On January 15, 2009, the world witnessed the “Miracle on the Hudson” when Captain “Sully” Sullenberger (Hanks) glided his disabled plane onto the frigid waters of the Hudson River, saving the lives of all 155 aboard. However, even as Sully was being heralded by the public and the media for his unprecedented feat of aviation skill, an investigation was unfolding that threatened to destroy his reputation and his career. Clint Eastwood is directing the film from a screenplay by Todd Komarnicki, based on the book “Highest Duty: My Search for What Really Matters,” by Sullenberger and Jeffrey Zaslow.
Release date: September 9, 2016
Studio: Warner Bros. Pictures
Director: Clint Eastwood
MPAA Rating: PG-13 (for some peril and brief strong language)
Screenwriter: Todd Komarnicki
Starring: Tom Hanks, Aaron Eckhart, Laura Linney
Genre: Drama, Biography
Official website: Sully-movie.com | Facebook | Twitter | Instagram
Sully has received positive reviews from critics, with praise going to Hanks’ performance and Eastwood’s direction.
On review aggregator Rotten Tomatoes, the film has an approval rating of 82%, based on 190 reviews, with an average rating of 7.2/10. The site’s critical consensus reads, “As comfortingly workmanlike as its protagonist, Sully makes solid use of typically superlative work from its star and director to deliver a quietly stirring tribute to an everyday hero.”
On Metacritic, which assigns a weighted average to reviews, the film has a score of 75 out of 100, based on 43 critics, indicating “generally favorable reviews”.
Audiences gave the film an average grade of “A” on an A+ to F scale, according to CinemaScore polls.
Sully can feel like a dutiful, hagiographic slog, even though its actual running time barely tops 90 minutes and both Hanks and Eckhart give warm, understated, funny performances in the only two roles developed enough to qualify as real characters.
Winnipeg Free Press
This modest, moving and unshowy ode to professionalism gets the job done.
Tom Hanks has enough emotional charisma to keep Clint Eastwood’s hero conventions in the air, but this cinematic salute to Chesley Sullenberger’s heroism loses thrust.
A mishmash of genres — a would-be disaster flick, a legal thriller, a heroic biopic — jarringly cut together with the thinnest of threads linking them together.
Killer Movie Reviews
hinges on the superiority of experience over theory, a soothing message in a mechanized world that relegates the human factor to a slot just this side of superfluous, but one that needed the kind of subtlety that Hanks delivers in his performance.
Village Roadshow Pictures
The Kennedy/Marshall Company
Distributed by Warner Bros. Pictures
September 2, 2016 (Telluride)
September 9, 2016 (United States)
Running time 96 minutes
Budget $60 million
No one warned us. No one said you are going to lose both engines at a lower altitude than any jet in history.
“Brace, brace, brace-head down, stay down!”
Moments after takeoff from New York’s LaGuardia Airport, a flock of birds strikes US Airways flight 1549, taking out both engines at only 2800 feet and causing an immediate, forced water landing. It is, we will learn, unprecedented. “No one has ever trained for an incident like that,” notes Tom Hanks, speaking as the titular Captain Chesley Sullenberger in director/producer Clint Eastwood’s “Sully.”
Recounting the real events that took place on that cold day in January 2009, the film also explores their very real aftermath. The plane carried 150 passengers and five crew members, yet not a single life was lost-not in the air, not in the water. But as “Sully” reveals, in the days following what quickly came to be known as the Miracle on the Hudson, the pilot with a record of proficiency, years of experience, and calm in the face of potential catastrophe, would be called upon repeatedly to defend his actions to the National Transportation Safety Board (NTSB).
It was that part of the story, the one the world didn’t know, that drew Eastwood to the project. “Anybody who keeps their wits about them when things are going wrong, who can negotiate the problems without panicking, is someone of superior character and interesting to watch on film. But for me, the real conflict came after, with the investigative board questioning his decisions even though he’d saved so many lives.”
