home in Carmel California, has been associated with most of Clint’s films since it’s inception with Hang ‘Em High. Malpaso is also Spanish for misstep which Clint felt would be an appropriate name for his company since he was warned that starring in Spaghetti Westerns would be a bad move in his career.

Clint also produced a few films thru United Artists which allowed many of Hollywood’s biggest stars - including Paul Newman, Barbra Streisand, and Woody Allen - to have more control ... and also to reap more of the financial benefits of the blockbusters they worked on instead of most of the money going to the studios which had been the case during Hollywood’s golden years in the 1930s and 40s. Recently, when Tom Cruise (couch-jumper) was released from his contract with Paramount, he resurrected United Artists with the hopes of saving his own career as well.

With this creative freedom to produce the films he wanted to do, I’m sure Clint did back flips when he saw the script for Beguiled. The story begins as Clint, an injured Union soldier, is rescued by a Southern girl and taken back to the plantation which just happens to be filled with young, nubile hotties being taught all the etiquette and manners of being a fine, upstanding Southern lady. The school is operated by a strict matron played by Geraldine Page, who via flashbacks seems to spend a bit too much time rolling around in the grass with her brother. The girls, who haven’t seen a man in several years, are willing to put aside the fact that Clint plays for the other team and begin scheming against one another for the chance to jump around on Clint’s bed.

Geraldine has ideas of her own for Clint. As she nurses him back to health, she begins to weave her own web to catch herself a man to help her with the farming since her beloved brother probably won’t be coming home any time soon. Clint pulls some story out of his ass about being a Quaker medic in the Army, while we see scenes of him shooting men in the back and doing his best to burn down as much of the South as he can. He tells Geraldine he would like to plow her fields. He tells one of the lonely, young school teacher that he loves her. And he tells a busty young student to practice her stretching exercises.

Every one seems blissful with all the deception, until the night Clint must decide which lady’s room to make a special visit to: the old, cranky brother-lover, the marmy book worm, or the PYT. Clint, of course, chooses the hot thing and the school teacher pushes him down the stairs and Geraldine cuts off his … leg. Now Clint is pissed, but there ain’t much he can do because, you know, he ain’t got no leg. So he drinks too much wine, gets mouthy at the dinner table and ends up throwing the little girl’s pet turtle across the room. That crosses the line and for dinner the little girl feeds Clint some poison mushrooms and next stop for Clint is the big dirt nap.

It really is a rarity for Clint to end up dead at the end of any of his movies. Since I already ruined that Spoiler, I might as well say that Honkytonk Man is the only other Clint movie where he ends up dead. Beguiled is unique among Clint movies in other ways as well. Clint is hobbled for most of the movie so it’s easily got the least amount of action of any of his films, but he still manages to beat the crap out of a couple of guys with his crutches. The film relies more on the complex mind games and lies … and Clint considers it one of his best films.

Year of Eastwood #39

Tightrope (1984)

Starring: Eastwood
Directed by Richard Tuggle

Lookout, Clint’s a cop on the edge! By day, he’s a caring single father but at night he’s some kind of pervert trolling the dirty streets of N’Orleans looking for cheap hookers. Ok, I don’t know for sure that they’re hookers - because I’m sure Clint has never had to pay for it.

But the fine line (some might say a tightrope) between work and pleasure is blurred when Clint gets assigned to a new case tracking down a serial killer. It seems Clint and this mysterious killer in Sketchers (along with the ominous music) must be hanging out at the same clubs. Crime scene after crime scene, Clint shows up only to find that the dead woman is someone he had only just recently schupted. Is it just a coincidence or (gasp) is Clint the killer?

In the 70’s, Clint was the swinging bachelor. Dirty Harry had the women lining up outside his door. He’d use them up and then toss them aside - but these women knew there was no taming the Clintster. But in the 80’s, attitudes about sex changed and now someone with Clint’s pattern of behavior is perceived as some kind of deprived sicko. Sure he likes to watch naked women wrestle in a tub of oil. And the anonymous sex. And maybe every now and then he likes to use those handcuffs for non-official business. It seems like pretty tame stuff but everyone knows that handcuffs are just a gateway drug…

We know pretty early on that Clint couldn’t be the killer … because, hey, it’s Clint we’re talking about here (plus they show the guy’s face). But like so many of these serial killers in movies, the real killer enjoys the cat and mouse game and begins to torment Clint. He tries to kill Clint’s new girlfriend - but he gets away. He tortures Clint’s two daughters - but he gets away. Finally, Clint chases him down in some funky warehouse full of Mardi Gras floats.

A lot of thought goes into the location of the final showdown. In some of Clint’s previous films, we’ve seen deserted Carnivals, airports, and water treatment plants. It must be tough coming up with a new and original location. Let’s see … how about a tractor pull or a Wiggles concert?

I don’t know who this director guy Richard Tuggle is, but this movie feels like a Clint-directed film. The pace of the film, the use of jazz music, the pan shot of the city as the credits roll. Feels like this Tuggle might just be made up.

Tightrope offers a side of Clint that we hadn’t seen in too many of his cop films. His character is flawed. Lonely, drinking himself silly each night, and banging chicks he doesn’t even know. Again, behavior that might not be that far removed from Dirty Harry, but in the 80’s the euphoria of free love had worn off - and thanks to the likes of Jimmy Swaggart and Senate pages, sex was kinda sleazy.

Clint received a lot of Oscar buzz for his performance, but when the nominations were announced, Clint’s name wasn’t on the list for Best Actor. But Tightrope did signify a turning point in Clint’s career, where his films would be begin to receive critical notice for their accomplishments.

