"It's a detective story and a human relationship story," says the Academy Award winning filmmaker Clint Eastwood of 'Blood Work', which marks his 18th film as producer, his 23rd as director and 44th as star.

Eastwood optioned the rights to Michael Connelly's best selling novel to produce through his legendary Malpaso production company. "This project was an opportunity for me to take a different approach to detective work, which I've been associated with over the years. At this particular stage in my maturity, I felt it was time to take on characters that have different obstacles to face than they would if I were playing a younger man of 30 or 40."

Indeed, the film's protagonist, FBI profiler Terrence "Terry" McCaleb, is a dedicated professional and taciturn individualist who must come to terms with a sudden and unexpected life change when he is felled by a heart attack while pursuing his latest adversary, "The Code Killer." "I especially like McCaleb's vulnerability, both physically and psychologically, which presents an interesting challenge for him to overcome," Eastwood says. "He's a guy who is very good at his job and committed to it; then all of a sudden, he's forced into retirement. He's trying to enjoy it as best he can, given the situation, and live in peace on his boat in the San Pedro Harbor… until a stranger comes to him for help."

Filmed almost entirely on location in Spring 2002, excepting five days on the lot at Warner Bros., Blood Work depicts a wide spectrum of the greater Los Angeles area. Action was staged in various locations throughout the San Fernando Valley, the Santa Clarita Valley, downtown Los Angeles, and the harbor cities of Long Beach and San Pedro.

Like all of his directorial efforts, Blood Work reflects the efficiency, professionalism and pure love of craft that are the trademarks of Eastwood's style of filmmaking. "We shot this film in 38 days, and that's quick by today's standards," Eastwood says. "Shooting at that pace might make others uncomfortable, but I've been doing this a long time and I don't feel that I compromise anything by doing so. If somebody said Shoot it in 45 days, I don't know what I'd do any differently, besides having a couple days off. Everybody works hard, we get it done and then we move on."

"The man rarely shoots more than three takes of any camera angle," marvels Paul Rodriguez, who was shocked when Eastwood only filmed one take of the opening shot of the film. "It was incredible. After we did the first take, Clint consulted with the camera operator, 'Steve: How did it look?' Steve says, 'It looked great'. Clint asked me how I felt about it, and when I said I felt good about the take, he said, 'Alright, let's move on.' I couldn't believe it. I said, 'Are you serious? Only one take? Of the opening shot of the movie?' Clint says, 'If Steve says it's good, it's good.' And he moved on. That's never happened in the 30-something films I've worked on, and I don't think it'll happen again unless he gives me another job!"

"Working with Clint is the best job in town," says editor Joel Cox, who began working with Eastwood in 1975 on The Outlaw Josey Wales. "He's incredibly decisive and confident. When he shows up on the set, he has envisioned how every scene is going to go, and he shoots exactly the angles he needs. He also trusts the people he works with and allows everyone to do their jobs. He isn't one of those controlling directors who says The tablecloths have to be red, I want these pictures on the wall, and the lighting has to be this color. He hires extremely competent people and says I'd like the film to have this kind of look, and they go and do it."

"I like to hire people I've worked with before, people who know their jobs and enjoy what they're doing," Eastwood emphasizes. "The Blood Work crew was magnificent, especially considering that a large percentage of this film was made at night and in difficult circumstances. Every department came through."

Despite his rapid-fire shooting style, Eastwood maintains an easy-going directorial vibe on set. "Blood Work was one of the more relaxed, extremely operational and good-humored sets that I've ever been on, and I think that's due to the fact that most of the crew have worked with Clint for many years," Anjelica Huston observes. "There's a kind of shorthand between them, and a wonderful camaraderie and interest in the work. Also, Clint's a funny guy and he keeps everyone in a good mood."

"When I got the call to be a part of this project, I said 'Are you kidding?' " recalls Jeff Daniels, who has acted in over 30 films as well as written, directed and acted in two recent independent films. "I immediately read up on Clint and his films and studied his particular style of directing and his approach to the filmmaking process. It was such a thrill to have an opportunity to work with him. I'd deliver what I was supposed to deliver as an actor, then sit back and observe him. It was like going to school. It was a great learning experience."

Daniels' approach to acting meshed well with Eastwood's straightforward directing style. "I must say, Jeff is one of the lowest maintenance actors I've ever worked with," Eastwood attests. "He's well prepared; he comes in with an imaginative concept; and he doesn't need a lot of directing. You just explain to him what you're trying to accomplish, and he was always right there, ready to go."

In fact, Daniels was so willing to support Eastwood's vision, his efforts nearly spelled disaster for the production while shooting a driving sequence in the desert. "It was my second or third day of filming, and I was driving, Clint was sitting in the passenger seat and the camera and operator were positioned in the back seat," Daniels recalls. "The sun was going down, and I was maneuvering the car along this curvy road as we're playing the scene and trying to nail the shot before losing the light. The car's side mirror was catching a reflection of the camera, so they asked me to adjust it. As I'm fixing the mirror, I see Clint reach across me, grab the wheel and turn it just slightly. I looked up and realized that he had very calmly avoided a head-on collision with a minivan coming around the turn. I froze, thinking, 'I almost killed him! I almost killed Clint Eastwood!'"

While fulfilling his demanding directing and producing roles, the unflappable and understated Eastwood acted in virtually every scene of the film and, in many instances, performed his own stunts. "I've been doing this a lot of years and it was particularly difficult on this picture, because I acted in every sequence," Eastwood admits. "But I enjoy the whole process and I want to give the audience their money's worth. It's a demanding job, both physically and mentally, and I wouldn't have it any other way. It's not supposed to be easy; it's supposed to be fun. Each step is involving and requires serious preparation. I don't care if it's the planning or design of a film, the execution or the editing. I'm there and I'm part of it."

Another remarkable hallmark of Eastwood's filmmaking expertise is his ability to seamlessly transition between acting and directing. "Clint is so present in a scene, even though he's also directing, all you see is the actor," Wanda De Jesús says.

How does the Man from Malpaso manage to maintain such balance while fulfilling multiple obligations to his productions? "When you're playing a scene, you can tell when it's good and when it's working for all of the characters," Eastwood explains. "It's difficult. You have to make sure you're always 'throwing the switch,' so to speak. But when you're dealing with great actors like Jeff and Anjelica and Wanda, it's easier to throw the switch because they're so into it, you just jump right in."

Perhaps Jeff Daniels best summarizes the gratitude and enthusiasm expressed by the Blood Work cast and crew while enjoying the privilege of working with one of the most respected and renowned artists in motion picture history: "It's a special set when you're standing there watching Clint Eastwood stride down the middle of a California boulevard with a sawed-off shotgun, blowing away a Ford."

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