“I’m not an aviator,” says Hanks, “but I know you’re not supposed to be able to make a landing like that. This was a very pragmatic man who understood the realities of what he’d done and what it meant. He will never say he’s a hero, but knowing with confidence that he could make that landing? That was a heroic thing he did. And he paid a price for it.”
That cost was exacted both during the day, when he and his co-pilot, Jeff Skiles, were being interrogated by the investigative board, and at night, when Sully was haunted by nightmares about what could have happened-what very well might have happened-had he turned that plane around in search of a less watery airfield. The film, based on Sullenberger and author Jeffrey Zaslow’s book Highest Duty, also focuses largely on the untold story, the details that didn’t make it into those pages.
Producer Allyn Stewart says of initial conversations with Sullenberger, “The second Sully started to give us the details of what happened to him after the event, I realized this was the real architecture of the movie. We found a great screenwriter, Todd Komarnicki, to adapt the book. He’s really good at getting under the skin of a normal guy, and that’s the essence of Sully; he’d be the first one to say he’s simply a man who did his job very well.”
“Sully is a man who prepared his whole life to do this one impossible thing that he didn’t know he was preparing for,” Komarnicki observes. “But when you meet him, after ten minutes with the guy, you understand; you think, ‘Of course he pulled this off and no one else could have.’ But the beauty of this movie is that we’re finally telling the full story. A true story that no one knows but everyone thinks they know? What a great mystery to unfold on screen.”
Producer Frank Marshall says, “After everything the world knew about Sully and the landing, what happened to him after he became instantly famous was fascinating. Todd’s approach to the screenplay was to take a story you’ve heard, like the key elements of that day, and turn it into one you haven’t, giving the audience a real feel of what it was like to be there.”
Another story few people are aware of-one the director himself may have long ago forgotten, but which connects him in a unique way with the subject matter and its subject-came to light when working on “Sully.” As a young man of 21 in the Army, Eastwood was a passenger on a Navy plane, “catching a free flight from Seattle down to Alameda,” he relates. “It was stormy and we went down off of Point Reyes, California, in the Pacific, and I found myself in the water, swimming a few miles toward shore, thinking, ‘Well, 21’s not as long as a person wants to live.'”
Producer, and Eastwood’s longtime production manager, Tim Moore states, “What’s remarkable is that Clint remembers exactly how the landing was-that the back end went down and they had to get out pretty fast because they thought it was going to sink quickly, and they just started swimming. While I don’t think that was a factor in picking this film, I think the commonalities brought back a lot of memories; it’s certainly interesting that this project found its way to him.”
Though he doesn’t equate his experience with that of the passengers and crew on flight 1549, it did provide a certain perspective for one preparing to direct Sully’s story. “I suppose having been in a similar situation,” Eastwood surmises, “as a pilot I would have chanced a water landing rather than go someplace there’s no runway.”
“Sully was familiar with that area,” the director also notes. “He knew where the helicopter ports and ferryboats were, so he picked the right spot, where everyone could get to them fast. It wouldn’t be like being out in the middle of the ocean; he knew somebody would see them.”
“It was the least bad option,” the man himself, Capt. Sullenberger, states. Having lost thrust in both engines of the A320, he quickly determined that the Hudson River, which runs between New Jersey and Manhattan’s West Side, was their best bet. “There was nowhere else in the entire New York Metropolitan area long enough, wide enough, or smooth enough to land an airliner.”
Looking back on his experience from just seven-and-a-half years ago, able to now put things into perspective, he says, “Part of the emotional context of this story is that it happened in a time in our history when there was worldwide concern on several fronts: it was post-9/11, we had troops in the Middle East, there was the ’08 financial meltdown…people were worried. That this happened in Manhattan and that we survived it, well, I think it gave people hope, even ones who were not directly connected with the flight.”
Not only did the filmmakers choose to embrace the actual surroundings in which the event happened by shooting as much as possible in New York City, they also sought to involve a good number of its citizens who were there that day in the film. This not only meant reaching out to them for research purposes, by talking about what they remember, but also recruiting many who were part of the rescue to reenact their efforts for the cameras. Both air and water rescuers and several Red Cross staff and volunteers returned to the “scene” to recreate their own heroics of the day, reinforcing what Sullenberger himself has observed on many occasions: that the positive outcome was not due just to the swift and steady actions of one, but also the fortitude of many.
