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In an early draft, screenwriter Richard La Gravenese had envisaged Jack Lucas as a world-weary cabby who inherits a fortune.
But, after listening to Howard Stern, he turned him into a drunkenly misanthropic shock jock, whose inflammatory remarks provoke the restaurant massacre that traumatises college professor Robin Williams.
Having decided against quitting acting after teaming with Robert Ryan in John Frankenheimer’s The Iceman Cometh (1973), Bridges landed his second Oscar nomination in Michael Cimino’s bracingly brutal updating of Douglas Sirk’s Captain Lightfoot (1955).
Bridges blends guileless naiveté with reckless impetuosity as the free-spirited drifter who takes crook Clint Eastwood’s side against thuggish pursuers George Kennedy and Geoffrey Lewis.
His boss was griping about him in the New York Times. And then, late Thursday, a federal judge had refused to reinstate the controversial executive order meant to be a cornerstone of his Department of Justice: one aimed at cutting federal funds from “sanctuary cities.” Now, Sessions was in one of those cities, addressing a packed room at the U. Attorney’s Office that included the head of a police department he had threatened to defund. He touched on violent crime and decried gang violence. Like President Trump before him, he cited the murder rate here, which is up 21 percent this year, and spoke at length about the unsolved killing of Tymier Frasier, a 14-year-old boy shot to death in Kensington in May.
And he said sanctuary cities like Philadelphia were harming their residents by not cooperating with the federal government.
Over the years, he has based his screen persona on degrees of tousled, laid-back and gruff charm.Yet, while he has totted up his share of clunkers, he has rarely given a bad performance, whether he’s been a boxer (Fat City) or a stock-car racer (The Last American Hero), a video game character (Tron) or a comic-book villain (Iron Man), a car inventor (Tucker: The Man and His Dream) or a ship’s captain (White Squall), a decent dad (American Heart) or an un-PC Texas Ranger (Hell or High Water), the US president (The Contender) or his brother (Winter Kills).Both Jeff Bridges and Duane Jackson came of age in Peter Bogdanovich’s adaptation of Larry Mc Murtry’s hymn to small-town America in the early 1950s.He more than proves her point in Joel and Ethan Coen’s delirious homage to Raymond Chandler’s The Big Sleep.In an early draft, Jeffrey ‘The Dude’ Lebowski (who was based on producer Jeff Dowd) was the heir to the Rubik’s Cube fortune.