Year of Eastwood #38

The Rookie (1990)

Starring: Eastwood, Charlie Sheen
Directed by Eastwood

Clint’s been getting a lot of press again lately involving internet reports that there’s going to be another Dirty Harry movie. People, let’s put this one to rest. I’ve already discussed the recent stars-of-a-certain-age returning to their previous glory (this just in … Eddie Murphy’s going to make another Beverly Hills Cop movie). But what gets lost in all the speculation is that many of these franchises had been played out years ago. Even the final two Dirty Harry movies weren’t exactly classics. At least Clint has the sense to say he has no interest in making another sequel.

Anyways, there’s lots of other Clint cop movies out there that the public has completely ignored. Take, for example, The Rookie - which is probably one of the crappiest and biggest flops that Clint has ever been involved in. Clint is a cantankerous cop who plays by his own rules. It doesn't really matter his character's name, but it might as well have been Harry Callahan.

Clint’s hunting down car smugglers. Raul Julia is the kingpin who really needs a big payday to pay off some debts of his own - and if he doesn’t get that money soon, he’s going to be in all sorts of trouble. So they load up a semi with all sorts of expensive, foreign cars. Clint and his partner show up for the bust. His partner gets shot - but Clint must have read the title on the script and knew he was getting a new partner anyways, so he chases after the bad guys.

The thieves are now trucking down the expressway. Instead of trying to be the least bit inconspicuous - they’re banging up cars right and left - and when Clint gets too close driving his Oldsmobile, they decide the best way to get away is to drop their cargo (the same thing is what got Han Solo in so much trouble with Jabba the Hut). So $100 grand cars are being dropped all over the interstate and Clint’s weaving and dodging, but there’s always some wise guy in a Winnebago who flips that sucker over and then there’s all sorts of chaos. And the perps get away.

Back at the precinct, Clint gets pulled from the case and teamed up with a new partner fresh out of the academy. Clint never seems to be happy with his new partners - but if he wasn’t always getting them killed, maybe he wouldn’t have to deal with that problem. Charlie seems to have the skills, but in addition to his addiction to hookers and coke, he’s always having dreams about his dead brother and waking up in a cold sweat. And talk about covered in sweat … it must have been worse than going thru withdrawals and being married to Denise Richards all rolled up into one.

Meanwhile … Raul is in a lot of hot water and still needs that money. He and his pleasant girlfriend, Sonia Braga (who has like 2 lines in the whole movie), decide to kidnap Clint and hold him for ransom. Then there’s lots of scenes thrown together involving dog fights, donut jokes, and bar fights. Oh yea, and Charlie’s girlfriend (played by a young Lara Flynn Boyle before she put on all that weight) almost gets killed until Charlie busts his motorcycle thru the house to save her. Then they fight, they laugh, and Charlie heads out to save Clint.

Some other stuff happens - let’s say somehow Charlie saves Clint and then they chase down the bad guys in an airport … I’m sure some innocent people got killed … and the two get chased on foot by a jet. Clint catches up with the bad guy, beats him up, and then shoots him in the head - I’m sure he got a medal for it. So, there’s your Dirty Harry sequel folks…

the Cure at Red Rocks

If I had to make a list of my favorite bands that I hadn't seen in concert - the Cure would be at the top of that list. Well, finally I had a chance to see the Cure at Red Rocks on May 20th. It was an awesome show, 5th row seats, and the band played for nearly 3 hours.

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I have a theory that any of the Cure's peppy songs are perfect for the Peanuts dance ... here's a video I put together: Why Can't I Be You?

Year of Eastwood #37

Space Cowboys (2000)

Starring: Eastwood, Tommy Lee Jones,
Donald Sutherland, James Garner
Directed by Eastwood

30 years down the road from Kelly’s Heroes, Clint and Sutherland team up again in Space Cowboys. This time Clint’s a crotchety old man and Sutherland is an aging lothario who re-team with their old comrades, Jones and Garner, to make a flight into space that they were denied back in the beginning days of the space program. I’m sure the idea for this film took off with the real-life adventures of old man in space, John Glenn, who was propped up for a space flight back in 1998 at the ripe age of 77.

Space Cowboys - not to be confused with Spaced Invaders (a 1990 zany comedy about stoned ET’s coming to Earth: wackiness ensues) - begins with a flashback of the young guns, breaking the sound barrier in their jets, only to be passed over for the first American space flights by some monkey … Clyde’s revenge? Years later, the men are now AARP members but still searching for their lost thrill - be it crop dusting, testing roller coasters, or installing garage door openers.

Turns out there’s an old Russian satellite about to crash to Earth and the only guys familiar with the navigation system on the old clunker are these old clunkers, so it’s time for a reunion in outer space. The old men are put thru the rigors and tumbles of the space training program. They also have time to get into some bar fights and chase much younger women.

Space Cowboys is pure movie entertainment. Don’t spend too much time trying to figure out the logistics of the plot - or the plausibility of these old men running 20 miles - because this movie is here for a few laughs, some exciting action, and a whacked-out “Armageddon” style finale. And Clint’s in the director’s chair to make sure everything moves along at a good pace.

Sutherland and Garner are along for the ride as comic relief - I’m not really even sure what their job on the space mission is really. And it’s a little odd to have Jones as the heart-throb heroic role, but Tommy Lee’s entertaining in most things he does. The internet (which never lies) says that originally Jack Nicholson and Sean Connery were considered for roles in Space Cowboys - which would have been an epic teaming, but it’s hard to imagine all those egos would have fit into the cockpit.

Clint is the steady force of the group … a steady, old, cranky, grumpy force. Most of Clint’s roles in the last 20 years of his career involve him griping and complaining most of his lines. Which I guess if you think about it, most old men in movies are cranky (except maybe Hal Holbrook in Into the Wild). Although his roles in younger days weren’t exactly a barrel of monkeys either … so he usually leaves that up to the Donalds and the Burts and the actual monkeys.