What if I did get this wrong? What if I endangered the lives of all those passengers?
The Captain Chesley “Sully” Sullenberger the world has come to know in recent history began flying at the age of 14, “as soon as he was tall enough to see outside the cockpit of the plane,” quips Tom Hanks. The young pilot then attended the United States Air Force Academy and flew fighter jets in the service for five years, attaining the rank of captain, before taking the controls of a commercial airliner. “The life of a professional aviator,” the actor continues. “If he tallied it up, I think he’d have something like 20,000 hours as the guy in charge of the plane. That’s a lot of take-offs and landings, a lot of looking at gauges to see if anything is wrong, and a few hairy moments here and there in the course of a career.”
But nothing like what he faced in those 208 seconds that would come to represent the culmination of his life’s experiences. Pilots work hard to prepare for any circumstances they could face in the air, and suddenly Sully was faced with the challenge of his career. “A flock of geese got sucked into the engines and boom! he was essentially flying a powerless glider with 155 souls on board-his included. It’s a good thing he had those 20,000 hours of experience behind him,” Hanks offers.
The role of Sully was one the always-in-demand Hanks couldn’t turn down, despite having to postpone a well-earned break. “Sometimes you read something that is so stirring and at the same time so simple, such a perfect blend of behavior and procedure,” he reflects. “Now, I’m as competitive as the next actor, so I knew I wanted at least a shot at it, even though I’d been working pretty steadily for about six years. Sure I was beat but, not unlike a solid jolt of adrenaline, this role, Sully, Mr. Clint Eastwood…they all came along. I felt like I couldn’t pass up a chance at playing in this great double-header at the end of this long baseball season.”
Although the two had never worked together before, Eastwood says, “Tom was one of the first people we thought about for the part. But at the time he was just finishing a picture and we didn’t think we could get him. But he read the script and liked it and made himself available. And he was terrific, a consummate pro, and it was kind of effortless working with him.”
Stewart relates, “Sully has that ‘everyman’ quality that I think reminded Clint of Jimmy Stewart, and once that was in our minds we thought, ‘Well, there’s no one like that but Tom Hanks.'”
The filmmakers also appreciated what Hanks brought to the shoot when the cameras weren’t rolling. Offers Eastwood, “He has a great sense of humor, so that makes it fun. He’d be standing around waiting, sometimes in the rain, and still making the crew laugh.”
Despite his easygoing demeanor on set, Hanks admits that when playing a real person “you’re always intimidated. You say to yourself, ‘I’ll never sound like him, I’ll never look like him. Hopefully I can embody some aspect, capture some part of his personality, his characteristics, his gravitas, his charm,’ whomever the person may be. And then you go to work.”
The subject of Hanks’ portrayal had no qualms about the actor stepping into his shoes. “Besides the fact that they were making a movie, directed by such a gifted storyteller as Clint Eastwood, to then have Tom Hanks playing me…it’s a dream team,” says Sullenberger. “I know Tom is someone who can transform himself, but the first time I saw a long-range shot of him in costume, with his hair colored? Wow. It was amazing.”
In fact, prior to production Sullenberger’s wife, Lorrie, was most excited to see the two men together. “When I saw Tom for the first time, it was so strange. Then later I would find myself looking at my husband, thinking, ‘His hair looks just like Tom’s…wait…Tom’s looks just like Sully’s!'” she laughs.
In addition to pulling off an accurate physical representation of the man, Hanks would also be tasked with recreating the most challenging moments in Sully’s life, not just outwardly, but internally. The actor would need to convey the pilot’s rapid-fire thought processes that led to his ability to control the seemingly uncontrollable situation with which he was faced, despite never having trained for this exact event apart from theoretical classroom discussions.
Joining Hanks on the flight deck, Aaron Eckhart took on the role of co-pilot Jeff Skiles. Eckhart says he was very affected by the screenplay for “Sully.” “It was structured beautifully, because from the time they took off to the time they hit the birds was three and a half minutes. How do you make a whole movie about that? But it was very emotional and managed to build tension throughout the story, showing the audience what went on for these two men who were, to the outside world, hailed as heroes. I think it’s a heroic story, with good lessons to be learned.”
To prepare for the scenes that depict those critical moments in the air, Sullenberger had explained to them his own process at the time. His first three thoughts-all within mere seconds-had covered disbelief, denial, and realization. He told them that those thoughts led to three clear actions: force himself to be calm, set clear priorities, and manage the workload, not trying to do too much, but doing what they could to solve the problems, one by one, in the small amount of time they had. Hanks and Eckhart would have to internalize the intellectual elements of that progression and then show exactly how, having accepted what they were dealing with, Sully and Skiles were able to land the plane.
What most people might be unaware of, just as these two actors were prior to the project, is that Sully and Skiles, who worked together like a well-oiled machine, had met for the first time just a few days before the flight-a common occurrence considering the thousands of pilots traversing the globe at any given time. Fortunately their training allows them to communicate effortlessly and assist each other when there isn’t time to talk everything out.
Prior to filming, Eckhart contacted Skiles as well. Recalling their conversation, Skiles says, “We spoke for a couple of hours and he asked me a lot of questions about being a pilot, not just why I wanted to be one but also why I continue to do so after that day.”
“Jeff told me that first and foremost, they were always in control of the flight; they felt they could make a good landing, a controlled landing, in the Hudson,” Eckhart says. “He also talked about the effect going through that trauma had on them afterward: stress, lack of sleep, loss of appetite, nervousness, that sort of thing. It lasted two or three months and they got counseling. And he’s still flying today; he’s a captain himself now.”
Like Hanks, Eckhart was also able to strongly resemble his counterpart in both appearance and manner. Marshall felt the production was very lucky in that “there were two really interesting guys in the cockpit when this happened. Sully is a more reserved, quieter guy, and Jeff Skiles is pretty funny. And Aaron brought a sort of lightheartedness to what we see in the film is a very heavy situation. It’s nice to see the dynamic between the two real men played out by Tom and Aaron so well.”
“Tom’s an extraordinary actor,” Eckhart adds. “He’s so in command, it’s effortless. I’d like to think working with him had an effect on me; I’d like to learn some of his tricks.”
Both men spent time in flight simulators prior to filming in order to look the part when the cameras rolled. “We practiced with both Captain Sullenberger and Mr. Eastwood there,” Eckhart notes, offering that the actors eventually got the hang of it well enough for their scenes. “Pilots look so relaxed; it’s like home in there for them, so we felt a responsibility to do it right. We got a good feel for it.”
“We invited Sully’s participation whenever he was available,” Eastwood states. “He kindly arranged for the simulators and pilots to show Tom and Aaron exactly how it would work. They got the cram course, but they went to town.”
While tackling a persona so well known in the media was part of Hanks’ challenge, his real concern, he says, “was to embody Sully’s level of experience and expertise in the cockpit.” No amount of reassurance from Sullenberger could compare to what Hanks felt when he took the simulator’s controls. “He kept saying, ‘You’ll see what it’s like to fly when you get in the simulator,’ and I’ll tell you, it was the most lifelike experience. It feels exactly as though you are in a plane, it requires no imagination because the physics of it-the tilting, the motion-it’s amazing.”
Both actors discovered during their training that Skiles had actually handled the take-off that day, because co-pilots have to make a scheduled number of take-offs in order to qualify as captains. As in the film, Sullenberger took over after the bird strike, having more hours under his belt.
Eastwood not only observed the simulations, he also filmed them so the actors could watch and learn from their practice runs. Hanks says, “Luckily, we had the flight plan, we knew what we were supposed to do and pushed the buttons when we were supposed to, which we worked on a lot. It was a fun way to spend a day, but you also got this experiential aspect of being in a real no-nonsense atmosphere, as well as how truly short a period of time this all happened in and how many decisions and feelings that had to have gone into it for Sully and Skiles. In the end, Aaron and I were both eager to make sure we looked like we knew what we were doing in order to do right by them.”
CAST and the FILMMAKLERS
Tom Hanks as Chesley “Sully” Sullenberger
Aaron Eckhart as Jeff Skiles
Laura Linney as Lorraine Sullenberger
Anna Gunn as Dr. Elizabeth Davis
Autumn Reeser as Tess Soza
Ann Cusack as Donna Dent
Holt McCallany as Mike Cleary
Mike O’Malley as Charles Porter
Jamey Sheridan as Ben Edwards
Jerry Ferrara as Michael Delaney
Molly Hagan as Doreen Welsh
Max Adler as Jimmy Stefanik
Sam Huntington as Jeff Kolodjay
Wayne Bastrup as Brian Kelly
Valerie Mahaffey as Diane Higgins
Jeff Kober as L. T. Cook
Katie Couric as herself
Captain Vince Lombardi as himself
Cooper Thornton as Jim Whitaker
Noelle Fink as Emma Cowan
LAURA LINNEY (Lorrie Sullenberger) is an American actress who works in film, television and theatre. Her recent film work includes “Genius,” directed by Michael Grandage, also starring Colin Firth, Jude Law and Nicole Kidman; Tom Ford’s “Nocturnal Animals”; “The Dinner,” directed by Oren Moverman, with Richard Gere, Steve Coogan and Rebecca Hall; and “Mr. Holmes,” directed by Bill Condon, starring Ian McKellan. She has appeared in “You Can Count on Me,” “Kinsey,” and “The Savages,” receiving Oscar nominations for her work in all three, as well as “The Fifth Estate,” Hyde Park on Hudson,” “The Squid and the Whale,” Mystic River,” “Absolute Power,” “The Truman Show,” “Primal Fear,” “The Mothman Prophecies,” “Love Actually,” “P.S.,” “The House of Mirth,” “The Details” and “Congo,” among others.
She starred in and produced the Showtime series “The Big C” for four seasons, for which she won a few awards, as she did for her portrayal of Abigail Adams in the HBO miniseries John Adams,” directed by Tom Hooper. Early in her career, she starred as Mary Ann Singleton in Armistead Maupin’s “Tales of the City” series, a job for which she continues to be most grateful and proud. She appeared as Kelsey Grammer’s final girlfriend in the last six episodes of “Frasier,” was directed by Stanley Donen in “Love Letters,” and starred opposite Joanne Woodward in “Blindspot.”
She has appeared in many Broadway productions, most notably “Time Times Still” and “Sight Unseen,” both directed by Daniel Sullivan and written by Donald Margulies; and Arthur Miller’s “The Crucible,” directed by Richard Eyre, opposite Liam Neeson, with whom she has worked many times. Her other plays include “Six Degrees of Separation,” “Honour,” “Uncle Vanya,” Les Liasons Dangereuses,” “Holiday” and “The Seagull.”
She has been nominated three times for the Academy Award, three times for the Tony Award, once for a BAFTA Award, and five times for the Golden Globe. She has won one Screen Actors Guild (SAG) Award, one National Board of Review Award, two Golden Globes and four Emmy Awards.
She holds two honorary Doctorates from her alma maters, Brown University and The Juilliard School.
TOM HANKS (Chesley “Sully” Sullenberger) is an award-winning actor, producer and director. One of only two actors in history to win back-to-back Best Actor Academy Awards, he won his first Oscar in 1994 for his moving portrayal of AIDS-stricken lawyer Andrew Beckett in Jonathan Demme’s “Philadelphia.” The following year, he took home his second Oscar for his unforgettable performance in the title role of Robert Zemeckis’ “Forrest Gump.” He also won Golden Globe Awards for both films, as well as a Screen Actors Guild (SAG) Award for the latter.
Hanks has also been honored with Academy Award nominations for his performances in Penny Marshall’s “Big,” Steven Spielberg’s “Saving Private Ryan,” and Zemeckis’ “Cast Away,” also winning Golden Globes for “Big” and “Cast Away.”
Hanks was most recently seen in Spielberg’s “Bridge of Spies” and Tom Tykwer’s “A Hologram for the King,” and upcoming will be on screens in Ron Howard’s “Inferno” and James Ponsoldt’s “The Circle.”
In 2013, Hanks was seen starring in Academy Award and Golden Globe nominated film “Captain Phillips,” for which he received SAG, Bafta and Golden Globe nominations, as well as in AFI’s Movie of the Year “Saving Mr. Banks,” with Emma Thompson.
His other feature credits include the Tykwer, Andy Wachowski and Lana Wachowski film “Cloud Atlas”; Stephen Daldry’s “Extremely Loud & Incredibly Close”; the animated adventure “The Polar Express,” which he also executive produced and which reunited him with director Robert Zemeckis; the Coen brothers’ “The Ladykillers”; Spielberg’s “The Terminal” and “Catch Me If You Can”; Sam Mendes’ “Road to Perdition”; Frank Darabont’s “The Green Mile”; Nora Ephron’s “You’ve Got Mail” and “Sleepless in Seattle”; Penny Marshall’s “A League of Their Own”; Ron Howard’s “Apollo 13,” “The Da Vinci Code,” “Angels & Demons” and “Splash”; and the computer-animated blockbusters “Cars,” “Toy Story,” “Toy Story 2” and “Toy Story 3.”
Hanks’ work on the big screen has translated to success on the small screen. Following “Apollo 13,” he executive produced and hosted the acclaimed HBO miniseries “From the Earth to the Moon,” also directing one segment, and writing several others. His work on the miniseries brought him Emmy, Golden Globe and Producers Guild Awards, as well as an Emmy nomination for Best Director.
His collaboration with Spielberg on “Saving Private Ryan” led to them executive producing the HBO miniseries “Band of Brothers,” based on the book by Stephen Ambrose. Hanks also directed a segment and wrote another segment of the fact-based miniseries, which won Emmy and Golden Globe Awards for Best Miniseries. In addition, Hanks earned an Emmy Award for Best Director and an Emmy nomination for Best Writing, and received another Producers Guild Award for his work on the project.
In 2008, Hanks executive produced the critically acclaimed HBO miniseries “John Adams,” starring Paul Giamatti, Laura Linney and Tom Wilkinson. It won 13 Emmy Awards, including the Emmy for Outstanding Miniseries, as well as a Golden Globe for Best Miniseries, and a PGA Award. More recently, Hanks and Spielberg re-teamed for the award-winning HBO miniseries “The Pacific,” for which Hanks once again served as executive producer. The ten-part program won eight Emmy Awards, including Outstanding Miniseries, and brought Hanks his fourth PGA Award.
In 2012, Hanks executive produced the HBO political drama starring Julianne Moore and Ed Harris, which follows Sarah Palin as John McCain’s running mate in his 2008 Presidential campaign.”Game Change” was awarded Emmy and Golden Globes for Best Miniseries/Television Film as well as earning several other awards and nominations. In 2013, Hanks served as host, narrator and historical commentator for the two hour National Geographic television movie based on the best-selling book Killing Lincoln. In 2013, Hanks and Playtone produced the Emmy nominated CNN documentary series “The Sixties,” and in 2014, the HBO miniseries “Olive Kitteridge,” based on the Pulitzer Prize-winning novel by Elizabeth Strout. In 2015, “Oliver Kitteridge” won eight Emmy awards, including Outstanding Limited Series, three Critics’ Choice Television Awards, a DGA award and a SAG award. In 2015, Hanks and Playtone produced “The Seventies” and in 2016, “The Eighties.”
In 1996, Hanks made his successful feature film writing and directing debut with “That Thing You Do,” in which he also starred. He more recently wrote, produced, directed and starred in “Larry Crowne,” with Julia Roberts. Under his and Gary Goetzman’s Playtone banner, they produced 2002’s smash hit romantic comedy “My Big Fat Greek Wedding,” with his wife Rita Wilson. His other producing credits include “Where the Wild Things Are,” “The Polar Express,” “The Ant Bully,” “Charlie Wilson’s War,” “Mamma Mia!,” “The Great Buck Howard,” “Starter for 10” and the HBO series “Big Love.”
In 2013, Hanks made his Broadway debut in Nora Ephron’s “Lucky Guy.” His performance earned him Drama Desk, Drama League, Outer Critics Circle, and Tony nominations.
In 2002, Hanks received the American Film Institute’s Lifetime Achievement Award. He was later honored by the Film Society of Lincoln Center with the Chaplin Award in 2009. In 2014, Hanks received a Kennedy Center Honor.
AARON ECKHART (Jeff Skiles) is positioned among the industry’s finest, with numerous credits to his name. He has earned considerable acclaim for his roles, including the love interest of Julia Roberts in “Erin Brockovich,” for director Stephen Soderbergh. However, it was his portrayal of a love-scorned, vengeful man in Neil LaBute’s controversial film, “In the Company of Men,” which first drew him critical attention. Notably, this incendiary film became one of the highest grossing independent films of the year.
Eckhart earned both a Golden Globe and Independent Spirit Award nomination for his starring role in Jason Reitman’s directorial debut, “Thank You for Smoking.” His recent film credits include co-starring opposite Johnny Depp in “The Rum Diary”; the sci-fi action film “Battle: Los Angeles”; “Rabbit Hole,” opposite Nicole Kidman; and director Christopher Nolan’s “The Dark Knight” as Harvey Dent/Two Face.
Originally from Northern California, Eckhart studied theatre and film at Brigham Young University, where he met and appeared in many of Neil LaBute’s plays. In addition to “In the Company of Men,” he has starred in three other LaBute films, including “Possession,” with Gwyneth Paltrow; “Nurse Betty, opposite Renee Zellweger; and “Your Friends and Neighbors,” with Ben Stiller and Catherine Keener.
Eckhart’s other film credits include Sean Penn’s “The Pledge,” opposite Jack Nicholson; the romantic dramedy “Love Happens,” opposite Jennifer Aniston; Oliver Stone’s “Any Given Sunday”; the indie film “Meet Bill”; and “Molly,” opposite Elisabeth Shue. He starred in the Alan Ball drama “Towelhead”; “No Reservations,” opposite Catherine Zeta-Jones; John Woo’s adaptation of Phillip K. Dick’s short story “Paycheck,” opposite Ben Affleck and Uma Thurman; Ron Howard’s “The Missing,” opposite Tommy Lee Jones and Cate Blanchett; “The Core,” opposite Hilary Swank; Brian De Palma’s “The Black Dahlia”; “Conversations with Other Women,” opposite Helena Bonham Carter; “Olympus Has Fallen,” opposite Gerard Butler; “Expatriate”; and the 3D IMAX action thriller “I, Frankenstein,” opposite Bill Nighy. His theater credits include Michael Cristofer’s “Amazing Grace,” opposite Marsha Mason.
Eckhart was most recently seen starring in “My All American” as legendary University of Texas coach Darrell Royal, opposite Finn Wittrock and in “London Has Fallen,” opposite Gerard Butler. He will next be seen in “Bleed for This,” opposite Miles Teller.
Eckhart resides in Los Angeles.
CLINT EASTWOOD (Director / Producer) has been honored for his work as a filmmaker and actor. He most recently directed and the searing real-life drama, “American Sniper,” starring Bradley Cooper. The highest-grossing film of 2014, “American Sniper” was also one of the most acclaimed, receiving six Oscar nominations, including Best Picture. The film also brought Eastwood his fourth Directors Guild of America (DGA) Award nomination and a National Board of Review Award for Best Director.
A four-time Oscar winner, Eastwood won his first Oscars, for Best Director and Best Picture, for his 1992 Western “Unforgiven,” which received a total of nine nominations, including one for Eastwood for Best Actor. Eastwood also won Golden Globe and DGA Awards for the film, which garnered Best Picture honors from several critics groups.
In 2005, Eastwood won two more Oscars in the same categories for “Million Dollar Baby,” again earning a Best Actor nomination for his performance in the film. He also won his second DGA Award and another Best Director Golden Globe, as well as a Golden Globe nomination for the film’s score.
Eastwood has twice more earned dual Oscar nominations, in the categories of Best Director and Best Picture, for the dramatic thriller “Mystic River,” for which he also garnered Golden Globe and DGA Award nominations, and the World War II drama “Letters from Iwo Jima,” which won Golden Globe and Critics’ Choice Awards for Best Foreign Language Film and received Best Picture Awards from a number of film critics groups. “Letters from Iwo Jima” was the companion film to Eastwood’s widely praised drama “Flags of Our Fathers.”
In 2008, Eastwood’s “Changeling” received three Oscar nominations and Eastwood received BAFTA Award and London Film Critics Award nominations for Best Director, as well as a Golden Globe nomination for Best Original Score. The film was also nominated for a Palme d’Or and won a Special Award when it premiered at the 2008 Cannes Film Festival. He had received three previous Palme d’Or nominations: for “White Hunter Black Heart,” in 1990; “Bird,” at the 1988 festival; and “Pale Rider,” in 1985. He also won his first Best Director Golden Globe Award for “Bird.”
In more recent years, Eastwood directed and produced the big-screen version of the Tony Award-winning musical “Jersey Boys,” about the start of the 1960s rock group The Four Seasons. He also directed and produced the biographical drama “J. Edgar”; “Hereafter,” which received Italy’s David di Donatello Award for Best Foreign Film; and the drama “Invictus,” for which he won a National Board of Review Award and earned Golden Globe and Critics’ Choice Award nominations for Best Director. In addition, he starred in, directed and produced the hit “Gran Torino,” for which he won a Best Actor Award from the National Board of Review.
Eastwood also directed and starred in such memorable films as “Blood Work,” “Space Cowboys,” “True Crime,” “Absolute Power,” “The Bridges of Madison County,” “The Rookie,” “Heartbreak Ridge,” “Sudden Impact,” “Honkytonk Man,” “Firefox,” “Bronco Billy,” “The Outlaw Josey Wales,” “The Eiger Sanction,” “High Plains Drifter,” and “Play Misty for Me,” which marked his directorial debut.
Eastwood first came to worldwide fame as an actor in such legendary Westerns as “A Fistful of Dollars,” “For a Few Dollars More,” “The Good, the Bad and the Ugly,” “Hang ‘Em High,” and “Two Mules for Sister Sara.” His film acting work also includes “Kelly’s Heroes,” “Escape from Alcatraz,” the “Dirty Harry” actioners, “Every Which Way But Loose,” “Any Which Way You Can,” “In the Line of Fire” and “Trouble with the Curve.”
Over the course of his remarkable career, Eastwood has received a number of lifetime and career achievement honors, including the Motion Picture Academy’s Irving Thalberg Memorial Award and the Hollywood Foreign Press Association’s Cecil B. DeMille Award. He has also garnered tributes from the Directors Guild of America, the Producers Guild of America, the Screen Actors Guild, the American Film Institute, the Film Society of Lincoln Center, the French Film Society, the National Board of Review, and the Henry Mancini Institute. He is also the recipient of a Kennedy Center Honor, the California Governor’s Award for the Arts, and France’s Commandeur de la Legion d’honneur.
Directed by Clint Eastwood
Produced by Clint Eastwood, Frank Marshall, Tim Moore, Allyn Stewart
Written by Todd Komarnicki
Based on Highest Duty by Chesley Sullenberger and Jeffrey Zaslow
Music by Christian Jacob, The Tierney Sutton Band
Cinematography Tom Stern
Edited by Blu Murray
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